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Beyond Salsa Bass the Cuban Timba Revolution
BEYOND SALSA BASS THE CUBAN TIMBA REVOLUTION VOLUME 1 • FOR BEGINNERS FROM CHANGÜÍ TO SON MONTUNO KEVIN MOORE audio and video companion products: www.beyondsalsa.info cover photo: Jiovanni Cofiño’s bass – 2013 – photo by Tom Ehrlich REVISION 1.0 ©2013 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: 1482729369 ISBN‐13/EAN‐13: 978‐148279368 H www.beyondsalsa.info H H www.timba.com/users/7H H [email protected] 2 Table of Contents Introduction to the Beyond Salsa Bass Series...................................................................................... 11 Corresponding Bass Tumbaos for Beyond Salsa Piano .................................................................... 12 Introduction to Volume 1..................................................................................................................... 13 What is a bass tumbao? ................................................................................................................... 13 Sidebar: Tumbao Length .................................................................................................................... 1 Difficulty Levels ................................................................................................................................ 14 Fingering.......................................................................................................................................... -
New York / New York Film Festival, September 23 - October 9, 1994]
Document generated on 09/29/2021 7:21 p.m. ETC New York New York Film Festival, September 23 - October 9, 1994 Steven Kaplan La critique d’art : enjeux actuels 1 Number 29, February–May 1995 URI: https://id.erudit.org/iderudit/35725ac See table of contents Publisher(s) Revue d'art contemporain ETC inc. ISSN 0835-7641 (print) 1923-3205 (digital) Explore this journal Cite this review Kaplan, S. (1995). Review of [New York / New York Film Festival, September 23 - October 9, 1994]. ETC, (29), 23–27. Tous droits réservés © Revue d'art contemporain ETC inc., 1995 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ nm/AiMiiEi NEW YORK New York Film Festival, September 23 - October 9,1994 ike the universe at large, film festivals often find the invidious structure of white overseer (coach, recruiter) it reassuring to start up with a big bang. The recent feeding off the talents and aspirations of a black underclass. 32nd edition of the New York Film Festival opened As Arthur Agee and William Gates progress from the with the explosive Pulp Fiction, fresh from its hood to a lily white suburban Catholic school (a basketball success at Cannes, continuing the virtual powerhouse which graduated Isiah Thomas) and hence to Ldeification of writer-director Quentin Tarantino among college, we are aware of the sacrifices they and their the hip media establishment, and poising him for entry families make, the difficulties of growing up black and into a wider marketplace. -
Report Draws from Written Responses Provided by the Companies in Response to This Investigation
Table of Contents Executive Summary Findings in Brief 1 Recommendations 3 Background 4 Investigation 8 Findings 9 Finding 1: Many surveyed e-cigarette companies are promoting their products through sponsorship of youth-oriented events, and some companies are offering free samples of e-cigarettes. 9 Finding 2: Surveyed e-cigarette companies market e-cigarettes in flavors that appear to be designed to appeal to youth. 11 Finding 3: E-cigarettes are available for purchase in stores and online by children and teenagers. 13 Finding 4: Surveyed e-cigarette manufacturers have significantly increased marketing expenditures. 15 Finding 5: Many surveyed e-cigarette companies air television and radio advertisements, often with celebrity spokespeople, including during events and programs with youth viewership. 16 Finding 6: Surveyed e-cigarette companies extensively utilize social media and product websites to promote their products. 18 Finding 7: E-cigarette product warning labels lack uniformity and may confuse or mislead consumers. 21 Finding 8: Most surveyed e-cigarette companies support some form of regulation. 22 Conclusions and Recommendations 23 List of Tables and Figures Table 1: Comparison of Federal Restrictions on Cigarettes and E-Cigarettes 5 Table 2: E-Cigarette Manufacturers Surveyed 8 Figure 1: Freedom Project poster 9 Figure 2: Photo of White Cloud team and models passing out Flings at the 2012 Red Bull Wake Open 10 Figure 3: Image featuring White Cloud peach pit flavor 11 Figure 4: Image featuring Green Smoke vanilla flavor 11 Table -
Artelogie, 16 | 2021 Diaspora, De/Reterritorialization and Negotiation of Identitary Music Practic
Artelogie Recherche sur les arts, le patrimoine et la littérature de l'Amérique latine 16 | 2021 Fotografía y migraciones, siglos XIX-XXI. Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid Iván César Morales Flores Electronic version URL: https://journals.openedition.org/artelogie/9381 DOI: 10.4000/artelogie.9381 ISSN: 2115-6395 Publisher Association ESCAL Electronic reference Iván César Morales Flores, “Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid”, Artelogie [Online], 16 | 2021, Online since 27 January 2021, connection on 03 September 2021. URL: http://journals.openedition.org/artelogie/9381 ; DOI: https://doi.org/10.4000/artelogie. 9381 This text was automatically generated on 3 September 2021. Association ESCAL Diaspora, de/reterritorialization and negotiation of identitary music practic... 1 Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid Iván César Morales Flores This text is part of the article “La Rumba de Pedro Pablo: de/reterritorialization of Cuban folkloric, traditional and popular practices in the Madrid music scene of the 21st century” published in Spanish in the dossier “Abre la muralla: refracciones latinoamericanas en la música popular española desde los años 1960”, Celsa Alonso and Julio Ogas (coords.), in Cuadernos de Etnomusicología, Nº 13, 2019, as a result of the Research Project I+D+i: “Música en conflicto en España y Latinoamérica: entre la hegemonía y la transgresión (siglos XX y XXI)” HAR2015-64285- C2-1-P. -
A Sociological Analysis of Strawberry and Chocolate Andrew Zachary Shultz University of Kentucky
Kaleidoscope Volume 8 Article 9 August 2015 The rC isis of Identity in Post-Revolutionary Cuban Film: A Sociological Analysis of Strawberry and Chocolate Andrew Zachary Shultz University of Kentucky Follow this and additional works at: https://uknowledge.uky.edu/kaleidoscope Part of the Film and Media Studies Commons, and the Sociology Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Shultz, Andrew Zachary (2009) "The rC isis of Identity in Post-Revolutionary Cuban Film: A Sociological Analysis of Strawberry and Chocolate," Kaleidoscope: Vol. 8, Article 9. Available at: https://uknowledge.uky.edu/kaleidoscope/vol8/iss1/9 This Article is brought to you for free and open access by the The Office of Undergraduate Research at UKnowledge. It has been accepted for inclusion in Kaleidoscope by an authorized editor of UKnowledge. For more information, please contact [email protected]. AUTHOR Andrew Zachary Shultz am a senior Sociology and Spanish double major at the University of Kentucky and a member of The Crisis I the Kappa Alpha Delta International Sociology Honors Society. For this research project I was selected of Identity in as a recipient of the 2009 A. Lee Coleman Outstanding Sociology Senior award, the highest honor bestowed Post-Revolutionary on a student from the department. This project is the outcome of an ongoing research process that began as Cuban Film: a term paper for a graduate seminar class (SOC 735) taught by my faculty mentor and close friend, Dr. Ana A Sociological Liberato. Building on the influences of major cultural studies texts that I was introduced to in her class, I later combined the theory with subject Analysis of matter from film classes taught in the Department of Hispanic Studies, particularly the Latin American and Spanish Cinema courses offered Strawberry by Drs. -
Strawberry and Chocolate Cuba–Mexico–Spain, 1993, 110’, Colour
A CRITICAL FILMOGRAPHY OF CUBAN CINEMA CRISTINA VENEGAS, EDITOR FORTHCOMING FROM CABOOSE © CABOOSE 2010. REPRODUCTION WITHOUT PERMISSION PROHIBITED. Fresa y chocolate Strawberry and Chocolate Cuba–Mexico–Spain, 1993, 110’, colour Dirs Tomás Gutiérrez Alea (1928–1996) and Juan Carlos Tabío (b. 1943) Scr Senel Paz, from his short story of the same title (1991) Asst dir Mayra Segura Prod Georgina Balzaretti, Frank Cabrera, Nacho Cobo, Juan Muñoz and Carlos Vives Cinematog Mario García Joya Mus José María Vitier Prod design Fernando Pérez O’Reilly Sound Germinal Hernandez Edit Osvaldo Donatién, Rolando Martínez and Miriam Talavera Act Jorge Perugorría (Diego), Vladimir Cruz (David), Mirta Ibarra (Nancy), Francisco Gattorno (Miguel), Joel Angelino (German), Marilyn Solaya (Vivian), Andrés Cortina (Santeria priest), Antonio Carmona (boyfriend) Cuba’s most acclaimed filmmaker and one of the subtlest critics of the country’s revolutionary process, Tomás Gutiérrez Alea combined a sharp eye for social conflicts with an aesthetic that shifted our perception of them. Through aesthetic experiments, his films frequently addressed what he felt to be the most problematic aspects of Cuban society: complacency, corruption and bureaucracy. His approach is explicit in Memorias del subdesarrollo (Memories of Underdevelopment, 1968, q.v.) a critical landmark in the history of New Latin American Cinema and Cuban cinema. In Strawberry and Chocolate, the first film produced in Cuba under the auspices of the Instituto Cubano del Arte e Industria Cinematográficos -
Buyingguide July 2014
BUYINGGUIDE JULY 2014 Grapevines and lavender in Provence MARC LOBJOY/ALAMY MARC IN THIS MONTH’S GUIDE 2 PROVENCE 36 OTHER EUROPE 48 CALIFORNIA 19 ALSACE 36 ISRAEL 60 WASHINGTON 21 SPAIN 37 LEBANON 69 VIRGINIA 28 SOUTHERN ITALY 37 TURKEY 71 NEW YORK 32 SICILY & SARDINIA 38 SOUTH AFRICA 78 OTHER NORTH AMERICA 34 SLOVENIA 41 NEW ZEALAND 80 SPIRITS 35 CROATIA 44 ARGENTINA 82 BEER FOR ADDITIONAL RATINGS AND REVIEWS, VISIT BUYINGGUIDE.WINEMAG.COM WINEMAG.COM | 1 BUYINGGUIDE Château Vignelaure 2013 La Source Rosé (Co- teaux d’Aix-en-Provence). For full review see 91 page 12. Best Buy. abv: 13% Price: $15 PROVENCE Château de Calavon 2013 Rosé (Coteaux d’Aix-en-Provence). A rich wine, it adds a Time to think pink. 90 finely textured dimension to the red fruitiness and fresh acidity. With complex fruits, structure as well t’s been a great year for Provence rosé. The tant with Provence rosé, it’s the look as well. as the attractive crispness, it’s a dry wine, best producers in the sunny south of France Surprisingly versatile, these rosés can be drunk with food. Weygandt-Metzler. —R.V. want us all to know that, just in case the bad drunk as an apéritif (and there are plenty with abv: 12.5% Price: $25 stories coming out of Bordeaux about 2013 only 12.5% alcohol) or they can go with an im- Iare spoiling the party. pressive array of food. The French believe that Domaine de Valdition 2013 Vallon des Anges Rosé (Coteaux d’Aix-en-Provence). -
Cuban and Russian Film (1960-2000) Hillman, Anna
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queen Mary Research Online Carnivals of Transition: Cuban and Russian Film (1960-2000) Hillman, Anna The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/xmlui/handle/123456789/9733 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] 1 Carnivals of Transition: Cuban and Russian Film (1960-2000) Anna M. Hillman Submitted in accordance with the requirements for the Ph.D. degree. Queen Mary, University of London, School of Languages, Linguistics and Film. The candidate confirms that the thesis does not exceed the word limit prescribed by the University of London, and that work submitted is her own and that appropriate credit has been given to research done by others. 2 ABSTRACT This thesis focuses on ‘carnivals of transition’, as it examines cinematic representations in relation to socio-political and cultural reforms, including globalization, from 1960 to 2000, in Cuban and Russian films. The comparative approach adopted in this study analyses films with similar aesthetics, paying particular attention to the historical periods and the directors chosen, namely Leonid Gaidai, Tomás Gutiérrez Alea, El’dar Riazanov, Juan Carlos Tabío, Iurii Mamin, Daniel Díaz Torres and Fernando Pérez. -
Film and Cultures of Memory
cover_saravi_pontes_4_1511_Layout 1 04.12.2015 07:31 Seite 1 4 SARAVI PONTES – Beiträge zur internationalen Hochschulkooperation und zum interkulturellen Band 4 Wissenschaftsaustausch Film and Cultures of Memory This book investigates the multiple interconnections between film and Christoph Vatter different cultures of memory, presenting discussions of, amongst other things, the representation of memory, rememberance and oblivion in films, and the role of film in the construction of collective memory. It Oleksandr Pronkevich is the result of a close cooperation between Saarland University (Saar - brücken, Germany) and Petro Mohyla Black Sea State University in (eds.) Mykolaiv (Ukraine) and unites contributions of German and Ukrainian scholars of various disciplines. Their papers invite the reader to discover different cultures of memory through case studies about Russia, Spain, USA, Cuba and Germany, and illustrate various approaches in analyzing the relationship of the medium film to (collective) memory and rememberance. y r o m e M f o s e r u t l u C d n a m l i F universaar Universitätsverlag des Saarlandes Saarland University Press Presses Universitaires de la Sarre SARAVI PONTES – Beiträge zur internationalen Hochschulkooperation und zum interkulturellen Wissenschaftsaustausch Band 4 Christoph Vatter, Oleksandr Pronkevich (eds.) Film and Cultures of Memory universaar Universitätsverlag des Saarlandes Saarland University Press Presses Universitaires de la Sarre © 2015 universaar Universitätsverlag des Saarlandes Saarland University -
Films Shown by Series
Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films, -
Samples Can Be Auditioned At
No pianist has played on more records that all of postrevolutionary Cuba sang along with than Pupy. And at the same time, he's a direct link to that golden age of Arsenio and Chappotín. Ned Sublette author of Cuba and Its Music: From the First Drums to the Mambo El modo de interpretar de Pupy Pedroso constituye el crossover entre la música bailable contemporanea cubana y los esquemas tradicionales heredados de los grandes pianistas soneros de los cincuentas, en particular, de su padre, Nené, quien fuera una de las luminarias de la época. Su estilo inovador, su talento para componer y orquestar y su sagacidad para lograr la preferencia pública en un país tan competitivo como Cuba, lo situan en uno de los lugares mas destacados del ambiente musical de los últimos cuarenta anos. Definitivamente Pupy, junto a José Luis “Changuito” Quintana y Juan Formell, forma parte del nucleo generador del sonido Van Van, que por tanto tiempo ha satisfecho las exigencias de los “casineros” mas puristas. Juan de Marcos composer, tresero, leader of The Afro‐Cuban All‐Stars Pupy, es poseedor de un estilo peculiar a la hora de tocar el piano, tumbaos de gran fuerza cargados de un estilo sonero indiscutible hacen de Pupy uno de los pianistas de Son mas importantes de los últimos años.” Adalberto Álvarez pianist, composer, founder of Son 14 and Adalberto Álvarez y su Son Indiscutiblemente César, Pupy, Pedroso es uno de los grandes pianistas de la música cubana de todos los tiempos. Su nombre puede ocupar un merecido lugar junto al de Luis ‘Lilí’ Martínez Griñán o Antonio María Romeu, pues al igual que ellos hicieron anteriormente, él también transformó la sonoridad del piano dentro de las proyecciones estéticas por donde cursaba la más auténtica cubanía. -
Spanish Language Films in the Sfcc Library
SPANISH LANGUAGE FILMS IN THE SFCC LIBRARY To help you select a movie that you will enjoy, it is recommended that you look at the description of films in the following pages. You may scroll down or press CTRL + click on any of the titles below to take you directly to the description of the movie. For more information (including some trailers), click through the link to the Internet Movie Database (www.imdb.com). All films are in general circulation and in DVD format unless otherwise noted. PLEASE NOTE: Many of these films contain nudity, sex, violence, or vulgarity. Just because a film has not been rated by the MMPA, does not mean it does not contain these elements. If you are looking for a film without those elements, consider viewing one of the films on the list on the last page of the document. A Better Life (2011) Age of Beauty / Belle epoque (1992) DVD/VHS All About My Mother / Todo sobre mi madre (1999) Alone / Solas (1999) And Your Mama Too / Y tu mamá también (2001) Aura, The / El aura (2005) Bad Education / La mala educación (2004) Before Night Falls / Antes que anochezca (2000) DVD/VHS Biutiful (2010) Bolivar I Am / Bolívar soy yo (2002) Broken Embraces / Abrazos rotos (2009) Broken Silence / Silencio roto (2001) Burnt Money / Plata quemada (2000) Butterfly / La lengua de las mariposas (1999) Camila (1984) VHS media office Captain Pantoja and the Special Services / Pantaleón y las visitadoras (2000) Carancho (2010) Cautiva (2003) Cell 211 / Celda 211 (2011) Chinese Take-Out(2011) Chronicles / Crónicas (2004) City of No Limits