DOCSLIB.ORG

Features 10 10.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Features 10 10.Pdf LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features http://www.latinbeatmagazine.com/features.html Hom e | Features | Columns | Hit Parades | Reviews | Calendar | News | Contacts | Shopping | E-Back Issues OCTOBER 2010 ISSUE FROM THE EDITOR We dedicate this issue to the memory of Max Salazar, who passed away on September 19, 2010. Max was a mentor, a friend and an inspiration to all of us here at Latin Beat Magazine. Please go to the Features section for a tribute to Max we will keep updating all month. In this Volume 20, Number 8, October 2010 issue of Latin Beat Magazine Online, we feature Chilean salsa band the Santiago All Stars who are getting ready to release their debut CD production Joya y Rareza. We also take you to Tulum, Mexico, for a look at this beautiful little piece of heaven on earth and to enjoy the Riviera Maya Latin Jazz Festival. The annual Barranquijazz: Joya Musical del Caribe festival in Barranquilla, Colombia is also featured in this issue. As always, we keep you informed of the most current Latin music news and information available, CD reviews, national and international salsa hit parades, our calendar of events and our unique regional music columns (Los Angeles, New York, Puerto Rico, and international). Check out our video corner and streaming music tracks. Welcome! ¡Bienvenidos! To the world of Latin Beat Nayibe Magazine Online (lbmo.com and latinbeatmagazine.com) Rudy & Yvette Mangual Borinquen Windows Media Latin Beat Magazine is number one in the world of authentic Latin music. For advertising Quicktime opportunities in lbmo.com, call (310) 516-6767 or request advertising information at [email protected]. Luis González Spain Back issues are still in print and available! The back issues page has been reformatted for easier access and purchase. Enjoy 19 years of documented Latin music history and evolution in the 1 of 28 10/30/2010 1:09 PM LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features http://www.latinbeatmagazine.com/features.html Windows Media pages of Latin Beat Magazine. Please order through the shopping section or by telephone at (310) Quicktime 516-6767. Rolando Sanchez Vamonos De Fiesta Windows Media Quicktime The Santiago All Stars: Salsa from South of the Equator Steve Pouchie Watch Ur Wallet By Rudy Mangual Windows Media Quicktime 3D Ritmo de Vida Que Siga La Rumba Windows Media Quicktime Somos Son Bilongo Windows Media Quicktime The Estrada Brothers Mr. Ray Windows Media Quicktime Manny Silvera Bassed in America Windows Media Quicktime Ads by Google Bobby Matos Cuchy Frito Man Originally established in May of 2002 in Santiago, Chile, by percussionist Jorge Hasbún Hasbún, Download Google Windows Media the Santiago All-Stars is a band modeled after the pioneering salsa groups of the 1970s (such as Chrome Quicktime the Fania All-Stars). This Chilean band is committed to play hard-core "salsa dura" (old-school salsa), as it was performed in the early years of this musical movement. Searching is fast and easy with Google's web browser. Chembo Corniel The following is an interview with the executive producer, percussionist, and bandleader of the Buena Gente Santiago All-Stars.... www.google.com/chrome Windows Media 2 of 28 10/30/2010 1:09 PM LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features http://www.latinbeatmagazine.com/features.html Quicktime Rudy Mangual: Jorge, what is your role in the Santiago All Stars? Maña Tranquilito Jorge Hasbún Hasbún: I'm the executive producer of the band, Windows Media which means that I do just about everything necessary to keep Quicktime the group together, from the musical direction of our repertoire to booking gigs to promoting the band, and I also play the congas. Santiago Ceron Besos de Hada RM: Are you the musical director? Windows Media JHH: No, every member of the band is a musical director. We Quicktime are a collective when it comes to making our music and arrangements. I simply try to have the first word and/or try to Johnny Polanco y Su suggest a style or particular rhythm, but in the end, everything is Conjunto Amistad open and free to suggestions from all band members. I do handle El Gusto de Mi Salsa all the organizational duties; therefore, I'm called the bandleader. Windows Media Quicktime RM: Can you tell the readers how salsa evolved in Chile? JHH: As I understand it, there were two main Siempre Salsa All Stars currents responsible for the initial introduction of Salsa Para Siempre salsa in Chile. First, the Valparaiso seaport by Windows Media which numerous ships and sailors from all other Quicktime the world came into contact with our country and culture, bringing in vinyl recordings and magazines from the Caribbean and North America; and secondly, the result of the international exodus of many Chileans after the military takeover of 1973. When many of these exiles returned to Chile around the late-1980s, they brought with them the joy of salsa dancing and rhythms, and soon thereafter, the first salsotecas (salsa-discotheques) started sprouting in Santiago and other areas of Chile. I must clarify the fact that tropical music was always present in Chile, the newcomer was the salsa made in New York City and Puerto Rico. RM: What's the main national music of Chile? JHH: It is called cueca, the folkloric music and dance of Chile. RM: What's the main instrument of the cueca? JHH: It's the tormento, similar to the cajón (box drum) but you do not sit on top of it. It's played on top of a table. 3 of 28 10/30/2010 1:09 PM LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features http://www.latinbeatmagazine.com/features.html RM: What's the most popular dance in the country? JHH: That would be the cumbia, especially played by national orchestras. While adapted from the Colombian cumbia, the Chilean cumbia has its own identity. RM: Getting back to salsa, who would you say is a Chilean salsa pioneer? JHH: That would have to be the orchestra of Manuel Ramírez & Los Durísimos de Chile, established in 1990. Ramírez is a Peruvian bandleader who initially brought the band to Santiago from Colombia and Germany. I played several years with them before forming the Santiago All Stars. On the other hand, the Santiago All-Stars, in less than eight years, have established themselves as the first-call salsa band in Santiago to back up any visiting salsa artist touring the country, as well as the first-choice band for local festivals and salsa dance parties. Currently, there are about 10 active salsa bands in Santiago, and I believe that the Santiago All-Stars were the catalyst that inspired most of them to play this wonderful dance music. RM: How was the Santiago All-Stars band formed? JHH: All the current members of the Santiago All-Stars are professionally trained musicians, including many members of the Viña del Mar Orchestra (of international fame via its annual music festival), members of Chile's national television and radio stations orchestras, and active musicians in the local popular music scene. They all have a passion and love for playing salsa, the Santiago All-Stars is the vehicle to do just that. In other words, they all 4 of 28 10/30/2010 1:09 PM LBMO.com - Latin Beat Magazine - Latin Music Magazine - Features http://www.latinbeatmagazine.com/features.html make a living as musicians playing popular music every day, but the Santiago All-Stars is their fun band, where they let their creativity flow and their improvisation loose. RM: How often does the band perform? JHH: Normally, once or twice per month. The local salsa scene in Santiago is still small and growing, with about a handful of venues only featuring salsa. As I previously mentioned, with about 10 salsa bands in the scene and three to four weekly venues, everyone plays about once or twice per month. RM: Do you get many visits from touring international salsa acts? JHH: In recent years, yes. Oscar D'León started the whole thing with his visit in 2007; the Santiago All-Stars was the opening act for the event, which gathered about 8,000 people. Since then, we have been graced with visits from Lalo Rodríguez, Willy Chirino and Marc Anthony on numerous occasions. More recently we had performances by Tito Rojas, El Gran Combo, Grupo Niche, Grupo Galé, Victor Manuelle, and Gilberto Santa Rosa. We are scheduled to open for Willie Colón on October 16th, and will be playing with Jimmy Bosch on October 21st, who will be in Santiago performing with Rubén Blades on October 22nd. RM: Let's talk about your upcoming recording debut. What is the title of the CD? JHH: Joya y Rareza (A Rare Gem). The title came about because of a write-up the band received in one of Santiago's main newspapers — "El Diario Mercurio". When reporting that Santiago All-Stars was getting ready to release its debut full-length recording, the author of the article called the production Joya y Rareza, because he found the recording to be a musical gem that featured the participation of some of the top local players from Santiago; and also because it is rare in the sense that it was produced by a Chilean salsa band, but aimed at international distribution; and finally, because the recording also features two popular Chilean singers who had never performed salsa. RM: Who are the two Chilean guest vocalists in the recording? JHH: Cecilia Pantoja and Buddy Richard, both new wave icons of Chile's popular music scene during the last few decades.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Aye Que Rico! I Love It! I Gotta Play It! but How Do I Do It? Building a Salsa/Latin Jazz Ensemble
    ¡Aye que Rico! I Love It! I Gotta Play It! But How Do I Do It? Building a Salsa/Latin Jazz Ensemble By Kenyon Williams f you’ve got salsa in your sangre, you re- tion streaming video lessons on the Web, infor- member your first time—the screaming mation that was once only available to a lucky brass riffs, the electrifying piano montunos, few can now be found with ease (see list at end Ithe unbelievable energy that flowed into of article for suggested educational resources). the audience, and the timbalero, who seemed “You can’t lead any band in any style of to ride on top of it all with a smile as bright music unless you know that style of music!” as the stage lights. “The Latin Tinge,” as Jelly admonishes Latin percussion great Michael Roll Morton called it, has been a part of jazz Spiro. “People end up, in essence, failing be- ever since its inception, but it took the genius cause they don’t learn the style! The clave, bass, of such artists as Mario Bauza and Dizzy piano, and even horns, have to play a certain Gillespie in the early 1940s to truly wed way within the structure—just like the percus- the rhythms of the Caribbean with the jazz sion. If you don’t understand that, you will fail!” harmonies and instrumentation of American For an experienced jazz artist wanting to popular music styles. They created a hybrid learn or teach a new style of music for the first musical genre that would, in turn, give birth to time, this fear of failure can be crippling.
    [Show full text]
  • Beyond Salsa for Ensemble a Guide to the Modern Cuban Rhythm Section
    BEYOND SALSA FOR ENSEMBLE A GUIDE TO THE MODERN CUBAN RHYTHM SECTION PIANO • BASS • CONGAS • BONGÓ • TIMBALES • DRUMS VOLUME 1 • EFECTOS KEVIN MOORE REVISION 1.0 ©2012 BY KEVIN MOORE SANTA CRUZ, CA ALL RIGHTS RESERVED No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without written permission of the author. ISBN‐10: 146817486X ISBN‐13/EAN‐13: 978‐1468174861 www.timba.com/ensemble www.timba.com/piano www.timba.com/clave www.timba.com/audio www.timba.com/percussion www.timba.com/users/7 [email protected] cover design: Kris Förster based on photos by: Tom Ehrlich photo subjects (clockwise, starting with drummer): Bombón Reyes, Daymar Guerra, Miguelito Escuriola, Pupy Pedroso, Francisco Oropesa, Duniesky Baretto Table of Contents Introduction to the Beyond Salsa Series .............................................................................................. 12 Beyond Salsa: The Central Premise .................................................................................................. 12 How the Series is Organized and Sold .......................................................................................... 12 Book ......................................................................................................................................... 12 Audio .......................................................................................................................................
    [Show full text]
  • Tesis Doctoral: Salsa Y Década De Los Ochenta
    PROGRAMA DE DOCTORADO EN MUSICOLOGÍA TESIS DOCTORAL: SALSA Y DÉCADA DE LOS OCHENTA. APROPIACIÓN, SUBJETIVIDAD E IDENTIDAD EN LOS PARTICIPANTES DE LA ESCENA SALSERA DE BOGOTÁ. Presentada por Bibiana Delgado Ordóñez para optar al grado de Doctora por la Universidad de Valladolid Dirigida por: Enrique Cámara de Landa Rubén López-Cano Secretaría Administrativa. Escuela de Doctorado. Casa del Estudiante. C/ Real de Burgos s/n. 47011-Valladolid. ESPAÑA Tfno.: + 34 983 184343; + 34 983 423908; + 34 983 186471 - Fax 983 186397 - E-mail: [email protected] Con respeto y admiración, a mi madre Aura Marina TABLA DE CONTENIDO Introducción .............................................................................................................................. 8 Capítulo I. Experiencia Estética en las Músicas Populares Urbanas ................................ 19 1.1. El artefacto cultural en el ejercicio de la estética .......................................................................................... 22 1.2. Subjetividades postmodernas y apropiación musical .................................................................................... 27 1.3. Identificaciones colectivas e individuales ..................................................................................................... 34 1.4. La construcción narrativa de la experiencia .................................................................................................. 38 1.5. El cuerpo en las músicas populares urbanas ................................................................................................
    [Show full text]
  • El Baile: Un Lenguaje Dei Cuerpo Alejanciro U/!Oa Sanmiguel.'
    El baile: un lenguaje dei cuerpo Alejanciro U/!oa Sanmiguel.' RESUMO Es ei resultado de una investigación donde se cruzan Ia lingüística, Ia semiótica y ia antropologia urbana para estudiar ei baile como un lenguaje no verbal, una práctica social y un acontecimiento cultural, en los sectores donde es una forma de relación ( y no una moda) para Ias personas que lo disfrutan como una de sus actividades más importantes en Ia vida cotidiana ABSTRACT 11 is lhe result of an inveslígalion where they cross lhe linguistic One, lhe 123 semiotic and lhe urban anlhropology lo sludy lhe dance like a nonverbal language, a social practice and a cullural event, in lhe sectors where it is a forn7 of relalion (and not a fashion) for lhe peo pie who enjoy it like one their more imporlanl aclivilies in lhe daily life. Alejandro tuba Sanmiguel, licenciado en literatura, mestrado en linguística y espa6oi, mestrado en antropologia Untcamp, estudios de dobrado en comuncación y cultura UFRJ. Prolesor e investigador en Ia escuela de comunicacián social de Ia Universidad dei vaile desde 1980 hasta la fecha, en Ias áreas de escritura, seniiolinguistica, antropologia urbana, comanicación y educación. Na investigado sobre culturas populares relacionadas con Ia música en Ia ciudad, inlaginarios e identidades urbanas. CONTRACAMPO EDIÇÃO ESPECIAL / NÚMERO DUPLO Para los bailadores Que han hecho dei baile Un arte una pasión. Para los hombresy mujeres que se enamoraron bailando.... El cuerpo sabe más dei inundo que Ia conciencia. Introducción Durante Ia segunda mitad dei siglo XX y sobretodo durante Ias últimas décadas, se han desarroliado en ei âmbito académico una serie de estudios sobre Ia música popular contemporânea.
    [Show full text]
  • Redalyc.Música: Spanish Caribbean Music in New York City
    Caribbean Studies ISSN: 0008-6533 [email protected] Instituto de Estudios del Caribe Puerto Rico Moore, Robin Música: Spanish Caribbean Music in New York City Caribbean Studies, vol. 36, núm. 2, julio-diciembre, 2008, pp. 241-244 Instituto de Estudios del Caribe San Juan, Puerto Rico Available in: http://www.redalyc.org/articulo.oa?id=39215107022 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 WATCHING THE CARIBBEAN...PART II 241 Música: Spanish Caribbean Music in New York City Robin Moore University of Texas at Austin [email protected] Música. Produced by Gustavo A. Paredes, Jr. Directed by John D. Wise. NEP Productions, 1984. 59 minutes. espite its vague title, the orientation of Gustavo Paredes’ film Dis fairly specific: it focuses on the history and development of Latin jazz in New York City, and on the social meanings of Latin dance music to the Spanish-speaking immigrant community there through various decades. Intended for a general audience, the documentary considers the lives and artistic contributions of key individuals involved with music making in New York since the 1930s, a number of whom are interviewed directly by the filmmakers. The documentary includes an effective mix of performance footage, voice-over commentary, interviews with performers, with musicologists and sociologists, and period images from past decades that bring to life the context in which Latin jazz and salsa dance music developed.
    [Show full text]
  • Download File
    Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect Simón Calle Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Simón Calle All rights reserved ABSTRACT Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect Simón Calle This dissertation analyses identity formation through music among contemporary Colombian musicians. The work focuses on the emergence of musical fusions in Bogotá, which participant musicians and Colombian media have called “nueva música Colombiana” (new Colombian music). The term describes the work of bands that assimilate and transform North-American music genres such as jazz, rock, and hip-hop, and blend them with music historically associated with Afro-Colombian communities such as cumbia and currulao, to produce several popular and experimental musical styles. In the last decade, these new fusions have begun circulating outside Bogotá, becoming the distinctive sound of young Colombia domestically and internationally. The dissertation focuses on questions of musical circulation, affect, and taste as a means for articulating difference, working on the self, and generating attachments others and therefore social bonds and communities This dissertation considers musical fusion from an ontological perspective influenced by actor-network, non-representational, and assemblage theory. Such theories consider a fluid social world, which emerges from the web of associations between heterogeneous human and material entities. The dissertation traces the actions, interactions, and mediations between places, people, institutions, and recordings that enable the emergence of new Colombian music. In considering those associations, it places close attention to the affective relationships between people and music.
    [Show full text]
  • Redalyc.Discutiendo La Autenticidad En La Música Salsa
    Indiana ISSN: 0342-8642 [email protected] Ibero-Amerikanisches Institut Preußischer Kulturbesitz Alemania Ochse, Markus Discutiendo la autenticidad en la música salsa Indiana, núm. 21, 2004, pp. 25-33 Ibero-Amerikanisches Institut Preußischer Kulturbesitz Berlin, Alemania Disponible en: http://www.redalyc.org/articulo.oa?id=247018390003 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 Markus Ochse* Discutiendo la autenticidad en la música salsa Resumen: La salsa se desarrolló en base a música popular bailable cubana y puertorriqueña, y, uniéndose al jazz norteamericano, al folklore, al rock y al pop, se hizo un nuevo horizonte dentro de la comunidad de latinos de Nueva York a fines de los años 60 y durante los 70. Siendo mucho más que sólo música diver- tida para bailar, la salsa muy pronto se perfiló como un emblema de la identidad de latinos, y fue usada también como un concepto cultural y socio-político en muchas partes de América Latina. No obstante este desarrollo, a mediados de los años 80 la música ha cambiado hasta llegar a ser vista incluso como algo contra- rrevolucionario y carente de calidad estética, expresividad y pretensión, que ya casi no merece llevar el nombre de “salsa”. Este artículo trata sobre debates esté- ticos acerca de calidades musicales en términos de autenticidad que se llevaron a cabo en Cali, Colombia. Se intenta llegar a una deconstrucción de nociones esencialistas de autenticidad, considerando que la salsa en Cali no se hizo popu- lar porque haya representado de manera auténtica a su gente, sino que se ha hecho popular, más bien, por permitirle a la gente construir nociones de autenti- cidad, verdad e identidad, poniendo sus propios estándares estéticos a su dispo- sición.
    [Show full text]
  • Markus Ochse*
    * Markus Ochse Discutiendo la autenticidad en la música salsa Resumen: La salsa se desarrolló en base a música popular bailable cubana y puertorriqueña, y, uniéndose al jazz norteamericano, al folklore, al rock y al pop, se hizo un nuevo horizonte dentro de la comunidad de latinos de Nueva York a fines de los años 60 y durante los 70. Siendo mucho más que sólo música diver- tida para bailar, la salsa muy pronto se perfiló como un emblema de la identidad de latinos, y fue usada también como un concepto cultural y socio-político en muchas partes de América Latina. No obstante este desarrollo, a mediados de los años 80 la música ha cambiado hasta llegar a ser vista incluso como algo contra- rrevolucionario y carente de calidad estética, expresividad y pretensión, que ya casi no merece llevar el nombre de “salsa”. Este artículo trata sobre debates esté- ticos acerca de calidades musicales en términos de autenticidad que se llevaron a cabo en Cali, Colombia. Se intenta llegar a una deconstrucción de nociones esencialistas de autenticidad, considerando que la salsa en Cali no se hizo popu- lar porque haya representado de manera auténtica a su gente, sino que se ha hecho popular, más bien, por permitirle a la gente construir nociones de autenti- cidad, verdad e identidad, poniendo sus propios estándares estéticos a su dispo- sición. Summary: Salsa grew out of Cuban- and Puerto Rican-based popular dance music and, while embracing North American jazz, folklore, rock and pop, it be- came a new horizon among the Latino community in New York in the late 1960s and ’70s.
    [Show full text]
  • Salsa (Género Musical)
    Salsa (género musical) Saltar a: navegación, búsqueda Véase también: salsa Salsa son cubano, son montuno, jazz, jazz Orígenes afrocubano, chachachá, guaracha, musicales mambo, pachanga, rumba, guajira Orígenes Residentes del Caribe hispano y su culturales diáspora establecida en Nueva York Instrumentos instrumentos de percusión, de comunes viento y de cuerda Popularidad alta desde los años 1970 Salsa es el término usado a partir de los años 1970 para definir al género musical resultante de una síntesis de influencias musicales cubanas con otros elementos de música caribeña, música latinoamericana y jazz, en especial el jazz afrocubano. La salsa fue desarrollada por músicos de origen «latino» (latinoamericano) en el Caribe hispano y la ciudad de Nueva York. La salsa abarca varios estilos como la salsa dura, la salsa romántica y la timba. Índice • 1 Esencia • 2 Características • 3 Ritmo • 4 El término «salsa» • 5 Historia y expansión • 5.1 Orígenes e instrumentación • 6 El sello discográfico Fania • 7 Génesis y expansión de la salsa: cronología de temas • 8 La salsa después de los años 1970 • 8.1 Década de los años 1980 • 9 En Colombia • 10 En Venezuela • 11 En México • 11.1 De 1990 al presente • 11.2 La irrupción de la sensualidad • 11.3 Decaimiento de la sensualidad y escena actual • 12 Exponentes significativos • 13 Timba: la salsa en Cuba • 14 Salsa y otros ritmos • 15 Formas de baile • 15.1 Forma de baile cubana • 15.2 Forma de baile puertorriqueña • 15.3 Otras formas de baile • 16 Véase también • 17 Referencias • 18 Bibliografía •
    [Show full text]
  • 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.
    [Show full text]
  • Redalyc."Somos Cubanos!"
    Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Froelicher, Patrick "Somos Cubanos!" - timba cubana and the construction of national identity in Cuban popular music Trans. Revista Transcultural de Música, núm. 9, diciembre, 2005, p. 0 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82200903 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 Somos Cubanos! Revista Transcultural de Música Transcultural Music Review #9 (2005) ISSN:1697-0101 “Somos Cubanos!“ – timba cubana and the construction of national identity in Cuban popular music Patrick Froelicher Abstract The complex processes that led to the emergence of salsa as an expression of a “Latin” identity for Spanish-speaking people in New York City constitute the background before which the Cuban timba discourse has to be seen. Timba, I argue, is the consequent continuation of the Cuban “anti-salsa-discourse” from the 1980s, which regarded salsa basically as a commercial label for Cuban music played by non-Cuban musicians. I interpret timba as an attempt by Cuban musicians to distinguish themselves from the international Salsa scene. This distinction is aspired by regular references to the contemporary changes in Cuban society after the collapse of the Soviet Union. Thus, the timba is a “child” of the socialist Cuban music landscape as well as a product of the rapidly changing Cuban society of the 1990s.
    [Show full text]