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Ismael Rivera: El Eterno Sonero Mayor
• Ismael Rivera, ca. 1982 Ismael Rivera: el eterno Sonero mayor Ismael Rivera, o eterno Ismael Rivera: the eternal Sonero mayor Sonero mayor Robert Téllez Moreno* DOI: 10.30578/nomadas.n45a13 El artículo presenta un recorrido biográico y musical en torno al cantante y compositor puer- torriqueño Ismael Rivera, “El Sonero Mayor”. De la mano del artista, el texto provee claves para entender el surgimiento de la salsa como género musical, así como muestra algunos hitos en la historia del género. Concluye que la intervención de Rivera en la escena musical isleña y continental constituyó una revolución que dispersó las fronteras sociales de la exclusión cultu- ral. Por su parte, su estilo interpretativo se caracteriza por un inmenso sentimiento popular y una gran capacidad de improvisación. Palabras clave: Ismael Rivera, Puerto Rico, música popular, clave de son, salsa, racismo. O artigo apresenta um recorrido biográico e musical acerca do cantor e compositor Ismael Ri- vera, “El sonero mayor”, nascido em Puerto Rico. Da mão do artista, o texto oferece chaves para compreender o surgimento da salsa como gênero musical, ao tempo que mostra alguns marcos da história desse gênero. O autor conclui que a intervenção de Rivera no cenário musical da ilha e do continente constituiu uma revolução que dissipou as fronteiras sociais da exclusão cultural. O estilo interpretativo de Rivera é caraterizado por um enorme sentimento popular e por uma grande capacidade de improvisação. Palavras-chave: Ismael Rivera, Puerto Rico, música popular, clave de son, salsa, racismo. * Director y realizador del programa This article shows a biographical and musical overview of the Puerto Rican singer and son- Conversando la salsa de la Radio gwriter, Ismael Rivera, “El Sonero Mayor”. -
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). -
Almanaque Marc Emery. June, 2009
CONTENIDOS 2CÁLCULOS ASTRONÓMICOS PARA LOS PRESOS POLÍTICOS PUERTORRIQUEÑOS EN EL AÑO 2009. Jan Susler. 6ENERO. 11 LAS FASES DE LA LUNA EN LA AGRICULTURA TRADICIONAL. José Rivera Rojas. 15 FEBRERO. 19ALIMÉNTATE CON NUESTROS SUPER ALIMENTOS SILVESTRES. María Benedetti. 25MARZO. 30EL SUEÑO DE DON PACO.Minga de Cielos. 37 ABRIL. 42EXTRACTO DE SON CIMARRÓN POR ADOLFINA VILLANUEVA. Edwin Reyes. 46PREDICCIONES Y CONSEJOS. Elsie La Gitana. 49MAYO. 53PUERTO RICO: PARAÍSO TROPICAL DE LOS TRANSGÉNICOS. Carmelo Ruiz Marrero. 57JUNIO. 62PLAZA LAS AMÉRICAS: ENSAMBLAJE DE IMÁGENES EN EL TIEMPO. Javier Román. 69JULIO. 74MACHUCA Y EL MAR. Dulce Yanomamo. 84LISTADO DE ORGANIZACIONES AMBIENTALES EN PUERTO RICO. 87AGOSTO. 1 92SOBRE LA PARTERÍA. ENTREVISTA A VANESSA CALDARI. Carolina Caycedo. 101SEPTIEMBRE. 105USANDO LAS PLANTAS Y LA NATURALEZA PARA POTENCIAR LA REVOLUCIÓN CONSCIENTE DEL PUEBLO.Marc Emery. 110OCTUBRE. 114LA GRAN MENTIRA. ENTREVISTA AL MOVIMIENTO INDÍGENA JÍBARO BORICUA.Canela Romero. 126NOVIEMBRE. 131MAPA CULTURAL DE 81 SOCIEDADES. Inglehart y Welzel. 132INFORMACIÓN Y ESTADÍSTICAS GENERALES DE PUERTO RICO. 136DICIEMBRE. 141LISTADO DE FERIAS, FESTIVALES, FIESTAS, BIENALES Y EVENTOS CULTURALES Y FOLKLÓRICOS EN PUERTO RICO Y EL MUNDO. 145CALENDARIO LUNAR Y DÍAS FESTIVOS PARA PUERTO RICO. 146ÍNDICE DE IMÁGENES. 148MAPA DE PUERTO RICO EN BLANCO PARA ANOTACIONES. 2 3 CÁLCULOS ASTRONÓMICOS PARA LOS PRESOS Febrero: Memorias torrenciales inundarán la isla en el primer aniversario de la captura de POLÍTICOS PUERTORRIQUEÑOS EN EL AÑO 2009 Avelino González Claudio, y en el tercer aniversario de que el FBI allanara los hogares y oficinas de independentistas y agrediera a periodistas que cubrían los eventos. Preparado por Jan Susler exclusivamente para el Almanaque Marc Emery ___________________________________________________________________ Marzo: Se predice lluvias de cartas en apoyo a la petición de libertad bajo palabra por parte de Carlos Alberto Torres. -
“Orgulloso De Mi Caserío Y De Quien Soy”: Race, Place, and Space in Puerto Rican Reggaetón by Petra Raquel Rivera a Disser
“Orgulloso de mi Caserío y de Quien Soy”: Race, Place, and Space in Puerto Rican Reggaetón By Petra Raquel Rivera A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in African American Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Percy C. Hintzen, Chair Professor Leigh Raiford Professor Joceylne Guilbault Spring 2010 “Orgulloso de mi Caserío y de Quien Soy”: Race, Place, and Space in Puerto Rican Reggaetón © 2010 By Petra Raquel Rivera Abstract “Orgulloso de mi Caserío y de Quien Soy”: Race, Place, and Space in Puerto Rican Reggaetón by Petra Raquel Rivera Doctor of Philosophy in African American Studies University of California, Berkeley Professor Percy C. Hintzen, Chair My dissertation examines entanglements of race, place, gender, and class in Puerto Rican reggaetón. Based on ethnographic and archival research in San Juan, Puerto Rico, and in New York, New York, I argue that Puerto Rican youth engage with an African diasporic space via their participation in the popular music reggaetón. By African diasporic space, I refer to the process by which local groups incorporate diasporic resources such as cultural practices or icons from other sites in the African diaspora into new expressions of blackness that respond to their localized experiences of racial exclusion. Participation in African diasporic space not only facilitates cultural exchange across different African diasporic sites, but it also exposes local communities in these sites to new understandings and expressions of blackness from other places. As one manifestation of these processes in Puerto Rico, reggaetón refutes the hegemonic construction of Puerto Rican national identity as a “racial democracy.” Similar to countries such as Brazil and Cuba, the discourse of racial democracy in Puerto Rico posits that Puerto Ricans are descendents of European, African, and indigenous ancestors. -
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). -
1970-05-23 Milwaukee Radio and Music Scene Page 30
°c Z MAY 23, 1970 $1.00 aQ v N SEVENTY -SIXTH YEAR 3 76 D Z flirt s, The International Music-Record-Tape Newsweekly COIN MACHINE O r PAGES 43 TO 46 Youth Unrest Cuts SPOTLIGHT ON MCA -Decca in Disk Sales, Dates 2 -Coast Thrust By BOB GLASSENBERG NEW YORK - The MCA - Decca was already well- estab- NEW YORK -Many campus at Pop -I's Record Room. "The Decca Records complex will be lished in Nashville. record stores and campus pro- strike has definitely affected our established as a two -Coast corn- In line with this theory, Kapp moters Records is being moved to the across the country are sales. Most of the students have pany, Mike Maitland, MCA Rec- losing sales and revenue because gone to the demonstrations in West Coast as of May 15. Sev- of student political activity. "The the city and don't have new ords president, said last week. eral employees have been students are concerned with records on their minds at the "There are no home bases any- shifted from Kapp's New York other things at the moment," moment. They are deeply moved more for the progressive record operation into the Decca fold according to the manager of the (Continued on page 40) company." He pointed out that and Decca will continue to be a Harvard Co -op record depart- New York -focused firm. The ment in Cambridge, Mass. The shift of Kapp to Los Angeles is record department does much a "rather modest change," business with students in the FCC Probing New Payola Issues Maitland said, as part of the Boston area. -
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. -
Marvin Santiago
Marvin Santiago Marvin Santiago (December 26, 1947 – October 6, 2004) was a Puerto Rican salsa singer who became famous all across Latin America during the 1970s. He was also a part-time comedian on Puerto Rican television. Early life Santiago was born in the Santurce district of San Juan, Puerto Rico. In his younger years Santiago lived between the Bólivar and Sánchez streets in the Parada 22 area of Santurce. At the age of 13, Santiago and his family moved to the Nemesio Canales public housing project where he was eventually nicknamed “El Grifo de Canales” (“The kinky-haired, fair- skinned-one of Canales”) by close friends and fans. Santiago was diagnosed with type 1 diabetes at a young age. During his youth, Santiago would participate in jam sessions in his neighborhood as well as in school. His first professional job as a singer was in 1966 with Roberto Valdés group “Los Trotamundos“. Recording career Rafael Cortijo Upon a recommendation from conga player Celso Clemente, famed Puerto Rican composer Tite Curet Alonso met Santiago and brought him to an audition for Rafael Cortijo’s group. Santiago was hired to sing with Cortijo’s group and in three weeks time learned the bands repertoire and started touring with them throughout Dominican Republic, New York City and Chicago. On an impulse, Santiago decided to stay in Chicago.[2] During breaks from Cortijo’s group, Santiago played with local bands “Gilberto Y Su Sexteto” & “La Sonora De Felipe Rodríguez“.[1][3] Santiago’s first recorded tracks appeared on Rafael Cortijo Y Su Bonche’s album “Ahí Na Má! Put It There“, released in 1968.[2][4] Two of the tracks recorded where Santiago provided lead vocals, “Vasos En Colores” and “La Campana Del Lechón”, were later recorded by Santiago as a solo artist. -
Redalyc.Ismael Rivera: El Eterno Sonero Mayor
Nómadas (Col) ISSN: 0121-7550 [email protected] Universidad Central Colombia Téllez Moreno, Robert Ismael Rivera: el eterno Sonero mayor Nómadas (Col), núm. 45, octubre, 2016, pp. 204-213 Universidad Central Bogotá, Colombia Disponible en: http://www.redalyc.org/articulo.oa?id=105149483014 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 • Ismael Rivera, ca. 1982 Ismael Rivera: el eterno Sonero mayor Ismael Rivera, o eterno Ismael Rivera: the eternal Sonero mayor Sonero mayor Robert Téllez Moreno** El artículo presenta un recorrido biográico y musical en torno al cantante y compositor puer- torriqueño Ismael Rivera, “El Sonero Mayor”. De la mano del artista, el texto provee claves para entender el surgimiento de la salsa como género musical, así como muestra algunos hitos en la historia del género. Concluye que la intervención de Rivera en la escena musical isleña y continental constituyó una revolución que dispersó las fronteras sociales de la exclusión cultu- ral. Por su parte, su estilo interpretativo se caracteriza por un inmenso sentimiento popular y una gran capacidad de improvisación. Palabras clave: Ismael Rivera, Puerto Rico, música popular, clave de son, salsa, racismo. O artigo apresenta um recorrido biográico e musical acerca do cantor e compositor Ismael Ri- vera, “El sonero mayor”, nascido em Puerto Rico. Da mão do artista, o texto oferece chaves para compreender o surgimento da salsa como gênero musical, ao tempo que mostra alguns marcos da história desse gênero. -
Historia De La Salsa, Desde Las Raíces Hasta El 1975
Historia de la Salsa, desde las raíces hasta el 1975 Prof. Nicolás Ramos Gandía ([email protected] ) Catedrático Asociado de Matemática Universidad Interamericana de Puerto Rico Recinto de Arecibo Resumen Estudio de la evolución histórica e influencia de los géneros musicales de Cuba: el Son, la Rumba y el Danzón con sus variantes y de otros movimientos musicales en la Salsa. Se explica cómo, desde los años 20 hasta principio de los 60, dichos géneros fueron evolucionando hasta forjar los contornos sonoros de la Salsa. Analizamos los procesos que llevan a la adaptación de esas vertientes musicales redefiniéndose como la música urbana de la Salsa cultivada por músicos latinos y neoyorquinos. Examinamos el período decisivo de su germinación y consolidación que va desde fines de la década de los 60 hasta el año clave del 1975. Se expone el papel definitorio de la compañía Fania, para que músicos latinoamericanos y de otros grupos étnicos hicieran suya esas influencias y la transmutaran en un fenómeno social, discográfico y comercial de trascendencia mundial. A Catalino ("Tite") Curet Alonso Los creadores de la Música Popular nuestra tienen que ser reconocidos sin cortapisa y en su justa perspectiva, para así aquilatar sus aportaciones a esa vertiente de la historia social nuestra. Introducción La Salsa, como manifestación musical de un entorno social marginado, fue atacada desde distintos flancos, tanto musicales como sociales. Sus detractores alegaban que era: "música cubana vieja y poco innovadora" ; "música de barrio de mala muerte" ; "música sin contenido y simplista" ; y mil frases más que, en este momento, está de más citar. -
From Aural Places to Visual Spaces: the Latin/O and General Music Industries
FROM AURAL PLACES TO VISUAL SPACES: THE LATIN/O AND GENERAL MUSIC INDUSTRIES A Dissertation by CHRISTOPHER JOSEPH WESTGATE Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2011 Major Subject: Communication From Aural Places to Visual Spaces: The Latin/o and General Music Industries Copyright 2011 Christopher Joseph Westgate FROM AURAL PLACES TO VISUAL SPACES: THE LATIN/O AND GENERAL MUSIC INDUSTRIES A Dissertation by CHRISTOPHER JOSEPH WESTGATE Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Chair of Committee, Eric W. Rothenbuhler Committee Members, Antonio La Pastina Patrick Burkart Leroy Dorsey Juan Galdo Head of Department, Richard Street August 2011 Major Subject: Communication iii ABSTRACT From Aural Places to Visual Spaces: The Latin/o and General Music Industries. (August 2011) Christopher Joseph Westgate, B.S., Cornell University; M.A., Columbia University Chair of Advisory Committee: Dr. Eric W. Rothenbuhler This manuscript tells the stories of the Latin/o and general music industries in the United States from 1898 to 2000. It argues that performers transformed the local identities of aural industries based in place and melody into global industries of visual identities designed for space and celebrity. Both the Latin/o and general music industries shifted back and forth along a local-sound-to-global-sight spectrum more than once, from sounds of music rooted in specific places to sights of musicians uprooted across universal spaces between 1898 and 2000. -
Una Sola Casa: Salsa Consciente and the Poetics Of
BOSTON UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES Dissertation UNA SOLA CASA: SALSA CONSCIENTE AND THE POETICS OF THE META-BARRIO by ANDRÉS ESPINOZA AGURTO B.A., Berklee College of Music, 2006 M.A., University of York, 2009 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2014 © Copyright by ANDRÉS ESPINOZA AGURTO 2014 Approved by First Reader _______________________________________________ Victor Manfredi, Ph.D. Visiting researcher, African Studies Center Second Reader _______________________________________________ Brita Heimarck, Ph.D. Associate Professor of Music Third Reader _______________________________________________ Victor Coelho, Ph.D. Professor of Music Un barrio que va desde Nueva York hasta la Patagonia (A neighborhood that goes from New York to Patagonia). Rubén Blades Salsa is an idea, a concept, the result of a way of approaching music from the Latin American cultural perspective. Willie Colón. iv A Latinoamérica v Acknowledgements The writing of this dissertation would not have been possible without the help of many people. I would like to express my deep appreciation and gratitude to my advisor, Dr. Victor Manfredi, for his mentorship and guidance through the process. I feel truly fortunate to have worked with such a knowledgeable, passionate and caring person. I would also like to thank my committee members, Drs. Brita Heimarck, Victor Coelho, James Iffland and Marié Abe for the guidance and thought-provoking suggestions along the way. I would also like to show gratitude to all the musicians and Salsa historians who I interviewed for this work. They were all fantastic to work with, knowledgeable and incredibly generous with their time.