We Like It Like That Press
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Boo-Hooray Catalog #10: Flyers
Catalog 10 Flyers + Boo-hooray May 2021 22 eldridge boo-hooray.com New york ny Boo-Hooray Catalog #10: Flyers Boo-Hooray is proud to present our tenth antiquarian catalog, exploring the ephemeral nature of the flyer. We love marginal scraps of paper that become important artifacts of historical import decades later. In this catalog of flyers, we celebrate phenomenal throwaway pieces of paper in music, art, poetry, film, and activism. Readers will find rare flyers for underground films by Kenneth Anger, Jack Smith, and Andy Warhol; incredible early hip-hop flyers designed by Buddy Esquire and others; and punk artifacts of Crass, the Sex Pistols, the Clash, and the underground Austin scene. Also included are scarce protest flyers and examples of mutual aid in the 20th Century, such as a flyer from Angela Davis speaking in Harlem only months after being found not guilty for the kidnapping and murder of a judge, and a remarkably illustrated flyer from a free nursery in the Lower East Side. For over a decade, Boo-Hooray has been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Evan, Beth and Daylon. -
Description of Some Basic Moves of Salsa Casino Rueda Style a Cruz’: Description If Basic Arm Positions in Salsa Rueda
www.SalsaGente.com The Moves ! Thank you for choosing “Salsa Gente” as source for your information! We are community oriented and based in Santa Cruz and maintain Cuban-style Salsa dance since 2001. We offer classes and dance opportunities filled with lots of fun. As courtesy, we describe some basic Salsa Rueda de Casino moves starting with Beginner level and list our Salsa Rueda Curriculum of classes. The curriculum may differ from other Salsa Rueda organizations or Website listings. Description of some Basic Moves of Salsa Casino Rueda style a Cruz’: Description if Basic Arm Positions in Salsa Rueda Name of Position Description guapea position/parallel (Left to Right) and (Right to Left). Leader is on the Right side of Follower. arms Leader and Follower face each other holding hands around waist level. Leader is on the Left side of Follower. Leader and Follower face each other. Leader has Right Hand behind the back of Follower, Follower’s Left Hand is pa'l medio position on the Right shoulder of Leader. Leader is holding Right Hand of Follower with elbows bent upward. Palms and elbows are touching. Make an "L" shape with your arms. cross handed Couples face each other, arms crossed with Right hands on top. Couples are side to side and Leader is to the Left of Follower. Leader has Left Sombrero arms Hand behind own head holding Left Hand of Follower. Leader also has Right Hand behind the head of Follower holding Right Hand of Follower. Leader's elbow comes up and over the upper arm of the Follower. -
University of California, Los Angeles. Department of Dance Master's Theses UARC.0666
http://oac.cdlib.org/findaid/ark:/13030/c8833tht No online items Finding Aid for the University of California, Los Angeles. Department of Dance Master's theses UARC.0666 Finding aid prepared by University Archives staff, 1998 June; revised by Katharine A. Lawrie; 2013 October. UCLA Library Special Collections Online finding aid last updated 2021 August 11. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections UARC.0666 1 Contributing Institution: UCLA Library Special Collections Title: University of California, Los Angeles. Department of Dance Master's theses Creator: University of California, Los Angeles. Department of Dance Identifier/Call Number: UARC.0666 Physical Description: 30 Linear Feet(30 cartons) Date (inclusive): 1958-1994 Abstract: Record Series 666 contains Master's theses generated within the UCLA Dance Department between 1958 and 1988. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Conditions Governing Reproduction and Use Copyright of portions of this collection has been assigned to The Regents of the University of California. The UCLA University Archives can grant permission to publish for materials to which it holds the copyright. All requests for permission to publish or quote must be submitted in writing to the UCLA University Archivist. Preferred Citation [Identification of item], University of California, Los Angeles. Department of Dance Master's theses (University Archives Record Series 666). UCLA Library Special Collections, University Archives, University of California, Los Angeles. -
Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference. -
View Centro's Film List
About the Centro Film Collection The Centro Library and Archives houses one of the most extensive collections of films documenting the Puerto Rican experience. The collection includes documentaries, public service news programs; Hollywood produced feature films, as well as cinema films produced by the film industry in Puerto Rico. Presently we house over 500 titles, both in DVD and VHS format. Films from the collection may be borrowed, and are available for teaching, study, as well as for entertainment purposes with due consideration for copyright and intellectual property laws. Film Lending Policy Our policy requires that films be picked-up at our facility, we do not mail out. Films maybe borrowed by college professors, as well as public school teachers for classroom presentations during the school year. We also lend to student clubs and community-based organizations. For individuals conducting personal research, or for students who need to view films for class assignments, we ask that they call and make an appointment for viewing the film(s) at our facilities. Overview of collections: 366 documentary/special programs 67 feature films 11 Banco Popular programs on Puerto Rican Music 2 films (rough-cut copies) Roz Payne Archives 95 copies of WNBC Visiones programs 20 titles of WNET Realidades programs Total # of titles=559 (As of 9/2019) 1 Procedures for Borrowing Films 1. Reserve films one week in advance. 2. A maximum of 2 FILMS may be borrowed at a time. 3. Pick-up film(s) at the Centro Library and Archives with proper ID, and sign contract which specifies obligations and responsibilities while the film(s) is in your possession. -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
MIC Buzz Magazine Article 10402 Reference Table1 Cuba Watch 040517 Cuban Music Is Caribbean Music Not Latin Music 15.Numbers
Reference Information Table 1 (Updated 5th June 2017) For: Article 10402 | Cuba Watch NB: All content and featured images copyrights 04/05/2017 reserved to MIC Buzz Limited content and image providers and also content and image owners. Title: Cuban Music Is Caribbean Music, Not Latin Music. Item Subject Date and Timeline Name and Topic Nationality Document / information Website references / Origins 1 Danzon Mambo Creator 1938 -- One of his Orestes Lopez Cuban Born n Havana on December 29, 1911 Artist Biography by Max Salazar compositions, was It is known the world over in that it was Orestes Lopez, Arcano's celloist and (Celloist and pianist) broadcast by Arcaño pianist who invented the Danzon Mambo in 1938. Orestes's brother, bassist http://www.allmusic.com/artist/antonio-arcaño- in 1938, was a Israel "Cachao" Lopez, wrote the arrangements which enables Arcano Y Sus mn0001534741/biography Maravillas to enjoy world-wide recognition. Arcano and Cachao are alive. rhythmic danzón Orestes died December 1991 in Havana. And also: entitled ‘Mambo’ In 29 August 1908, Havana, Cuba. As a child López studied several instruments, including piano and cello, and he was briefly with a local symphony orchestra. His Artist Biography by allmusic.com brother, Israel ‘Cachao’ López, also became a musician and influential composer. From the late 20s onwards, López played with charanga bands such as that led by http://www.allmusic.com/artist/orestes-lopez- Miguel Vásquez and he also led and co-led bands. In 1937 he joined Antonio mn0000485432 Arcaño’s band, Sus Maravillas. Playing piano, cello and bass, López also wrote many arrangements in addition to composing some original music. -
“Rapper's Delight”
1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap. -
Mario Ortiz Jr
Hom e | Features | Columns | Hit Parades | Reviews | Calendar | News | Contacts | Shopping | E-Back Issues NOVEMBER 2009 ISSUE FROM THE EDITOR Welcome to the home of Latin Beat Magazine Digital! After publishing Latin Beat Magazine for 19 years in both print and online, Yvette and I have decided to continue pursuing our passion for Latin music with a digital version only. Latin Beat Magazine will continue its coverage of Latin music through monthly in-depth articles, informative Streaming Music columns, concert and CD reviews, and extensive news and information for everyone. Access to Somos Son www.lbmo.com or www.latinbeatmagazine.com (Latin Beat Magazine Online) is free for a limited Bilongo time only. Windows Media Quicktime Your events and new music submissions are welcome and encouraged by emailing to: [email protected]. The Estrada Brothers Latin beat is number one in the world of authentic Latin music. For advertising opportunities in Mr. Ray lbmo.com, call (310) 516-6767 or request advertising information at Windows Media [email protected]. Quicktime Back issues are still in print! Please order thru the Shopping section! Manny Silvera Bassed in America This issue of Latin Beat Magazine Volume 19, Number 9, November 2009, is our annual "Special Windows Media Percussion/Drum Issue", which celebrates "National Drum Month" throughout North America. Our Quicktime featured artist this month is Puerto Rican percussionist/bandleader Richie Flores. In addition, also featured are Poncho Sanchez (who's enjoying the release of his latest production Psychedelic Blues), and trumpeter/bandleader Mario Ortiz Jr. (who has one of the hottest salsa Bobby Matos productions of the year). -
Rumba Rhythms, Salsa Sound
MUSIC MILESTONES AMERICAN MS, RUMBA RHYTH ND BOSSA NOVA, A THE SALSA SOUND MATT DOEDEN This Page Left Blank Intentionally MUSIC MILESTONES AMERICAN MS, RUMBA RHYTH ND BOSSA NOVA, A HE SALSA SOUND T MATT DOEDEN TWENTY-FIRST CENTURY BOOKS MINNEAPOLIS NOTE TO READERS: some songs and music videos by artists discussed in this book contain language and images that readers may consider offensive. Copyright © 2013 by Lerner Publishing Group, Inc. All rights reserved. International copyright secured. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means— electronic, mechanical, photocopying, recording, or otherwise—without the prior written permission of Lerner Publishing Group, Inc., except for the inclusion of brief quotations in an acknowledged review. Twenty-First Century Books A division of Lerner Publishing Group, Inc. 241 First Avenue North Minneapolis, MN 55401 U.S.A. Website address: www.lernerbooks.com Library of Congress Cataloging-in-Publication Data Doeden, Matt. American Latin music : rumba rhythms, bossa nova, and the salsa sound / by Matt Doeden. p. cm. — (American music milestones) Includes bibliographical references and index. ISBN 978–0–7613–4505–3 (lib. bdg. : alk. paper) 1. Popular music—United States—Latin American influences. 2. Dance music—Latin America—History and criticism. 3. Music— Latin America—History and criticism. 4. Musicians—Latin America. 5. Salsa (Music)—History and criticism. I. Title. ML3477.D64 2013 781.64089’68073—dc23 2012002074 Manufactured in the United States of America 1 – CG – 7/15/12 Building the Latin Sound www 5 Latin Fusions www 21 Sensations www 33 www The Latin Explosion 43 Glossary w 56 Source Notes w 61 Timeline w 57 Selected Bibliography w 61 Mini Bios w 58 Further Reading, w Websites, Latin Must-Haves 59 and Films w 62 w Major Awards 60 Index w 63 BUILDING THE Pitbull L E F T, Rodrigo y Gabriela R IG H T, and Shakira FAR RIGHT are some of the big gest names in modern Latin music. -
2 Têtes D'affiches Supplémentaires Pour Les 25 Ans De Tempo Latino
Communiqué de presse n°3 Le 13 mars 2018 Acte 3 | 2 têtes d’affiches supplémentaires pour les 25 ans de Tempo Latino LE MOT DU PRÉSIDENT L’annonce de ces deux groupes vient compléter deux grandes soirées de cette 25ème édition, une édi- tion entre rencontres et fusion ! Il s’agit de deux formations attendues, depuis longtemps sur la grande scène de Tempo. Encore de nouveaux drapeaux dans la valise de voyage de Tempo Latino avec les Canadiens d’Otawa, SOUL JAZZ ORCHESTRA ambassadeurs de l’Afrobeat, qui présenteront, en France, leur 8ème album « Under Burning Skies », en 15 années de carrière. Ces musiciens découvreurs sont toujours aussi engagés et fougueux dans leurs prestations artistiques. Ils partageront la scène des arènes avec de nouveaux venus, sur un projet associant Cuba à La JamaÏque , HAVANA MEETS KINGSTON. Afrobeat, disco-boogie, latin-reggae : Un vendredi soir de Tempo tout en fusion ! CUBA / JAMAÏQUE / CANADA, les relations internationales se réchauffent à TEMPO. Pour le dimanche, on s’habille (classe) pour sortir... Rencontres de rues, entre le Bronx et le Barrio Latino de New York : Les fondements du Latin Soul, les références de la Salsa des années Fania. Les amoureux de la salsa dura et nostalgiques du Boogaloo ont leur soirée et tout ceux qui savent voir et écouter, quand ça joue ! Comment ne pas résister et plonger dans Nueva York ? Nougaro, le sait lui ! 1er round avec Mr NewYork, the King of Latin Soul, nous avons nommé Monsieur JOE BATAAN. Il sera accompagné du groupe Parisien, SETENTA avec qui il signe le titre de « my raimbow » dans leur dernier album « Paris to Nueva York », une collaboration où le groove vous emportera ! Au 2ème round, le mythique orchestra du Mercadonegro du NEW YORK SALSA ALL STARS vous mettra au tapis pour un concert de clôture des 25 ans du festival, Salsa dura porfavor avec des figures bien connues et attendues à Tempo comme Jimmy Bosch au trombone, « el Canario » au chant et sifflotage ou encore la grande chanteuse et Diva japonaise de l’Orchestra de la Luz ; Nora . -
RAFAEL CORTIJO Perc
AMIGOS DEL SON CALI Audición Mayo 6 de 2011 “CORTIJO Y SU COMBO Y VIENTOS MOVIDOS PARA EL BAILADOR” RAFAEL CORTIJO Percusionista, Compositor y Director Fecha de nacimiento: 11 de diciembre de 1928 , Parada 21, Santurce, Puerto Rico Falleció el 3 de octubre de 1982 en Santurce, Puerto Rico En el diccionario de la música afroantillana, el nombre de Rafael Cortijo es sinónimo de leyenda. Una de sus figuras cumbres y más veneradas. Líder de una de las organizaciones rítmicas más admiradas durante la segunda mitad del Siglo 20: Cortijo y Su Combo. Maestro del tambor caribeño. Inspirador de dos generaciones de cultores de la rumba y de los puertorriqueñísimos ritmos de bomba y plena. Este personaje irrepetible, de origen muy humilde, era hijo de Juan Cortijo Clemente y Juana Verdejo, quienes también procrearon a Francisco, Cecilia, Rosa y Gilberto. Contaba 11 años cuando el trompetista Paulino Flores lo introdujo al fascinante universo de la música caribeña enseñándole lo elemental en la ejecución del bongó. En lo sucesivo, sin maestro, aprendió a ejecutar el timbal, las tumbadoras – o congas – y algunos acordes en la guitarra. A los 14 emprendió su carrera musical uniéndose, como bongosero, al Conjunto Hermanas Soustache (1943-1944). Posteriormente (1944-1947) figuró en el Conjunto Monterrey, de Monchito Muley y Juan Palm «Mentoquín». Durante el período 1947-1953 trabajó de manera alternada con las orquestas de Frank Madera, Armando Castro, Augusto Coén y Miguelito Miranda, así como con la Sonora Boricua de Daniel Santos y los conjuntos acompañantes de Bobby Capó, Myrta Silva, Ruth Fernández y Miguelito Valdés, culminando aquella etapa con el dirigido por el pianista Mario Román en La Riviera Night Club, en el Viejo San Juan.