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Exile: Cuba and the United States
Lesson Plan: Exile: Cuba and the United States Grade Level 9-12 Objective Understand the events of the Cuban revolution and their effect on U.S.-Cuban relations and U.S. foreign policy. National History Standards Historical Thinking Standards, 5-12 • Standard 1: Chronological Thinking • Standard 4: Historical Research Capabilities • Standard 5: Historical Issues Analysis and Decision-Making Content Standards, 5-12 • Era 9: Postwar United States o Standard 2B: The student understands United States foreign policy in Africa, Asia, the Middle East, and Latin America. Evaluate changing foreign policy toward Latin America. Time Two class periods Background Over the course of a career that spanned six decades and took her from humble beginnings in Havana, Cuba, to acclaim as a world-renowned artist, Celia Cruz became the undisputed Queen of Latin Music. Combining a piercing and powerful voice with a larger-than-life personality and stage costumes, she was one of the few women to succeed in the male-dominated world of salsa music. The 1950s were a time of great turmoil in Cuba. The political landscape had changed dramatically with the imminent revolution, and musicians faced constant changes that affected various aspects of their lives. Celia Cruz had traveled to the United States and Latin America often during the 1940s and 1950s. At the end of 1959, the manager of the Sonora Matancera (the band with which Cruz had been performing) secured a one-year contract to perform in Mexico. Cruz decided to go with the band; they left on July 15, 1960, six months after Fidel Castro came to power in Cuba, and never returned. -
Merchant, Jimmy Merchant, Jimmy
Fordham University Masthead Logo DigitalResearch@Fordham Oral Histories Bronx African American History Project 4-7-2006 Merchant, Jimmy Merchant, Jimmy. Interview: Bronx African American History Project Fordham University Follow this and additional works at: https://fordham.bepress.com/baahp_oralhist Part of the African American Studies Commons Recommended Citation Merchant, Jimmy. 7 April 2006. Interview with the Bronx African American History Project. BAAHP Digital Archive at Fordham. This Interview is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Oral Histories by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. Interviewee: Jimmy Merchant Interviewers: Alessandro Buffa, Loreta Dosorna, Dr. Brian Purnell, and Dr. Mark Naison Date: April 7, 2006 Transcriber: Samantha Alfrey Mark Naison (MN): This is the 154th interview of the Bronx African American History Project. We are here at Fordham University on April 7, 2006 with Jimmy Merchant, an original and founding member of Frankie Lymon and the Teenagers, who has also had a career as an artist. And with us today, doing the interviews, are Alessandro Buffa, Lorreta Dosorna, Brian Purnell, and Mark Naison. Jimmy, can you tell us a little about your family and where they came from originally? Jimmy Merchant (JM): My mom basically came from Philadelphia. My dad – his family is from the Bahamas. He – my dad – was shifted over to the south as a youngster. His mother was from the Bahamas and she moved into the South – South Carolina, something like that – and he grew up there. -
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. -
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. -
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. -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
Music at Lehman College Dr
Panel Featuring: Students and Faculty of the Celia Cruz Bronx High School of Music Eganam Segbefia, Award Winning Trumpeter Moderated by Victoria Smith ('20) and Dania Miguel ('21) 2019 The 2019 Pacheco Festival Commemorative Program Current and Past Festival Events The Johnny Pacheco Latin Music Dr. Johnny Pacheco and Jazz Festival at Lehman College For decades, Johnny Pacheco has been at the center of the Latin m u s i c u n i v e r s e . H i s n i n e G r a m m y nominations, ten Gold records and numerous Mission Statement: awards pay tribute to his creative talent as composer, arranger, bandleader, and producer. The Johnny Pacheco Latin Music and Jazz Festival at Lehman College is Moreover, he is the pioneer of an unforgettable an annual event which provides performance and learning opportunities for musical era that changed the face of tropical talented young musicians who are studying music in New York City music history, the Fania All-Stars era. schools. The Pacheco Festival is committed to developing a world-wide Throughout his 40-year involvement with the development of Latin music, Johnny Pacheco audience via live Internet streaming and other forms of broadcast media. has received many kudos for his extraordinary genius. In November of 1998, he was inducted into the International Latin Music Hall of Fame. In 1997, he was the recipient of the Bobby Capo' Lifetime Achievement Award, awarded by Governor George Pataki. In 1996 the president of the Dominican Republic, Juaquin Balaguer 2018 Pacheco Festival Memories bestowed him with the prestigious Presidential Medal of Honor. -
Mark Laver. 2015. Jazz Sells: Music, Marketing, and Meaning
Document generated on 10/01/2021 6:42 a.m. Intersections Canadian Journal of Music Revue canadienne de musique Mark Laver. 2015. Jazz Sells: Music, Marketing, and Meaning. New York: Routledge. 246 pp. ISBN 978-1-138-01876-1 Marco Katz Montiel Volume 35, Number 2, 2015 URI: https://id.erudit.org/iderudit/1043825ar DOI: https://doi.org/10.7202/1043825ar See table of contents Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 1911-0146 (print) 1918-512X (digital) Explore this journal Cite this review Katz Montiel, M. (2015). Review of [Mark Laver. 2015. Jazz Sells: Music, Marketing, and Meaning. New York: Routledge. 246 pp. ISBN 978-1-138-01876-1]. Intersections, 35(2), 131–135. https://doi.org/10.7202/1043825ar Copyright © Canadian University Music Society / Société de musique des This document is protected by copyright law. Use of the services of Érudit universités canadiennes, 2018 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Mark Laver. 2015. Jazz Sells: Music, Marketing, and Meaning . New York: Rout- ledge. 246 pp. ISBN 978-1-138-01876-1. Commercial music production moves rapidly. Endeavouring an understand- ing of the client’s needs, often the most difficult part of the assignment, and perusing the final copy, which usually received approval from the legal de- partment at the end of the day preceding the morning of the recording session, I would return home and work through the night creating a soundtrack that had no more conscious purpose than making the agency representatives and their clients grin from ear to ear. -
Rumberos De Ayer Músicos Cubanos En México (1930-1950)
Gonzalo Martré CON LA COLABORACIÓN DE SILVESTRE MÉNDEZ RUMBEROS DE AYER MÚSICOS CUBANOS EN MÉXICO (1930-1950) COLECCIÓN CIENCIA Y SOCIEDAD INSTITUTO VERACRUZANO DE CULTURA GOBIERNO DEL ESTADO DE VERACRUZ Patricio Chirinos Calero, Gobernador Constitucional Roberto Bravo Garzón, Secretario de Educación y Cultura INSTITUTO VERACRUZANO DE CULTURA Rafael Arias Hernández, Director General Ángel José Fernández, Coordinador General de Publicaciones Manuel Sol, encargado de la Colección Portada: Página 4, con una fotografía de Gonzalo Martré y Silvestre Méndez Viñeta: Carlos Szymansky Primera edición, 1997 DERECHOS RESERVADOS INSTITUTO VERACRUZANO DE CULTURA Canal esquina Zaragoza Código Postal 91700 Veracruz, Veracruz, México Impreso y hecho en México ISBN 968 7824-09-3 LA MIGRACIÓN MUSICAL CUBANA EN LAS décadas de los años treinta a cincuenta un gran número de músicos cubanos salieron de la Isla Bella en busca de horizontes más amplios para su ta lento. Entre ellos había compositores, arreglistas y ejecutantes. Dos vertientes tuvo esa migración: México y Estados Unidos. Por una sencilla razón hemos de ocuparnos en esta suerte de crónica, de quienes escogieron México: muchos to davía viven aquí y pueden contarnos de viva voz por qué salieron de su patria, por qué no regresaron a ella, o por qué también se fueron de México aquellos que nos visitaban esporádicamente. Estos testimonios nos darán una idea del ambiente musical que privaba en la época considerada y su repercusión en el cine, el teatro de variedades y el cabaret de lo que se ha estimado -
Sammy Strain Story, Part 3: the Imperials, 1961
Reprinted with permission from Echoes of the Past, Issue No. 103 (Spring 2013), pp. 17—24. The Sammy Strain Story—Part 3 The Imperials (1961—1963) by Charlie Horner With contributions from Pamela Horner After a more than three very successful years on George Goldner’s End label, Little Anthony & the Impe- rials broke up in 1961. Most of those three years had been spent under the mentorship of Richard Barrett; ever since 1957 when as the Chesters, Barrett had res- cued them from the clutches of Apollo Records. But as the smoke cleared from the payola hearings in 1961, it was clear that the music industry was changing. By 1961, Richard Barrett was an independent producer and was distancing himself from George Goldner and Morris Levy of End/Roulette Records. Without Barrett’s lead- ership, the Imperials came apart. [For the early story of Little Anthony & The Imperials, see Echoes of the Past, Issue #82, 2007] Imperials’ Little Anthony Gourdine went solo, remaining with Roulette Records. Nate Rogers was drafted into the service and Tracey Lord left to get married. Ernest Wright and Clarence Collins wanted to continue singing as the Imperials so they went to their mentor, Richard Barrett to help keep the group going. The Imperials, 1961. Left to right: Ernest Wright, Meanwhile, Sammy Strain was busy singing Sammy Strain, Clarence Collins, George Kerr. with the Impacts [see Steven Kahn’s story, this issue of (Photo courtesy of Sammy Strain) Echoes of the Past]. Strain and the Imperials had grown up together in Brooklyn. als and Ernest and Clarence told me to call you because “By then Richard Barrett was in my life,” said you sing first tenor. -
2XHDST1117.Pdf
he conventional wisdom has it that Lester Young’s playing after his desperately unhappy year in the Army (1944/5) was never again to reach the high creative level it achieved over the first decade of his T professional life. Critics will no doubt debate the issue for many years to come, but the evidence from the 12 tracks on this album, recorded between 1951 and 1956, is that Pres remained an outstandingly gifted, original and swin- ging soloist right up to the end of his career (his last engagement, incidentally, was at the Blue Note in Paris in January 1959). The material here consists of air shots from club dates in New York and Washington. On all but three of the tracks, front-line duties are shared with a trumpet player – either Idrees Sulieman, a vigorous bebop exponent who has worked with Count Basie, Dizzy Gillespie, Lionel Hampton, the Clarke-Boland Band and Dexter Gordon, or Jesse Drakes, a fiery, staccato player from New York who played regularly with Lester between 1949 and 1955. It is highly appropriate that the opening track is Lester Leaps In, Young’s celebrated theme on the chords of I Got Rhythm which he first recorded with Count Basie’s Kansas City Seven in 1939. The middle eight of the opening chorus is delivered in typically rousing style by Sulieman, but after this it is Lester all the way. He plays the customary stop-time chorus after the theme and builds a solo full of charac- teristic Pres elements – lazy, laconic lines, reiterated notes and a lovely, loose swing.