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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. -
Charanga-Fest Features Top Ny Orquestas and Artists
FOR IMMEDIATE RELEASE Press Contacts: John MacElwee – [email protected] / 718-518-6539 Ron Kadish -- [email protected] / 812-339-1195 CHARANGA-FEST FEATURES TOP NY ORQUESTAS AND ARTISTS Nov. 5 Concert to feature Orquesta Broadway ▪ Charanga ‘76 ▪ Típica Novel Pupi Legarreta ▪ Karen Joseph ▪ Connie Grossman Bronx, N.Y. (October 12, 2016) – Continuing it success of presenting programs that celebrate the popular genres in Latin music, including Boogaloo and Mambo, the Hostos Center presents a nostalgic look back at the Charanga era, based on lively Cuban dances, with “Charanga-Fest” featuring three of the top Charanga bands in New York, and special guest artists on Saturday, November 5, at 7:30 PM in the Center’s Main Theater. “Charanga-Fest” includes performances by Orquesta Broadway, under the direction of Eddy Zervigon, Charanga ‘76 with Andrea Brachfeld, and Típica Novel, led by Mauricio Smith, Jr., and special guest artists including the legendary Cuban violinist Félix ‘Pupi’ Legaretta, and flutists Karen Joseph and Connie Grossman. Chico Álvarez, host of the Latin Jazz show “New World Gallery” on WBAI, is master of ceremonies. Tickets are $25 and $30 ($10 for students and under 18) and are available through www.hostoscenter.org or by calling (718) 518-4455. The Hostos Center Box Office, 450 Grand Concourse at 149th Street, Bronx, is open Monday through Friday 1 PM to 4 PM and two hours prior to performance. “Charanga-Fest” is co-produced by the Hostos Center with Richie Bonilla Artist Management. A Charanga is a traditional ensemble that plays Cuban dance music. These ensembles made Cuban dance music popular in the 1940s and their music consisted of heavily son-influenced material, performed on European instruments such as violin and flute. -
Siento Una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960 to 2000
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 Siento una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960 to 2000 Jessica Lynne Valiente Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1170 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Siento una Flauta: Improvisational Idiom, Style, and Performance Practice of Charanga Flutists in New York from 1960 to 2000 by Jessica Valiente A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2015 © 2015 JESSICA VALIENTE All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music to satisfy the dissertation Requirement for the degree of Doctor of Musical Arts Benjamin Lapidus Date Chair of Examining Committee Norman Carey Date Executive Officer Stephen Blum Peter Manuel Danilo Lozano Supervisory Committee THE CITY UNIVERSITY OF NEW YOR iii Abstract SIENTO UNA FLAUTA: IMPROVISATIONAL IDIOM, STYLE, AND PERFORMANCE PRACTICE OF CHARANGA FLUTISTS IN NEW YORK FROM 1960 TO 2000 Advisor: Professor Stephen Blum The charanga, the Cuban dance music ensemble consisting of flute, strings, piano, bass, timbales, congas, and güiro, and vocals, underwent five decades of evolution in Cuba, beginning in the early 20th century. -
9789004184473 08-Lapidus-2
Mazal Tov, Amigos! Jews and Popular Music in the Americas Edited by Amalia Ran and Moshe Morad LEIDEN | BOSTON For use by the Author only | © 2016 Koninklijke Brill NV Contents Acknowledgements vii List of Figures viii List of Contributors ix Introduction 1 Amalia Ran and Moshe Morad 1 Is “White Christmas” a Piece of Jewish Music? 11 Ellen Koskofff 2 The Musical Worlds of Jewish Buenos Aires, 1910–1940 25 Pablo Palomino 3 Tristes Alegrías: The Jewish Presence in Argentina’s Popular Music Arena 44 Amalia Ran 4 Jacob do Bandolim: A Jewish(-)Brazilian Composer 60 Thomas George Caracas Garcia 5 Walls of Sound: Lieber and Stoller, Phil Spector, the Black-Jewish Alliance, and the “Enlarging” of America 78 Ari Katorza 6 Singing from Diffference: Jewish Singers-Songwriters in the 1960s and 1970s 96 Jon Stratton 7 ¡Toca maravilloso! Larry Harlow and the Jewish Connection to Latin Music 109 Benjamin Lapidus 8 Roberto Juan Rodriguez’ Timba Talmud: Diasporic Cuban-Jewish Musical Convergences in New York 122 Nili Belkind For use by the Author only | © 2016 Koninklijke Brill NV vi contents 9 Yiddish Song in Twenty-First Century America: Paths to Creativity 142 Abigail Wood 10 Fight for Your Right to Partycipate: Jewish American Rappers 153 Uri Dorchin 11 Gypsy, Cumbia, Cuarteto, Surf, Blah Blah Blah: Simja Dujov and Jewish Musical Eclecticism in Argentina 171 Lillian M. Wohl 12 Queer Jewish Divas: Jewishness and Queerness in the Life and Performance of Barbra Streisand, Bette Midler, and Olga Guillot 188 Moshe Morad 13 Third Diaspora Soundscapes: Music of the Jews of Islam in the Americas 208 Edwin Seroussi Closing Notes: The Soundstage of Jewish Life, North and South 237 Judah M. -
Arsenio Rodríguez: N D
IslasEnglish Julio 2007 8/19/07 10:00 AM Page 49 A r t a Arsenio Rodríguez: n d L i From Subversive t e r a t Nationalism to Prophetic u r e Transnationalism Enrique Del Risco Writer hen one thinks of the history of kick. The other is that he tried to recuperate Cuban popular music, it is diffi- his sight with help from a specialist in New Wcult to come up with a more influ- York, in 1947, and that failure prompted ential figure than Arsenio Rodríguez (Güira him to write the hopeless and most famous de Macurijes, Cuba, 1911). He is one of of his boleros [ballads], “La vida es sueño” those people who Leonardo Padura cites as [Life is a Dream]. Both events attempt to having “forged a real mythology concerning encode adversity as the point from and his person, one of the most particular against which the life of this musician was reflections of a ‘Latin American’identity— forged. for lack of a better term.”1 The few biogra- Even if none of his more than two hun- phical tidbits that consistently appear in dred compositions achieved the popularity articles, reference texts or liner and compi- of songs like “Lágrimas Negras,” by lation notes have become legend. As a blind Matamoros, or “Échale salsita,”by Piñeiro, musician with a dry and distant manner, scores of songs by this tresero [a tres player and the fact that he granted very few inter- (a tres is a guitar-like instrument with three views, ensures that his life will always bor- sets of double strings)], known as “El Ciego der on mythology—but there is certain Maravilloso” [The Marvelous Blind Man], logic to that. -
Alegre Records Well As Johnny Pacheco Originally)
LabeL spotLiGht Santiago formed, the Alegre All-Stars, led by Charlie the record store and label) “basically brought together Palmieri and featuring the trombonist Barry Rogers (as some of the best Latin musicians in New York City aLeGre recorDs well as Johnny Pacheco originally). under one roof to showcase their talents. Al Santiago— Santiago stayed active in music, but Alegre was who was one of the funniest people I ever met, he’d by jim motavalli sold to Branston Music (owners of Tico and Roulette) have you in stitches in five minutes—was inspired by in 1966 and then to Fania in 1975. Pacheco was also a the Cuban descarga jam-session records he heard. Before he was 21, Spanish Harlem-born Al Santiago founder of Fania, so the legacy is clear. And the Bronx Those records were very popular at the time. So Al already had a long history in Latin music. Santiago is appreciative. figured, why not do the same thing here in New York was, in fact, born into it. His father was a multi- This month, the Bronx Music Heritage Center City? Our musicians are just as good, if not better.” instrumentalist in Latin dance bands and his uncle led (cultural arm of WHEDco, the Women’s Housing and So the Alegre All-Stars were born and the albums the Bartolo Alvarez Big Band. Santiago studied piano, Economic Development Corporation) will hold a became very popular. “Al would sign the leaders to the then saxophone and took over his uncle’s band when combined discussion and concert, featuring Oreste label and then they would select the sidemen,” he was 18—renaming them the Chack-a-Ňu-Ňu Boys. -
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. -
You Are Invited to Watch the 2014 Pacheco Festival
The Lehman College Music Department Presents: You are invited to watch the O C E 2014 Pacheco Festival “LIVE” online! H LATIN C A MUSIC AND Daytime Performances P Evening Performances Y N Wednesday, Nov. 19th: 10 AM - 4 PM EST Thursday Nov. 20th: 7:30 PM EST N JAZZ H Thursday, Nov. 20th: 11 AM - 4 PM EST Friday Nov. 21st: 7:30 PM EST O J FESTIVAL Friday Nov. 21st: 10 AM - 4 PM EST 2014 The Johnny Pacheco Lan Music and Jazz Fes-val at Lehman College is an annual event which provides performance and learning opportunities for talented young musicians who are studying music in New York City schools. The Pacheco Festival is committed to developing a world-wide audience via live Internet streaming and other forms of broadcast media. More than 250 Wednesday, Thursday, Friday, November 19 November 20 November 21 student musicians perform at the festival each year. 10 AM - 4 PM EST 11 AM - 4 PM EST 10 AM - 4 PM EST (School Performances) (School Performances) (School Performances) Live Television and Webcast: The 2014 Pacheco Festival will be simulcast “live” on (Evening Performance (Evening Performance Bronxnet Television and via webcast.This event is also being presented as part of the Jazz Education Guest Artists 3 PM begins at 7:30 PM EST) begins at 7:30 PM EST) The Bronx Conexion Network Virtual Artist Series. (Victor Rendon, Director) Guest Artists 7:30 PM Guest Artists 7:30 PM (Featuring a Special Tribute Memo Acevedo and The Lehman College to Legendary Composer/Ar- the Manhattan Bridges and Community Jazz En- Be a part of the “LIVE” studio audience: The Pacheco Festival takes place in the ranger Mr.Ray Santos) Orchestra semble Lovinger Theater at Lehman College, Bronx, New York. -
Redalyc.CENTRAL PARK RUMBA: NUYORICAN IDENTITY and THE
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Jottar, Berta CENTRAL PARK RUMBA: NUYORICAN IDENTITY AND THE RETURN TO AFRICAN ROOTS Centro Journal, vol. XXIII, núm. 1, 2011, pp. 5-29 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37722223001 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 CENTRO Journal Volume7 xx111 Number 1 spring 2011 CENTRAL PARK RUMBA: NUYORICAN IDENTITY AND THE RETURN TO AFRICAN ROOTS Berta Jottar a b s t r a c t This essay focuses on the performance of Central Park rumba in the 1960s and 1970s, and its role in the formation of Nuyorican (Puerto Ricans from New York City) identity. Puerto Ricans and Nuyoricans learned and reinterpreted traditional Cuban rumba as their return and performance of African roots. Their search for “roots” resulted in the articulation of a Nuyorican identity reproducing their mediated memory, a rumba knowledge based on mechanical reproduction. What I designate as rumba à la boricua—the result of a mediated, hybrid subjectivity— generated a space of negotiation and contestation against the limitations of nationalism and neo- colonialism. [Keywords: Afro-Latin, Nuyorican, Puerto Rican, rumba, salsa, mediated memory, identity, hybridity, Central Park] Photograph of Pe Conga’s cajón drum—made by Apache—with a late 1970s pasted photograph of the Rumberos All Star: Eddy Mercado, Pedro “Pe Conga” López, Nestor “Budy” Bonilla, Miguel “Chino” Santiago, Cowboy, Anthony Negrón, José “Apache” Rivera, and David Lugo (photographer of the Rumberos All Star unknown). -
My Name Is Celia • Me Llamo Celia the Life of Celia Cruz • La Vida De Celia Cruz by Monica Brown, Illustrated by Rafael López
My Name is Celia • Me llamo Celia The Life of Celia Cruz • La vida de Celia Cruz By Monica Brown, Illustrated by Rafael López Adapted and Directed by Pilar O’Connell Choreography by Arlene Martínez-Vázquez In this study guide, you will find information about… The theater artists who made this show .................................... 2 The author and illustrator who created this book ..................... 5 Celia Cruz’s real-life biography .................................................. 6 Memory and Songwriting .......................................................... 7 The art of set design (and a challenge for you!) ........................ 8 Vocabulary that may be new to you ........................................... 9 Resources for further learning ................................................... 10 Meet the Theater Artists Theater is a group effort! To create each show, many artists must work together to tell the same story. Some of these artists we see. In My Name is/Me llamo Celia, we see three actors perform onstage. However, many more artists are involved in the making of each show than the ones we see! Read on to discover a bit about the many people involved in My Name is/Me llamo Celia and the work they did for the show. Marquicia Dominguez, Celia Cruz “QuiQui” (pronounced Key-Key) grew up in Las Vegas, Nevada, but moved to Seattle to study theatre. QuiQui loves to travel and has traveled all over the world. Their favorite country to visit is France. When QuiQui travels, they love to learn about new cultures and see how different cultures share stories with one another. They look forward to sharing the story of Celia Cruz with kids all over Washington. Tony Magaña, Jr; Papi, Tito Puente Tony grew up in Sunnyside, Washington. -
A South Bronx Latin Music Tale
Singerv(9a).qxd 6/29/04 4:39 PM Page 176 CENTRO Journal Volume7 xv1 Number 1 spring 2004 A South Bronx Latin Music Tale ROBERTA L. SINGER AND ELENA MARTÍNEZ ABSTRACT When the story of Latin popular music (salsa) is told in popular and scholarly writings, the South Bronx is consistently overlooked despite the critical role it played in the development of that music. From the late 1940s through the early 1970s Hunts Point, Longwood, and Mott Haven were thriving Puerto Rican communities where an explosion of musical activity and creativity was taking place. This article examines the confluence of people and places that created an environment for the growth of Latin music in the South Bronx. While highlighting the sites that provided a locus for performers to adapt and reinterpret predominantly Afro-Cuban music forms and styles to express their urban South Bronx reality, the work reveals the symbiotic relationship between music, place and community; issues of identity are an underlying theme but are not the central focus of the work. [Key words: Salsa, Bronx, palce, Latin Music, mambo, New York City] Latin Music & Hip Hop Trail in Harlem & the Bronx. Courtesy of City Lore. Reprinted, by permission, from Roberta Singer and Elena Martínez. [ 177 ] Singerv(9a).qxd 6/29/04 4:39 PM Page 178 Puerto Rican Settlement in the Bronx The history of Puerto Rican migration to New York can be found in numerous sources and need not be repeated here (Dietz 1994; Fitzpatrick 1971; History Task Force 1979; Sánchez Korrol 1983). Most histories tend to focus on the early pioneer settlements in Brooklyn and later in El Barrio, even overlooking the continuing growth of Puerto Rican communities in Brooklyn in the post-WWII period.