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Coldwell Banker Residential Brokerage Are Independent Contractor Agents and Are Not Employees of the Company
Palisadian-Post Serving the Community Since 1928 20 Pages Thursday, June 14, 2018 ◆ Pacific Palisades, California $1.50 And Here Anderson .Paak Brings Music Fans to Gateway Park Comes Hank’s Bar with a touch of Mort’s Photo courtesy of Caruso he community has welcomed from Las Vegas to Miami, was the pending arrival of the first founded by new Palisadian Tburger joint in the Palisades Vil- Bruce Bromberg and his brother lage: Hank’s, created by the Blue Eric. Hank’s is named after Rick Ribbon restaurant group, will of- Caruso’s late father, Henry. In fer “classic American food,” in- another sweet twist, the brothers cluding a wild mushroom burger have also asked Bobbie Farbe- and matzo ball soup, as well as row, widow of Mort Farberow, craft beers, cocktails and a Cal- the owner of Mort’s Deli, to help Photos by Christian Monterrosa ifornia-leaning wine list. There them revive a few items from the By CHRISTIAN MONTERROSA by participants. will also be a kid’s menu and an former neighborhood institution. Reporter Booths throughout the park were old-fashioned soda fountain. Hank’s will open in 100 days on also setup to show visitors how to be Blue Ribbon, which oper- Sept. 22. live performance by the revolu- environmentally conscious when re- ates more than 20 restaurants —JOHN HARLOW tionary hip-hop artist Anderson cycling their waste. A.Paak took Pacific Palisades by sur- “We are hosting Run for the prise on Friday, June 8, in Temescal Oceans with adidas to step out of Gateway Park. -
Lecuona Cuban Boys
SECCION 03 L LA ALONDRA HABANERA Ver: El Madrugador LA ARGENTINITA (es) Encarnación López Júlvez, nació en Buenos Aires en 1898 de padres españoles, que siendo ella muy niña regresan a España. Su figura se confunde con la de Antonia Mercé, “La argentina”, que como ella nació también en Buenos Aires de padres españoles y también como ella fue bailarina famosísima y coreógrafa, pero no cantante. La Argentinita murió en Nueva York en 9/24/1945.Diccionario de la Música Española e Hispanoamericana, SGAE 2000 T-6 p.66. OJ-280 5/1932 GVA-AE- Es El manisero / prg MS 3888 CD Sonifolk 20062 LA BANDA DE SAM (me) En 1992 “Sam” (Serafín Espinal) de Naucalpan, Estado de México,comienza su carrera con su banda rock comienza su carrera con mucho éxito, aunque un accidente casi mortal en 1999 la interumpe…Google. 48-48 1949 Nick 0011 Me Aquellos ojos verdes NM 46-49 1949 Nick 0011 Me María La O EL LA CALANDRIA Y CLAVELITO Duo de cantantes de puntos guajiros. Ya hablamos de Clavelito. La Calandria, Nena Cruz, debe haber sido un poco más joven que él. Protagonizaron en los ’40 el programa Rincón campesino a traves de la CMQ. Pese a esto, sólo grabaron al parecer, estos discos, y los que aparecen como Calandria y Clavelito. Ver:Calandria y Clavelito LA CALANDRIA Y SU GRUPO (pr) c/ Juanito y Los Parranderos 195_ P 2250 Reto / seis chorreao 195_ P 2268 Me la pagarás / b RH 195_ P 2268 Clemencia / b MV-2125 1953 VRV-857 Rubias y trigueñas / pc MAP MV-2126 1953 VRV-868 Ayer y hoy / pc MAP LA CHAPINA. -
Entre Alto Cedro Y Marcané. Breve Semblanza De Danilo Orozco (Santiago De Cuba, 17 De Julio, 1944; La Habana, Cuba, 26 De Marzo, 2013) Between Alto Cedro and Marcané
DOCUMENTO - IN MEMORIAM Entre Alto Cedro y Marcané. Breve semblanza de Danilo Orozco (Santiago de Cuba, 17 de julio, 1944; La Habana, Cuba, 26 de marzo, 2013) Between Alto Cedro and Marcané. A Brief Remembrance of Danilo Orozco (Santiago de Cuba, July 17, 1944; Havana, Cuba, March 26, 2013) por Agustín Ruiz Zamora Unidad de Patrimonio Cultural Inmaterial, Departamento de Patrimonio Cultural, Valparaíso, Chile [email protected] La muerte no es verdad si se ha vivido bien la obra de la vida José Martí En 2013 muere en La Habana el musicólogo cubano Danilo Orozco. De sólida formación científica y manifiesta vocación social, no solo fue autor y responsable de un sinnúmero de estudios que lo sitúan entre los más destacados musicólogos del siglo XX, sino que además acometió y gestó una prolífica labor en la promoción y valoración del acervo musical de su Cuba natal, especialmente de los músicos campesinos y olvidados con quienes mantuvo contacto y relación permanente a lo largo de su trabajo de campo. Lejos de percibir el estudio de la música en campos disciplinarios segmentados, practicó una musicología integrativa, en la que la música se explica por sus procesos musicales y no según su situación histórica, cultural o social. Aunque para muchos su más resonado logro habría sido la tesis doctoral que defendió en 1987 en la Universidad Humboldt de Alemania, sin duda que su mayor legado ha sido la magna labor que desarrolló con los músicos del Oriente cubano. Hoy está pendiente la divulgación masiva de su trabajo intelectual el que, sin dudas, fue apoteósico. -
Afro-Cuban All Stars a Toda Cuba Le Gusta Mp3, Flac, Wma
Afro-Cuban All Stars A Toda Cuba Le Gusta mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Latin Album: A Toda Cuba Le Gusta Country: Mexico Released: 1998 Style: Afro-Cuban, Son, Guaguancó MP3 version RAR size: 1142 mb FLAC version RAR size: 1818 mb WMA version RAR size: 1550 mb Rating: 4.1 Votes: 583 Other Formats: AAC VOC AU MIDI AA AC3 TTA Tracklist Hide Credits Amor Verdadero 1 Arranged By – Demetrio MuñizLaúd [Laoud] – Barbarito TorresLead Vocals – Manuel 6:38 "Puntillita" Licea* Alto Songo 2 Guitar [Slide] – Ry CooderLead Vocals – José Antonio "Maceo" Rodríguez, Manuel 6:46 "Puntillita" Licea*, Pío Levya*, Raúl Planas Habana Del Este 3 6:39 Flute – Richard Egües A Toda Cuba Le Gusta 4 5:48 Lead Vocals – Raúl Planas Fiesta De La Rumba 5 5:53 Lead Vocals – Félix Valoy* Los Sitio' Asere 6 5:20 Lead Vocals – Félix Valoy*, José Antonio "Maceo" Rodríguez Pío Mentiroso 7 4:37 Lead Vocals – Pío Levya* María Caracoles 8 4:48 Arranged By – José Manuel CerutoLead Vocals – Ibrahim Ferrer 9 Clasiqueando Con Rubén 5:12 Elube Changó 10 4:03 Lead Vocals – Juan De Marcos González Companies, etc. Phonographic Copyright (p) – World Circuit Copyright (c) – Discos Corason Glass Mastered At – Sony Music México Credits Arranged By – Juan de Marcos González (tracks: 2 to 7, 9, 10) Baritone Saxophone, Flute – Javier Zalba Bass – Orlando "Cachaíto" López Bongos – Carlos González Chorus – Amadito Valdés, Juan de Marcos González, Luis Barzaga Congas – Miguel "Angá" Díaz Guiro – Carlos Puisseaux Liner Notes [Translations] – Francesca Clark*, Jenny Adlington -
Por Alante Y Por Atrás El Humor Como Sustancia En La Música Popular Cubana
Por alante y por atrás El humor como sustancia en la música popular cubana i en el cielo no hay humoristas, como afirmó mark S Twain, entonces sólo el diablo sabe adonde han ido a parar los grandes guaracheros de Cuba, los desbocados del son montuno y de todas las variantes del son, los subli- mes verdugos de la crónica social cantada, que condenan o salvan con sólo un estribillo, los ídolos del repentismo en la música guajira. Al final ya se sabe que el pícaro no es más que un apa- leado a quien natura y los palos le encendieron el bombi- llo de la picardía. Y no hay espejo que refleje mejor sus contornos que la figura del jodedor cubano, artífice de tanto y tanto canto y tanto cuento. Por lo demás, se identifican fácilmente tres vías de imprescindible examen para comprender esa comunión de todos los infiernos que ha tenido lugar entre el humor y nuestra música popular. Por alante, el auge del teatro de costumbres y tipos criollos, a la vez que el des- plazamiento de soneros y juglares desde la manigua, desde el solar al salón de baile, a los medios de difusión, al disco. Por atrás, el modo en que creadores y actores propiamente humorísticos aprovecharon las singulares virtudes de la música, así como el hecho curioso de que José Hugo Fernández su público, encima de aportarle motivos y personajes al género, lo enriquece constantemente a través de una particular visión, vinculando lo que se canta con lo que se vive. Intentaremos entonces el repaso a la obra de algunos contemporáneos hacedores del humor en la música, sus aciertos y limitaciones, en estrecha conexión con las desventuras que experimenta esta vertiente en la Cuba de las últimas décadas. -
ABSOLUTELY LIVE II En Word
ABSOLUTELY LIVE II (VIVA MEXICO! / LIVE IN MARYLAND Six years after his last release, Juan de Marcos, architect of the famous Buenavista Social Club sessions, comes back with an Afro- Cuban All Stars’ new production, Absolutely Live II, an eclectic and interactive live album based on excerpts concerts performed at the Cervantino International Festival in Guanajuato, Mexico, and The Strathmore Center for the Arts in North Bethesda, Maryland, USA. Dubbed “the Quincy Jones of Cuban Music” by Down Beat Magazine, due to his creative approach to different Cuban and international genres. Juan de Marcos work received the inaugural Womex award in 1999, and his many albums, including his 1997 debut recording, A Toda Cuba le Gusta, are considered seminal in the new millennium renaissance of Afro-Cuban music. Viva Mexico! is the audio portion and features five distinct Cuban genres in eight tracks, ranging from Afro-Cuban Jazz on tunes like “Yaimara´s Groove,” where Havana meets New Orleans, to 1950s-style Pilón, and it includes a new version of Ibrahim Ferrer’s classic hit “Candela,” which first reached international audiences on the original Buena Vista Social Club album. Other highlights include Contemporary and Traditional Cuban Son (Barbaridad, Kila, Quique y Chocolate), Timba (La Mujer del Barbaro), and introspective tracks like “Camino de Santiago”, about the emergence of prostitution in Cuba during the euphemistically called “Special Period in times of Peace. ”Viva Mexico! – an explosive showcase of danceable music – was recorded live, capturing a special moment exactly as it happened. It is the first release of new label, DM Ahora! Productions, which pays tribute to both the founding members of Afro- Cuban All Stars (Ruben Gonzalez, Compay Segundo, Manuel Licea, Pio Leyva, Raul Planas, etc.) and Mexico, a nation that proudly supports the Cuban people. -
Music Production and Cultural Entrepreneurship in Today’S Havana: Elephants in the Room
MUSIC PRODUCTION AND CULTURAL ENTREPRENEURSHIP IN TODAY’S HAVANA: ELEPHANTS IN THE ROOM by Freddy Monasterio Barsó A thesis submitted to the Department of Cultural Studies In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (September, 2018) Copyright ©Freddy Monasterio Barsó, 2018 Abstract Cultural production and entrepreneurship are two major components of today’s global economic system as well as important drivers of social development. Recently, Cuba has introduced substantial reforms to its socialist economic model of central planning in order to face a three-decade crisis triggered by the demise of the USSR. The transition to a new model, known as the “update,” has two main objectives: to make the state sector more efficient by granting more autonomy to its organizations; and to develop alternative economic actors (small private businesses, cooperatives) and self-employment. Cultural production and entrepreneurship have been largely absent from the debates and decentralization policies driving the “update” agenda. This is mainly due to culture’s strategic role in the ideological narrative of the ruling political leadership, aided by a dysfunctional, conservative cultural bureaucracy. The goal of this study is to highlight the potential of cultural production and entrepreneurship for socioeconomic development in the context of neoliberal globalization. While Cuba is attempting to advance an alternative socialist project, its high economic dependency makes the island vulnerable to the forces of global neoliberalism. This study focuses on Havana’s music sector, particularly on the initiatives, musicians and music professionals operating in the informal economy that has emerged as a consequence of major contradictions and legal gaps stemming from an outdated cultural policy and ambiguous regulation. -
New • Nouveaute • Neuheit
NEW • NOUVEAUTE • NEUHEIT 08/11-(5) El canto quiere ser luz Song wants to be Light Cuban Choral Music Works by Valera, Hernández, Cal, Brouwer, Silva etc. Coro Nacional de Cuba Chamber Choir Entrevoces Digna Guerra, cond. 1 CD Order No.: MDG 602 1704-2 UPC-Code: Caribbean Fascination Choral music in Cuba – and, what is more, a current Cuban music has also furthered the work cappella? Yes, the Coro Nacional de Cuba under of his fellow Cubans Wilma Alba Cal, Frank its conductor Digna Guerra presents itself to the Fernández, Oscar Hernández, Miguel public in absolute top form: singing without Matamoros, Silvio Rodríguez, Electo Silva, and vibrato, self-assuredly flawless intonation, the Roberto Valera and the internationally successful finest Latin American rhythms, and a choral Leo Brouwer. Choral pieces by Liliana Cangiano sound full of dynamic power and absolute (Argentina), César Alejandro Carrillo fascination. No wonder that the ensemble (Venezuela), René Clausen (United States), and recently won the International Chamber Choir Jorge Martínez (Mexico) round off the recording. Competition with aplomb in Marktoberdorf! Spectacular Discovery Cuban Internationalism Digna Guerra, today the “grande dame” of Latin The CD offers an extremely colorful depiction of American choral music, was trained as a choral the classical Cuban choral song. The fourteen conductor in Berlin. Under her leadership the composers heard on this recording, most of them Cuban National Chorus founded in 1960 has Cubans, draw on the traditional musical roots of become a sought-after ensemble with a their native region and also clearly reflect command of many genres. Just listen to the European influences. -
COMPRO ORO Suburban Exotica
DESCRIPTION Compro Oro ; a psychedelic underground road trip to Africa, the Middle East and the Americas via Belgium. On the band's Suburban Exotica , the spirit of Cal Tjader , Mulatu Astatke , or Marc Ribot is never far away. One of the leading bands in the ever-expanding new wave of Belgian jazz, Compro Oro's wayward and psychedelic approach to a broad range of sounds has gained them a devoted fan base since the band's formation in 2014. Produced by Ghent-based multi-instrumentalist Dijf Sanders , Suburban Exotica digs deep into several ethnic music traditions, leaving the listener enthralled in dark grooves and rabid psychedelica. From the danceable beats and colorful sounds of "Miami New Wave", the exotic rhythms and textures of "10 Dollar Jeans Jacket", and the curious vibraphone infusions and wild guitar riffs of "Rastapopoulos", to the heady, bass-laden mover and shaker "Lalibela", and traditional Latin and Cuban rhythms of "Dark Crystal", Compro Oro offer wild, profound, and uncanny flavors that explore the best of Afro-Cuban music and jazz-tinged psychedelia. Suburban Exotica features drummer, keyboardist, and percussionist Joachim Cooder , son of guitar legend Ry Cooder who played on both the landmark Buena Vista Social Club albums and the Manuel Galban spin-off, Mambo Sinuendo . He adds percussion and his effects-laden electric mbira to three tracks on the album: "Miami New Wave", "Rastapopoulos", and "Dark Crystal". "I had a great time COMPRO ORO playing on this record. Compro Oro blends together so many interesting rhythms and styles that I never knew what was coming next. -
Grupo Compay Segundo
GRUPO COMPAY SEGUNDO Buena Vista Social Club Nel 2007 si sono celebrati i 100 anni dalla nascita del mitico musicista cubano Compay Segundo . Prima di morire, egli stesso scelse i suoi successori, affinché divulgassero la sua musica nel mondo: il gruppo di undici musicisti, di cui fanno parte due suoi figli Salvador e Basilio , si chiama: " Grupo Compay Segundo ", alcuni dei quali parteciparono al film di Wim Wenders "Buena Vista Social Club". L’anima di Maximo Francisco Repilado Muñoz (Compay Segundo) è sempre presente nel “Grupo Compay Segundo” ed irradia lo spirito cubano con questo gruppo che ha assunto il suo nome dopo la sua scomparsa, perpetuando così la testimonianza di uno degli artisti più conosciuti al mondo. Compay Segundo è dopo Miguel Matamoros l’altro grande personaggio che pose nelle parole e nella musica un universo di immagini della conversazione e del canto caratteristici dei contadini cubani, salvando così questo patrimonio di ricchezza sonora, umoristica ed immaginifica. Oltre al suo apporto al patrimonio culturale cubano importante è la promozione di uno strumento, l’armonico, e la introduzione dei clarinetti nell’organico fisso dell’ensemble strumentale. Compay ha proseguito in attività fino ad oltre 90 anni, età dopo la quale ha tenuto più di cento concerti, con un successo sempre crescente, in tutto il mondo. E’ autore anche di un’opera di teatro musicale, “Se secò el arroyito”. “Los muchachos”, primo nome del gruppo, lo accompagnarono dal 1955 nelle sue tournée in Europa, Giappone, Stati Uniti, Canada, Centro e Sud America e Medio Oriente ed oggi si dedicano a preservare ed arricchire con assoluta fedeltà l’opera di Compay. -
JUAN DE MARCOS & the AFRO-CUBAN ALL STARS After
JUAN DE MARCOS & THE AFRO-CUBAN ALL STARS After gaining international fame for reviving the classic sound of Cuban son, tres master Juan de Marcos turned the Afro-Cuban All Stars into a sensational showcase for Cuba’s most prodigious young musicians. While long revered in Latin America and Europe as a founding member of Cuba’s great son revival band Sierra Maestra, de Marcos first gained notice in the US as founder of the Buena Vista Social Club. It was de Marcos who assembled Ibrahim Ferrer, Eliades Ochoa, Ruben Gonzalez and the rest of the crew for Ry Cooder when he came to Havana looking for illustrious old timers. But de Marcos is just as interested in promoting Cuba’s brilliant young musicians as in highlighting Cuba’s senior talent. The Afro-Cuban All Stars not only features a rotating, multi-generational cast; the group draws on both classic Cuban styles, like son and danzón, and contemporary dance rhythms like timba. “What I’m trying to do is create a bridge between contemporary and traditional Cuban music,” de Marcos says. “I’m trying to mix both things so people can realize that Cuban music didn’t stop in time, that it developed in this long period when Cuban music disappeared from the market.” Juan de Marcos was born in Havana in 1954 and grew up surrounded by music (his father was a singer and played with Arsenio Rodríguez amongst others). At university he studied hydraulic engineering and Russian before working as a consultant at the Agronomic Science Institute, gaining his doctorate in 1989. -
Sfor Perfoftmiho ARTS Governors State University Presents
SfOR PERfOftMIHO ARTS Governors State University presents Cafe 28 is a proud supporter of The Afro Cuban All Stars A<^<^A t&- €.1.<-yt-*Z-S. • HoneyJalapeno Pork Chops • Almond Crusted Halibut Classic Ropa Vieja • Mojitos • Fresh Lime-Squeezed Margaritas Serving Brunch, Lunch and Dinner (nightly©5:30) Friday, March 20,2009 WIW7. 9"-591.5 FM Mlflil Jk 1800-1806 W. Irving Park Rd. Chicago, IL 60613 DREAMHAVAN y&JU? Chicago ' Pt-iklJst'Rrublic Kadi0 Uf -~££<*<*"* 773 528-2883 www.cafe28.org The Center tor Performing Arts'08-09 Season sponsored in part by agrant from The Illinois Arts Council, Agency ofthe State otIllinois. evertwo Buena Vista Social Club concerts in Amsterdam and New York's Carnegie Hall. Despite the new found worldwide successof Cuban music, it istheappreciation of the music within Cuba itself that Gonzalez finds most satisfying. In his own words, "When you live in an isolated country you always think things are better elsewhere. Because of that, the influence of American music has been very strong. People were trying to play American music before they learnt Cuban music. We have to use what isgood from around the world, but first we have to be conscious of the importance of our own music. Afew years ago young Cuban musicians didn't care about real Cuban music. Now there are hundreds of bands playing traditional music. Of course, music will change, there will benew dances and styles. Juande Marcos Gonzalez isoneof themost important figures in Cuban music today. But we are going to keep the roots. Iam very confident about that." His mission istoshow theworld thewealth, diversity, andvitality ofCuban music.