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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. -
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. -
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). -
Boogaloo Origins Join Us As We Reveal the Origin of the Term “Boogaloo”
October 23, 2013 Boogaloo Origins Join us as we reveal the origin of the term “Boogaloo” as the root term of From Africa to “Boogie”. It means "devilishly Congo Square, good". However, what is usually left New Orleans out is which African We language and people it comes from. have the Bantu term The term “Boogaloo" has African “Mbugi” is a Congolese word from "Mbuki Mvuki" (Mbuki = to take off roots, but it comes to us via Congo the Ki-Kongo language of the in flight, and Mvuki = to dance Square, in New Orleans, Louisiana. Congo people ie Congo Square! wildly, as if to shake off ones “Boogaloo” stems from the word There is more to this. clothes). "Boogie" or "Boogie Woogie" which Dr. John Tennison, a San Antonio was used to refer to a free flowing psychiatrist, pianist, and The Hausa people were not in form of dance and piano playing musicologist has deciphered 4 more Cuba, but guess where there was a style in the American South during African terms, from various different significant population of ALL of the period around World War 1. languages that all look to be the these African tribes??? You “Boogaloo” over time came to be a origin of the word “Boogie”: The guessed it: slang term for free spirited dancing Hausa, The Mandingo, The Bantu, or getting down. and a tribe from Sierra Leone: Congo Square! Let us begin with the the word We have the Hausa word "Boog" “Boogie”, and follow the steps to and the Mandingo word "Booga", This is why we see the word “Boogaloo” and beyond. -
Redalyc.SALSA with COCONUT: CHALLENGES FOR
Ambiente & Sociedade ISSN: 1414-753X [email protected] Associação Nacional de Pós-Graduação e Pesquisa em Ambiente e Sociedade Brasil GARRIDO-PÉREZ, EDGARDO I. SALSA WITH COCONUT: CHALLENGES FOR CONSERVATION BIOLOGY, FOOD EMPHASIS, AND ETHNO-ECOLOGY OF AFRO-CARIBBEAN DANCE MUSIC Ambiente & Sociedade, vol. XVIII, núm. 4, octubre-diciembre, 2015, pp. 173-194 Associação Nacional de Pós-Graduação e Pesquisa em Ambiente e Sociedade Campinas, Brasil Disponible en: http://www.redalyc.org/articulo.oa?id=31743850011 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto SALSA WITH COCONUT *: CHALLENGES FOR CONSERVATION BIOLOGY, FOOD EMPHASIS, AND ETHNO-ECOLOGY OF AFRO-CARIBBEAN DANCE MUSIC EDGARDO I. GARRIDO-PÉREZ1 Introduction Even before the 1980s, the efforts for the conservation of wildlife and the introduc- tion of environmental topics started to get into the mass media (BOYKOFF and BOYKOFF, 2007), school and pre-school education (PERALES and GARCÍA GRANADA, 1999, and the political and business arenas (MEFFE and VIEDERMAN, 1995) in order to reach both the great majority of people and the decision makers. Encouraging results have been obtained, such as the addition of three million hectares of land for conserving forests in Latin America; yet high rates of deforestation remain as a challenge there (FAO, 2012). Problems of the agricultural sector interrupted the links between nature on the one hand and the millions of people previously related to it on the other hand (e.g. -
Bc Salsa: Identity,Musicianshipand Performance in Vancouver’Safro-Latinorchestras
BC SALSA: IDENTITY, MUSICIANSHIP AND PERFORMANCE IN VANCOUVER’S AFRO-LATIN ORCHESTRAS by MALCOLM Al KEN B.Mus., The University of British Columbia, 2004 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2009 © Malcolm Aiken, 2009 11 ABSTRACT For over twenty-five years, musicians, dancers and singers of Afro-Latin music have maintained an active presence in the culturally diverse music scene of Vancouver, BC. During this time, the music performed and created by this group of artists has undergone dynamic changes in sound and function, reflecting a new transcultural music identity. This music, commonly referred to as salsa, is being created, performed and transformed by musicians of all backgrounds and social classes. Local composers are incorporating a variety of musical influences into their music and assimilating elements of the city’s music cultures. Today, an eclectic mix of musicians in Vancouver are creating new forms of music rooted in the Afro-Latin music traditions, and are establishing a unique contemporary musical scene. At the forefront of salsa’s local history are the Afro-Latin dance bands prominent in the city’s dance community. Their impact on the musicians and local music culture has been paramount and pivotal to the exposure of salsa to a mainstream Canadian audience. One prominent factor in the continued growth of the music has been the influence of the many non—Latino musicians who have assimilated into the salsa community as performers. Their musical and cultural influences have helped push the music in new directions and maintained the music’s relevance within the wider arts community. -
Ing the Needs O/ the 960.05 Music & Record Jl -1Yz Gî01axiï0h Industry Oair 13Sní1s CIL7.: D102 S3lbs C,Ft1io$ K.'J O-Z- I
Dedicated To Serving The Needs O/ The 960.05 Music & Record jl -1yZ GÎ01Axiï0H Industry OAIr 13SNí1S CIL7.: d102 S3lbS C,ft1iO$ k.'J o-z- I August 23, 1969 60c In the opinion of the editors, this week the following records are the SINGLE 1'1('It-.%" OE 111/î 11'1î1îA MY BALLOON'S GOING UP (AssortedBMI), 411) Atlantic WHO 2336 ARCHIE BELL AND WE CAN MAKE IT THE DRELLS IN THE RAY CHARLES The Isley Brotiers do more Dorothy Morrison, who led Archie Bell and the Drells Ray Charles should stride of their commercial thing the shouting on "0h Happy will watch "My Balloon's back to chart heights with on "Black Berries Part I" Day," steps out on her Going Up" (Assorted, BMI) Jimmy Lewis' "We Can (Triple 3, BMI) and will own with "All God's Chil- go right up the chart. A Make It" (Tangerine -blew, WORLD pick the coin well (T Neck dren Got (East Soul" -Mem- dancing entry for the fans BMI), a Tangerine produc- 906). phis, BMI) (Elektra 45671). (Atlantic 2663). tion (ABC 11239). PHA'S' 111' THE U lî lî /í The Hardy Boys, who will The Glass House is the Up 'n Adam found that it Wind, a new group with a he supplying the singing first group from Holland - was time to get it together. Wind is a new group with a for TV's animated Hardy Dozier - Holland's Invictus They do with "Time to Get Believe" (Peanut Butter, Boys, sing "Love and Let label. "Crumbs Off the It Together" (Peanut But- BMI), and they'll make it Love" (Fox Fanfare, BMI) Table" (Gold Forever, BMI( ter, BMI(, a together hit way up the list on the new (RCA 74-0228). -
La Pachamambo Repertoire
LA PACHAMAMBO REPERTOIRE A LATIN DANCE (SALSA AND MAMBO) Aguanile – Hector Lavoe La Vida Es un Carnaval – Celia Cruz Aguzate – Richie Ray Lagrimas Negras – Buena Vista S.C. Anacaona – Cheo Feliciano Lloraras – Oscar D’Leon Bemba Colora – Celia Cruz Lluvia Con Nieve – Mon Rivera Besame Mucho – Cesaria Evora Mambo Lupita – Perez Prado Brujeria – El Gran Combo De Puero Rico Me Libere – El Gran Combo De Puerto Rico Buscandote – Joe Arroyo Mujer Divina – Joe Cuba Calle Luna Calle Sol – Hector Lavoe Oye Como Va – Tito Puente Chan Chan – Buena Vista Social Club Pedro Navaja – Ruben Blades Concierto Para Ritmo- Orqesta Huambaly Que Bueno Baila Usted – Benny More Dia De Suerte – Hector Lavoe Que Rico Mambo – Perez Prado Dos Gardenias Para Ti – Buena Visa S.C. Quien Sera/Sway – Dean Marin El Cantante – Hector Lavoe Quimbara – Celia Cruz El Cuarto De Tula - BVSC Quitate La Masquara – Ray Barreto El Preso – Fruko Y Sus Tesos Salchicha Con Huevo – Jimmy Sabater En Baranquilla Me Quedo – Joe Arroyo San Lazaro – Celina Y Reutilio Guantanamera –Compay Segundo Todo Tiene Su Final – Hector Lavoe Indestructible – Ray Barreto Un Verano En Nueva York – El Gran Juanito Alimania – Hecor Lavoe Combo La Murga – Willie Colon BOOGALOO AND MODERN/REMIX Autumn Leaves – Tito Puente Fly me To The Moon – Frank Sinatra Back To Black – Amy Winehouse Havana – Camila Cabello Bailando- Enrique Iglesias I Like it Like That – Pete Rodriguez Desapericido – Manu Chao I Love Paris – Ella Fitzgerald Despacito – Justin Bieber/Luis Fonsi Independent Women –Destiny’s Child Don’t -
Redalyc.Salsa Music As Expressive Liberation
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Berrios-Miranda, Marisol Salsa Music as Expressive Liberation Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 158-173 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716211 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 Berrios(v7).qxd 3/1/05 7:33 AM Page 158 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Salsa) Salsa Music as Expressive Liberation1 MARISOL BERRIOS-MIRANDA ABSTRACT In the span of a singe decade, the 1970s, young people in urban centers all over Latin America came to embrace salsa music as their preferred musical style and expression. Salsa’s unprecedented international popularity resulted from the confluence of several distinct social conditions and historical events: the Puerto Rican dilemma of colonial status, the civil rights and black pride movements in the U.S., the Cuban revolution’s promise of upliftment for the lower classes, urban migration, and the need for a Latino alter- native to the hegemony of Anglo rock. In this paper I will argue that salsa’s popularity needs to be understood in terms of a musical sound and a social style that responded effectively to these circumstances, captured beautifully in the film Our Latin Thing. I propose, furthermore, that the colonial dilemma of Puerto Ricans in the island and in New York motivated their creative contributions to salsa, which they experienced as a form expressive liberation and decolonization. -
Steve Pouchie Biography
Steve Pouchie Biography By Tomas Peňa Steve Pouchie is a man of many talents. Among other things he is an accomplished musician, band leader, producer of the “Latin Jazz Alive and Kickin’ music cable show, and an award winning Music and Technology educator. Steve was born to Puerto Rican parents and raised in New York City, where he attended Stuyvesant High School. He received a full scholarship to Bard College with the intention of pursuing a career in Economics, however at Bard, Steve met teacher and jazz trombonist Roswell Rudd, who inspired him to study music and become a vibraphonist. He graduated with a BA in Economics and Associate’s Degree in Music. In 1993, after working 12 years in corporate sales, Steve took a position as a music teacher in a middle school in the Bronx and after three successful years, Steve was offered the position of Performing Arts Coordinator at Walton High School. It was there that he developed one of the first Digital Piano Labs, and a student run recording studio. His work was so effective that in 2004, Steve was awarded the distinguished New York Post Liberty Medal for his outstanding work as an educator. According to New York City’s Mayor Michael Bloomberg, who presented Steve his medal, “These men and women have made important contributions to their community through time, work, talent and wisdom.” Despite the demands of being an educator, Steve, always eager to play with his ensemble, continued to develop musically by performing at colleges, restaurants, night clubs, political events and outdoor concerts. -
LBMO.Com - Latin Beat Magazine - Latin Music Magazine - Columns
LBMO.com - Latin Beat Magazine - Latin Music Magazine - Columns http://www.latinbeatmagazine.com/columns.html Home |Features | Columns |Hit Parades | Rev iews | Calendar |News |LB Style |Contacts | Shopping | E-Back Issues JUNE/JULY 2012 ISSUE QUÉ PASA IN LA By Rudy Mangual Bloque 53 Cogelo Ahi Windows Media Quicktime Chico Álvarez El Indio Caonabo Windows Media Quicktime Bio Ritmo La Muralla 1 of 23 7/14/2005 9:03 PM LBMO.com - Latin Beat Magazine - Latin Music Magazine - Columns http://www.latinbeatmagazine.com/columns.html Streaming Music Louie Cruz Beltran The 34th Annual Playboy Jazz Festival will present a world-class lineup of jazz icons and rising Paint the Rhythm stars on Saturday, June 16th, and Sunday, June 17th, at the Hollywood Bowl. Headliners include Windows Media Ramsey Lewis, Robin Thicke, Ozomatli, Sheila E, Boney James, Chico Trujillo, and Christian Quicktime McBride (and just added, local favorite Louie Cruz Beltrán). For tickets and more information, visit www.playboyjazzfestival.com. Cintron Band Live "Grand Performances" —Los Angeles’ premiere free outdoor summer performing arts series Human Nature ―invites everyone to their 26th annual summer events. Grand Performances’ 10-week Windows Media season (Friday, June 22, to Saturday, August 25) features 33 events and more than 100 artists Quicktime and ensembles. All events are free of charge, providing everyone the opportunity to experience a handpicked selection of emerging and established world music, jazz, dance and theater acts. Most events begin at 8:00 p.m. and take place at California Plaza in Downtown Los Angeles. Vanelis Performances range from the “Intimate Puppetry of Mexico: Unexpected", (July 12 & 13), to the Como Lo Extraño extravagant Jazz Mafia (San Francisco’s 38-piece ensemble), and the 70-member orchestra and Windows Media 40-voice choir of Symphony of Hope (August 3). -
Live at Yankee Stadium”--The Fania All-Stars (1975) Added to the National Registry: 2003 Essay by Thomas Muriel (Guest Post)*
“Live at Yankee Stadium”--The Fania All-Stars (1975) Added to the National Registry: 2003 Essay by Thomas Muriel (guest post)* Original album The date Friday, August 23, 1973, is an historic one for Latin music. That night, Jerry Masucci, the ultimate gambler, was the last man laughing as his most bizarre gambit to date became a total success--his Fania All-Stars poured 40,000 screaming fans into Yankee Stadium for an unforgettable night of superb music. If Fania Records’ super-band was already famous at the time (thanks to the famed Cheetah club concert and the 1972 movie “Our Latin Thing”), this is the concert that made them a legend (the famous Cheetah club actually folded in 1974). That night, the All-Stars were scheduled to play two sets. The first set was a traditional one, with the All-Stars aided by guests Mongo Santamaría, Jan Hammer, Jorge Santana, and Billy Cobham, who quickly proved to the crowd that they could play soul as well as rock. The second set, another daring Masucci gambit, was never completed, as a bloody conga duel battle between Ray Barretto and Santamaría prompted the frenzied audience to bypass the security barriers to make their way into the playing field and onto the stage, triggering the concert’s abrupt ending. The orchestra had already gone through serious changes in personnel—now all the singers were either solo acts or bandleaders (or they were on the way to becoming both as part of the label’s expansion plans). But a bitter internal controversy involving three of their main stars provoked one of the most important changes to the band’s roster—this was the result of the harsh breakup of Barretto’s band, with five of his musicians leaving to form Típica ’73.