5493 Hon. Charles B. Rangel Hon. Hilda L. Solis
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Zukofsky), 736–37 , 742–43 Asian American Poetry As, 987–88 “ABC” (Justice), 809–11 “Benefi T” Readings, 1137–138 Abolitionism
Cambridge University Press 978-1-107-00336-1 - The Cambridge History of: American Poetry Edited by Alfred Bendixen and Stephen Burt Index More information Index “A” (Zukofsky), 736–37 , 742–43 Asian American poetry as, 987–88 “ABC” (Justice), 809–11 “benefi t” readings, 1137–138 abolitionism. See also slavery multilingual poetry and, 1133–134 in African American poetry, 293–95 , 324 Adam, Helen, 823–24 in Longfellow’s poetry, 241–42 , 249–52 Adams, Charles Follen, 468 in mid-nineteenth-century poetry, Adams, Charles Frances, 468 290–95 Adams, John, 140 , 148–49 in Whittier’s poetry, 261–67 Adams, L é onie, 645 , 1012–1013 in women’s poetry, 185–86 , 290–95 Adcock, Betty, 811–13 , 814 Abraham Lincoln: An Horatian Ode “Address to James Oglethorpe, An” (Stoddard), 405 (Kirkpatrick), 122–23 Abrams, M. H., 1003–1004 , 1098 “Address to Miss Phillis Wheatley, academic verse Ethiopian Poetess, Who Came literary canon and, 2 from Africa at Eight Year of Age, southern poetry and infl uence of, 795–96 and Soon Became Acquainted with Academy for Negro Youth (Baltimore), the Gospel of Jesus Christ, An” 293–95 (Hammon), 138–39 “Academy in Peril: William Carlos “Adieu to Norman, Bonjour to Joan and Williams Meets the MLA, The” Jean-Paul” (O’Hara), 858–60 (Bernstein), 571–72 Admirable Crichton, The (Barrie), Academy of American Poets, 856–64 , 790–91 1135–136 Admonitions (Spicer), 836–37 Bishop’s fellowship from, 775 Adoff , Arnold, 1118 prize to Moss by, 1032 “Adonais” (Shelley), 88–90 Acadians, poetry about, 37–38 , 241–42 , Adorno, Theodor, 863 , 1042–1043 252–54 , 264–65 Adulateur, The (Warren), 134–35 Accent (television show), 1113–115 Adventure (Bryher), 613–14 “Accountability” (Dunbar), 394 Adventures of Daniel Boone, The (Bryan), Ackerman, Diane, 932–33 157–58 Á coma people, in Spanish epic Adventures of Huckleberry Finn (Twain), poetry, 49–50 183–86 Active Anthology (Pound), 679 funeral elegy ridiculed in, 102–04 activist poetry. -
Boo-Hooray Catalog #10: Flyers
Catalog 10 Flyers + Boo-hooray May 2021 22 eldridge boo-hooray.com New york ny Boo-Hooray Catalog #10: Flyers Boo-Hooray is proud to present our tenth antiquarian catalog, exploring the ephemeral nature of the flyer. We love marginal scraps of paper that become important artifacts of historical import decades later. In this catalog of flyers, we celebrate phenomenal throwaway pieces of paper in music, art, poetry, film, and activism. Readers will find rare flyers for underground films by Kenneth Anger, Jack Smith, and Andy Warhol; incredible early hip-hop flyers designed by Buddy Esquire and others; and punk artifacts of Crass, the Sex Pistols, the Clash, and the underground Austin scene. Also included are scarce protest flyers and examples of mutual aid in the 20th Century, such as a flyer from Angela Davis speaking in Harlem only months after being found not guilty for the kidnapping and murder of a judge, and a remarkably illustrated flyer from a free nursery in the Lower East Side. For over a decade, Boo-Hooray has been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Evan, Beth and Daylon. -
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. -
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. -
Cuban Jam Sessions in Miniature: a Novel in Tracks
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2009 Cuban Jam Sessions In Miniature: A Novel In Tracks Diego Rincon University of Central Florida Part of the Creative Writing Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Rincon, Diego, "Cuban Jam Sessions In Miniature: A Novel In Tracks" (2009). Electronic Theses and Dissertations, 2004-2019. 4072. https://stars.library.ucf.edu/etd/4072 CUBAN JAM SESSIONS IN MINIATURE: A NOVEL IN TRACKS by DIEGO A. RINCON B.A. Florida International University, 2005 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2009 © 2009 Diego A. Rincón ii ABSTRACT This is the collection of a novel, Cuban Jam Sessions in Miniature: A Novel in Tracks, and an embedded short story, “Shred Me Like the Cheese You Use to Make Buñuelos.” The novel tells the story of Palomino Mondragón, a Colombian mercenary who has arrived in New York after losing his leg to a mortar in Korea. Reclusive, obsessive and passionate, Palomino has reinvented himself as a mambo musician and has fallen in love with Etiwanda, a dancer at the nightclub in which he plays—but he cannot bring himself to declare his love to her. -
La Diáspora Puertorriqueña: Un Legado De Compromiso the Puerto Rican Diaspora: a Legacy of Commitment
Original drawing for the Puerto Rican Family Monument, Hartford, CT. Jose Buscaglia Guillermety, pen and ink, 30 X 30, 1999. La Diáspora Puertorriqueña: Un Legado de Compromiso The Puerto Rican Diaspora: A Legacy of Commitment P uerto R ican H eritage M o n t h N ovember 2014 CALENDAR JOURNAL ASPIRA of NY ■ Centro de Estudios Puertorriqueños ■ El Museo del Barrio ■ El Puente Eugenio María de Hostos Community College, CUNY ■ Institute for the Puerto Rican/Hispanic Elderly La Casa de la Herencia Cultural Puertorriqueña ■ La Fundación Nacional para la Cultura Popular, PR LatinoJustice – PRLDEF ■ Música de Camara ■ National Institute for Latino Policy National Conference of Puerto Rican Women – NACOPRW National Congress for Puerto Rican Rights – Justice Committee Puerto Rico Federal Affairs Administration www.comitenoviembre.org *with Colgate® Optic White® Toothpaste, Mouthwash, and Toothbrush + Whitening Pen, use as directed. Use Mouthwash prior to Optic White® Whitening Pen. For best results, continue routine as directed. COMITÉ NOVIEMBRE Would Like To Extend Is Sincerest Gratitude To The Sponsors And Supporters Of Puerto Rican Heritage Month 2014 City University of New York Institute for the Puerto Rican/Hispanic Elderly Colgate-Palmolive Company Puerto Rico Convention Bureau The Nieves Gunn Charitable Fund Embassy Suites Hotel & Casino, Isla Verde, PR Bronx Lebanon Hospital Center American Airlines John Calderon Rums of Puerto Rico United Federation of Teachers Hotel la Concha Compañia de Turismo de Puerto Rico Hotel Copamarina Acacia Network Omni Hotels & Resorts Carlos D. Nazario, Jr. Banco Popular de Puerto Rico Dolores Batista Shape Magazine Hostos Community College, CUNY MEMBER AGENCIES ASPIRA of New York Centro de Estudios Puertorriqueños El Museo del Barrio El Puente Eugenio María de Hostos Community College/CUNY Institute for the Puerto Rican/Hispanic Elderly La Casa de la Herencia Cultural Puertorriqueña, Inc. -
The Same Old Song
Volumen 7, Número 1 Primavera 2016 Beatriz Rivera-Barnes Penn State University Yes, It Isn’t: Afro-Caribbean Identity in Puerto Rican Poetry, from Guayama to Loisaida “Ten con ten”: an untranslatable tonal palindrome, and the title of a poem by the Puerto Rican Luis Palés Matos. It is rendered as “Neither this nor That” in Julio Marzán’s anthology of twentieth century Puerto Rican poetry, Inventing a Word. In this poem, Palés refers to his green island, outlined in pirate and black: “Estás, en pirata y negro/mi isla verde estilizada” (Palés 2002, 139). If I have opted for outlined rather than Marzán’s choice of designed to interpret the poet’s estilizada, it is because of the two lines that follow: “el negro te da la sombra/te da la linea el pirata.” (the black man giving you the hue/and the pirate the line) Again, the translation is mine, and certainly el negro could simply be black, the color, but here el negro is weighed against el pirata, and both are contributing to the form and contour of the island that is located: “en un sí es que no es de raza/un ten con ten de abolengo/que te hace tan antillana . .” (in a yes it isn’t about race/a blurriness of lineage/that makes you so Antillean . .) (All translations are mine unless otherwise indicated.) Ambivalence, incongruity, contradiction, ambiguity: all negative words? No necessarily, but all components of “Ten con ten,” of the Antillean psyche, of the need to find a sound and a word to express all Beatriz Rivera Barnes 166 Volumen 7, Número 1 Primavera 2016 those souls, so much asking to be addressed and to be sung in Puerto Rican negritude poetry. -
Latin Rhythm from Mambo to Hip Hop
Latin Rhythm From Mambo to Hip Hop Introductory Essay Professor Juan Flores, Latino Studies, Department of Social and Cultural Analysis, New York University In the latter half of the 20th century, with immigration from South America and the Caribbean increasing every decade, Latin sounds influenced American popular music: jazz, rock, rhythm and blues, and even country music. In the 1930s and 40s, dance halls often had a Latin orchestra alternate with a big band. Latin music had Americans dancing -- the samba, paso doble, and rumba -- and, in three distinct waves of immense popularity, the mambo, cha-cha and salsa. The “Spanish tinge” made its way also into the popular music of the 50s and beyond, as artists from The Diamonds (“Little Darling”) to the Beatles (“And I Love Her”) used a distinctive Latin beat in their hit songs. The growing appeal of Latin music was evident in the late 1940s and 50s, when mambo was all the rage, attracting dance audiences of all backgrounds throughout the United States, and giving Latinos unprecedented cultural visibility. Mambo, an elaboration on traditional Cuban dance forms like el danzón, la charanga and el son, took strongest root in New York City, where it reached the peak of its artistic expression in the performances and recordings of bandleader Machito (Frank Grillo) and his big-band orchestra, Machito and His Afro-Cubans. Machito’s band is often considered the greatest in the history of Latin music. Along with rival bandleaders Tito Rodríguez and Tito Puente, Machito was part of what came to be called the Big Three. -
Puerto Rican Obituary
144 Off Campus: Seggau School of Thought 6 Monica Cristiana Irimia Repressed Culture and Otherness in “Yo Soy Joaquín” and “Puerto Rican Obituary” Abstract This paper provides an analysis of two poems, Yo Soy Joaquin and Puerto Rican Obituary, which stand as manifestos for two radically sociopolitical engagements, the Chicano/a movement and the Nuyorican movement. Both texts deal with the inferior status of minorities in the US and reflect upon issues such as racism, oppression, cultural survival, cultural pride, diversity, ethnic pluralism. This article explores the similarities between two texts that come from rather different cultural areas. The paper also analyzes the stylistic devices involved in the making of the poems. Both poems are elegies for asserting one's cultural heritage and acknowledging one's true identity. Suggested Citation: Irimia, Monica Cristiana. “Repressed Culture and Otherness in ‘Yo Soy Joaquín’ and ‘Puerto Rican Obituary’.” Radical (Dis)Engagement: State – Society – Religion (Off Campus: Seggau School of Thought 6), edited by Murray Forman, Erlis Laçej, Frederick Reinprecht, and Kim Sawchuk. 2020, pp. 145-153, DOI: 10.25364/25.6:2020.11. Keywords: hybridity, identity, oppression, manifesto, survival Peer Review: This article was reviewed by the volume’s editors and professors of the GUSEGG Summer School. Copyright: © 2020 Monica Cristiana Irimia. This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CCBY 4.0), which allows for the unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Off Campus: Seggau School of Thought 6 145 Monica Cristiana Irimia Repressed Culture and Otherness in “Yo Soy Joaquín” and “Puerto Rican Obituary” The purpose of this essay is to discuss two poems, “Yo Soy Joaquín” and “Puerto Rican Obituary,” by establishing the similarities and differences between them from an ideological and a stylistic point of view. -
New Nuyorican Poets, Voices and Sounds: an Interview with Jaime Shaggy Flores
New Nuyorican Poets, Voices and Sounds: An Interview with Jaime Shaggy Flores Felicia L. Fahey, Bates College Liz Hoagland, Bates College Abstract In this interview Jaime "Shaggy" Flores talks about recent changes within the Nuyorican poetry movement and the emergence of two new generations of poets over the last two decades. He discusses a number of issues including the ongoing "island" vs. "mainland" debate, the impact of music on both generations, race and class differences, and his own views about the place of Nuyorican poetry within the African diaspora and Black cultures of the United States. New Nuyorican Poets, Voices and Sounds: When Jaime Flores, aka Shaggy, enters a theater or performance space, he doesn't enter quietly but as a catalyzing burst of energy. Transforming the space with vibration, he glides down the central isle delivering the simulated sounds of a human beat box, drawing the audience into an excited focus. Once on stage, he faces the crowd and gracefully pauses to find a breath before making his way through a verse from a traditional Yoruba Afro-Caribbean song: "Yemaya hace su, hace su Yemaya!" Hip Hop, African cultural traditions and a strong sense of performance indeed define Shaggy's poetic style, but his references are multiple, ranging from popular culture to spiritual rituals. Shaggy also plays on various poetic genres, including erotic and romantic poetry. As one of the young up-and-coming poets who has worked to reinvigorate the Nuyorican poetry movement in recent years, Shaggy brings a scholarly attitude to what he refers to as cultural work. -
On out of Focus Nuyoricans, Noricuas, and Performance Identities
Liminalities: A Journal of Performance Studies Vol. 10, No. 3/4 (2014) On Out of Focus Nuyoricans, Noricuas, and Performance Identities Urayoán Noel Nuyorican poetics have long been bound up in questions of visibility and invisibility. This is partly a sociological matter reflective of the reality of a New York Puerto Rican community that has historically struggled for (counter)institutional visibility even against the backdrop of a variety of hyper- visible and powerful yet stereotype-defining media representations, from the punchlines of West Side Story to the ethnographic solemnity of Oscar Lewis’s La Vida; A Puerto Rican Family in the Culture of Poverty—San Juan and New York (1966). In Miguel Algarín’s foundational formulation of the Nuyorican aesthetic, performed poetry (and the various other kinds of spoken word and performance that flourished at his Nuyorican Poets Cafe) emerges as an alternative to the impasses of communal visibility/invisibility; his essay “Nuyorican Literature” (1981) theorizes Nuyorican poetics in terms of communal performance, of reading aloud, of the public sharing of poetry as a means of collective healing.1 As a founding Nuyorican poet and author of the Nuyorican movement’s foundational epic “Puerto Rican Obituary” (1969), Pedro Pietri (1943-2004) shared Algarín’s community- and performance-centric conception of poetry, but Pietri’s own poetics also opened up towards conceptualist, experimental, and Urayoán Noel is Assistant Professor of English and Spanish at NYU. He is the author of In Visible Movement: Nuyorican Poetry from the Sixties to Slam (University of Iowa Press, 2014) and of several books of poetry. -
Nuyorican and Diasporican Literature and Culture E
Nuyorlcan and Diasporican Uterature and Culture Oxford Research Encyclopedia of Literature Nuyorican and Diasporican Literature and Culture e Jorge Duany Subject: American Literature, Literary Studies (20th Centwy Onward) Online Publication Date: jan 2018 DOI: 10.1093/acrefore/9780190201098.013.387 Summary and K.eywords The term "Nuyorican" (in its various spellings) refers to the cornbination of "Puerto Rican" and "NewYorker." The sobriquet became a popular shorthand for the Puerto Rican exodus to the United States after World War II. Since the mid-1960s, the neologism became associated with the literary and artistic movement known as "Nuyorican." The movement was institutionalized with the 1973 founding ofthe Nuyorican Poets Café in the Lower East Side of Manhattan by Miguel Algarín and Miguel Piñero. Much of Nuyorican literature featured frequent autobiographical references, the predominance of the English language, street slang, realism, parodie humor, subversiva politics, and a ruptura with the island's literary models. Since the 1980s, the literature of the Puerto Rican diaspora has been characterized as "post-Nuyorican" or "Diasporican" to capture sorne of its stylistic and thematic shifts, including a movement away from urban blight. violence, colloquialism, and radicalism. The Bronx-born poet Maria Teresa ("Mariposa") Fernández coined the term "Diasporican" in a celebrated 1993 poem. Contemporary texts written by Puerto Ricans in the United States also reflect their growing dispersa! from their initial concentration in New York City. Keywords: Puerto Rican diaspora, Puerto Ricans in New York. second-generation immigrants, retum migration to Puerto Rico Pago 1 of22 PRINTED PROM the OXFORD RESEARCH ENCYCLOPEDIA, LITERATURE (literature.oxfordre.com). (e) Oxford University Press USA.