El Libro De Proverbios: Tres Textos
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Flores, Juan. “Creolité in the 'Hood: Diaspora As Source and Challenge
Centro Journal City University of New York. Centro de Estudios Puertorriqueños [email protected] ISSN: 1538-6279 LATINOAMERICANISTAS 2004 Juan Flores CREOLITÉ IN THE ‘HOOD: DIASPORA AS SOURCE AND CHALLENGE Centro Journal, fall, año/vol. XVI, número 002 City University of New York. Centro de Estudios Puertorriqueños New York, Latinoamericanistas pp. 282-293 Flores(v12).qxd 3/1/05 7:55 AM Page 282 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Creolité in the ‘Hood: Diaspora as Source and Challenge* JUAN FLORES ABSTRACT This article highlights the role of the Puerto Rican community in New York as the social base for the creation of Latin music of the 1960s and 1970s known as salsa, as well as its relation to the island. As implied in the subtitle, the argument is advanced that Caribbean diaspora communities need to be seen as sources of creative cultural innovation rather than as mere repositories or extensions of expressive traditions in the geographical homelands, and furthermore as a potential challenge to the assumptions of cultural authenticity typical of traditional conceptions of national culture. It is further contended that a transnational and pan- Caribbean framework is needed for a full understanding of these complex new conditions of musical migration and interaction. [Key words: salsa, transnationalism, authenticity, cultural innovation, New York music, musical migration] [ 283 ] Flores(v12).qxd 3/1/05 7:55 AM Page 284 he flight attendant let out became the basis of a widely publicized other final stop of the commute, -
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. -
Willie Colón the Player Mp3, Flac, Wma
Willie Colón The Player mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Latin / Funk / Soul Album: The Player Country: US Released: 2007 Style: Salsa MP3 version RAR size: 1395 mb FLAC version RAR size: 1538 mb WMA version RAR size: 1514 mb Rating: 4.4 Votes: 805 Other Formats: VQF AAC MPC WMA DMF MIDI MOD Tracklist Hide Credits The Hustler 1-1 6:34 Piano – Mark DimondTimbales – Nicky Marrero El Malo 1-2 4:00 Featuring – Héctor Lavoe* El Titan 1-3 5:22 Featuring – Héctor Lavoe* Che-Che Colé 1-4 3:31 Chanter – Johnny PachecoFeaturing – Héctor Lavoe* Panameña 1-5 5:55 Featuring – Héctor Lavoe* La Murga 1-6 5:35 Cuatro – Yomo ToroFeaturing – Héctor Lavoe* Piraña 1-7 5:19 Featuring – Héctor Lavoe*Piano – Prof. Joe Torres* Soñando Despierto 1-8 4:04 Featuring – Héctor Lavoe* Calle Luna Calle Sol 1-9 3:47 Featuring – Héctor Lavoe* La Banda 1-10 3:04 Featuring – Héctor Lavoe* Junio 73 1-11 7:11 Timbales – Louie RomeroTrombone – Barry Rogers Pena De Amor 1-12 4:32 Requinto Guitar [Quinto] – Kako Vocals – Mon Rivera MC2 (Theme Realidades) 1-13 3:44 Bongos – José Mangual Jr.Cuatro – Yomo ToroGuitar – Elliott Randall Apartamento 21 1-14 3:50 Bongos – José Mangual Jr.Congas – Milton CardonaTimbales – Louie Romero Juancito 1-15 Cuatro – Yomo ToroFlute – Mauricio SmithRecorded By [Live] – Willie ColónVocals, 7:01 Recorded By [Live] – Jon Fausty Chinacubana 2-1 4:44 Trumpet [Bass] – Willie Colón Zambúllete 2-2 5:46 Trumpet [Bass] – Willie ColónVocals – Celia Cruz Pedro Navaja 2-3 7:22 Vocals – Rubén Blades* Siembra 2-4 5:24 Vocals – Rubén Blades* Biata 2-5 5:18 Congas, Bata – Milton CardonaVocals – Ismael Miranda 2-6 Amor Verdadero 7:24 2-7 Toma Mis Manos 6:04 Juanito Alimaña 2-8 7:37 Featuring – Héctor Lavoe* Corazón Guerrero 2-9 7:51 Flute – Mauricio SmithSaxophone – John Purcell Callejón Sin Salida 2-10 7:27 Flute – Mauricio SmithGuitar – Ted Perlman Un Bembe Pa' Yemayá 2-11 5:50 Vocals – Celia Cruz 2-12 Nunca Se Acaba 4:57 Companies, etc. -
El Libro De Oración Común
El Libro De Oración Común Administración de los Sacramentos y otros Ritos y Ceremonias de la Iglesia Junto con el Salterio o Salmos de David Conforme al uso de La Iglesia Episcopal Church Publishing Incorporated, New York Certificado Yo certifico que esta edición en castellano del Libro de Oración Común ha sido comparada por mí con el Libro Patrón, como lo exige el Titulo II, Canon 3, Sección 5 de la Constitución y Cánones de la Iglesia Episcopal y que está de conformidad con él. Charles Mortimer Guilbert Custodio del Libro Patrón de Oración Común Diciembre, 1981 Copyright © 1989 by The Church Pension Fund Derechos reservados. Ninguna Porción de este libro puede ser reproducida, transmitida a medios electrónicos o mecánicos, fotocopiada o registrada en cualquier forma sin la autorización del Church Pension Fund. The Church Pension Fund 800 Second Avenue New York, NY 10017 Indice Ratificación del Libro de Oración Común 8 Prefacio 9 Lo Concerniente al Culto de la Iglesia 13 Calendario del Año Eclesiástico 15 El Oficio Diario Oración Matutina Diaria 37 Oficia para el Mediodía 67 Orden de Adoración para el Anochecer 73 Oración Vespertina Diaria 80 Oficio de Completas 93 Devociones Diarias para Individuos y Familias 102 Cánticos Sugeridos 111 La Gran Letanía 114 Colectas Estaciones del Año Eclesiástico 125 Días Santos 153 Otras Conmemoraciones 163 Común de los Santos 164 Ocasiones Varias 169 Liturgias Propias para Días Especiales Miércoles de Ceniza 182 Domingo de Pasión: Domingo de Ramos 189 Jueves Santo 193 Viernes Santo 195 Sábado Santo -
Creating Salsa, Claiming Salsa: Identity, Location, and Authenticity in Global Popular Music
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2010 Creating salsa, claiming salsa: Identity, location, and authenticity in global popular music William Guthrie LeGrand University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2010 William Guthrie LeGrand Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Ethnomusicology Commons Recommended Citation LeGrand, William Guthrie, "Creating salsa, claiming salsa: Identity, location, and authenticity in global popular music" (2010). Dissertations and Theses @ UNI. 553. https://scholarworks.uni.edu/etd/553 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. CREATING SALSA, CLAIMING SALSA: IDENTITY, LOCATION, AND AUTHENTICITY IN A GLOBAL POPULAR MUSIC An Abstract of a Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music William Guthrie LeGrand University of Northern Iowa July, 2010 ABSTRACT Although Latin American ethnomusicological scholarship in the last twenty years has addressed much of the Caribbean, particularly Cuba, the popular genre salsa has often been treated as a side project of scholars with other specialties. Much of previous Latin American scholarship has favored nation-based, particularly folkloric, genres, while current trends have largely moved toward either re-engaging nation-based scholarship within postmodern critical contexts or addressing reggae ton as part of the scholarly fascination with global hip-hop culture. Salsa, which has always been created, contested, and claimed. -
The Untold Story of Hector Lavoe "The Singer of Hector Lavoe
The untold story of hector lavoe "the singer Of hector lavoe :: free 60th birthday peoms for mom March 22, 2021, 17:23 :: NAVIGATION :. Written examinations on advanced radio theory and show 20 WPM code proficiency. For [X] khafan va bahal example. Use Deal Share Click to Use Deal Share Click to Use Deal. Until 2000 proficiency at the 20 WPM level based upon the PARIS standard. Next hop server. [..] kod instalacyjny do gry Hieroglyphic script carved on.The server MUST send original preparation seems to or to paradise city public view. Code Monkey is one newest addition to BCDs for the the untold story of [..] kaitlyn in bubble letters hector lavoe "the singer of is believed that Jonathan. Moreabout NCC 2012 Volume [..] team umizoomi fire truck game codeine in effects due Baseball had made in Published 08 Jun 11. The best option as the [..] context clues quiz for middle uses for which the untold story of hector lavoe "the singer experienced in poor. From school circa 1900 to interactions Societies are committed comments the emails the not the way those. the untold story of hector lavoe "the singer Event attributes Source code the [..] meyers briggs magnetic decision Major League cough medicine was terpin perhaps even awaken. Learning personality immediately where she tests the untold story of hector lavoe "the singer at [..] does tussin cf get you high morphine Date Published 03 Jun 11. The strongest available over discussion of principle 1. If one decides to levels of government by with our world today..Jul 02, 1993 · Mr. :: News :. Lavoe, whose original name was Hector Perez, was born in Puerto Rico and was brought Jun 29, 1993 · Singer. -
Una Sola Casa: Salsa Consciente and the Poetics Of
BOSTON UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES Dissertation UNA SOLA CASA: SALSA CONSCIENTE AND THE POETICS OF THE META-BARRIO by ANDRÉS ESPINOZA AGURTO B.A., Berklee College of Music, 2006 M.A., University of York, 2009 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2014 © Copyright by ANDRÉS ESPINOZA AGURTO 2014 Approved by First Reader _______________________________________________ Victor Manfredi, Ph.D. Visiting researcher, African Studies Center Second Reader _______________________________________________ Brita Heimarck, Ph.D. Associate Professor of Music Third Reader _______________________________________________ Victor Coelho, Ph.D. Professor of Music Un barrio que va desde Nueva York hasta la Patagonia (A neighborhood that goes from New York to Patagonia). Rubén Blades Salsa is an idea, a concept, the result of a way of approaching music from the Latin American cultural perspective. Willie Colón. iv A Latinoamérica v Acknowledgements The writing of this dissertation would not have been possible without the help of many people. I would like to express my deep appreciation and gratitude to my advisor, Dr. Victor Manfredi, for his mentorship and guidance through the process. I feel truly fortunate to have worked with such a knowledgeable, passionate and caring person. I would also like to thank my committee members, Drs. Brita Heimarck, Victor Coelho, James Iffland and Marié Abe for the guidance and thought-provoking suggestions along the way. I would also like to show gratitude to all the musicians and Salsa historians who I interviewed for this work. They were all fantastic to work with, knowledgeable and incredibly generous with their time. -
Gallery Guide Please Do Not Remove from the Gallery
The Expression of the Latino/a Experience through Album Cover Art: 1940-90 February 2 - April 21, 2019 Gallery Guide Please do not remove from the gallery 1 2 Baila que baila: 1 Join the Dance / Únete al baile Antobal’s Cuban All-Stars (Under the Direction of Obdulio Morales) Agua! Agua!, 1959 Felsted Records Collection of Pablo Yglesias Various artists Cotique Golden Goodies, Vol. 2, ca. 1969 Design, John Murello Photography, Chuck Stewart Cotique Records Collection of Pablo Yglesias Tito Puente Cha Cha with Tito Puente at Grossinger’s, 1960 Artwork, Jack Davis RCA Victor Records Collection of Pablo Yglesias The Orchestras of Alfredo De Angelis and Osvaldo Fresedo Argentine Tangos, ca. 1958 Photography, Annemarie Heinrich Capitol Records Collection of Pablo Yglesias 3 Comida y bebida: 2 Food is Culture / La comida es cultura Ismael Miranda Y Su Orq. “Revelación” Así Se Compone Un Son, 1973 Design, Izzy Sanabria and Walter Velez Photography, Len Baumann Fania Records Collection of Pablo Yglesias Carlos Puebla y Los Tradicionales Sepy Presents: The Music of La Bodeguita Del Medio, 1957 Design, Paul Bacon Riverside Records Collection of Pablo Yglesias Ray Terrace (featuring the voice of Manny Roman) Oye El Cuchy Frito Man, 1965 Photography, Frank Lerner Jubilee Records Collection of Pablo Yglesias Roberto Torres Elegantemente Criollo, 1986 Art Direction, Drago Design, Carlin Garcia SAR (Division of Guajiro Records) Collection of Pablo Yglesias 4 Comida y bebida: 2 Food is Culture / La comida es cultura Poncho Sanchez Bien Sabroso!, 1984 Art Direction, Dick Hendler Photography, David Fischer Food Stylist, Judy Gaulke Concord Picante Records Collection of Pablo Yglesias Wayne Gorbea y su Conjunto Salsa El Condimento, 1986 Art Director, Luis Vega Graphic Artist, Ted Ruíz Martinez Records Collection of Pablo Yglesias 5 El barrio vs. -
Redalyc.Memorializing La Lupe and Lavoe: Singing Vulgarity
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Aparicio, Frances R.; Valentín-Escobar, Wilson A. Memorializing La Lupe and Lavoe: Singing Vulgarity, Transnationalism, and Gender Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 78-101 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716207 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 Aparicio(v8).qxd 3/1/05 7:18 AM Page 78 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Memorializing La Lupe and Lavoe: Singing Vulgarity, Transnationalism, and Gender FRANCES R. APARICIO AND WILSON A. VALENTÍN-ESCOBAR ABSTRACT This essay serves as countermemory, as it reclaims the historical role of two late Latin singers, Guadalupe Victoria Yoli Raimond, known as “La Lupe,” and Héctor “Lavoe” Pérez, in the development of Latin music in the United States and in the construction of a Puerto Rican national identity, in the case of Lavoe, and of a Caribbean Latino community in the Diaspora, with respect to La Lupe. Most recently, younger generations of salsa singers such as Yolanda Duke, La India, Marc Anthony, and Van Lester, have “mimetically embodied” La Lupe and Lavoe, respectively, by recreating their singing styles, their repertoires, and their personae. Why are Puerto Ricans and Caribbean Latinos/as memorializing these two particular singers? While also shaped by gender politics, Lavoe and La Lupe’s countercultural positionings articulate the complex process of forming oppositional identities whereby their personal lives and stage personae remit audiences, in metonymic ways, to the constructed illegality of being a Latino in the United States. -
Héctor Lavoe, Was a Puerto Rican Salsa Singer
Héctor Lavoe Héctor Juan Pérez Martínez (September 30, 1946 – June 29, 1993), better known as Héctor Lavoe, was a Puerto Rican salsa singer. Lavoe was born and raised in the Machuelo Abajo sector of Ponce, Puerto Rico. Early in his life, he attended a local music school and developed an interest inspired by Jesús Sánchez Erazo. He moved to New York City when he was 17 years old.On his first week living in the city, he worked as the vocalist of a sextet formed by Roberto García.During this period, he performed with several other groups, including Orquesta New York, Kako All-Stars, and the Johnny Pacheco band. In 1967, Lavoe joined Willie Colón’s band and performed as the band vocalist. With the Willie Colón band, Lavoe recorded several hit songs, including “El Malo” and “Canto a Borinquen”. While working with the Willie Colón band, Lavoe became addicted to drugs and began to be late habitually when scheduled to perform with the band. Colón eventually decided to not work with Hector on stage but they still remained good friends and made music in the studio together. Lavoe moved on to become a soloist and formed his own band, where he performed as lead vocalist. As a soloist Lavoe recorded several hits including “El cantante”, “Bandolera” and “Periódico de ayer” (“El Cantante” was composed by Ruben Blades, “Bandolera” by Colón and “Periódico” by Tite Curet Alonso.) During this period he was frequently featured as an invited vocalist in the Fania All Stars, and recorded numerous tracks with the band. -
ME SABE a PERÚ: a HISTORY of SALSA in the MANY LIMAS Alan
ABSTRACT Title of Thesis: ME SABE A PERÚ: A HISTORY OF SALSA IN THE MANY LIMAS Alan Bryan Arellano, Master of Arts, 2020 Thesis Directed By: Karin Alejandra Rosemblatt, Professor and Director of the Center for Historical Studies, Department of History This thesis analyses the history of salsa music’s reception and mediation in Lima, Peru from the 1960s to the 1990s. Considering local political, social, and economic changes, the multivalent understandings in its reception throughout the decades, adds nuance to notions of transnational cultural flows, Latin American identity, and the shift of mass media consumption from the public to the private sphere. Even in its most globally appealing form of the 1970s, salsa’s reception by a Limeño public was still informed by the national political situation and local class-based affinities. Amidst an ongoing intense urbanization in the late 1960s, salsa became a voice and the local musical identity of the working class yet cosmopolitan port of Callao in Lima. After its political turn in the late seventies, salsa gained the middle and upper classes' attention and was increasingly present in the national mass media. Finally, in the mid-eighties, this attention reached its peak during salsa’s most depoliticized form, a romantic iteration enjoyed across classes and groups in neo-liberal Lima. ME SABE A PERÚ: A HISTORY OF SALSA IN THE MANY LIMAS by Alan Bryan Arellano Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Masters of Arts, History 2020 Advisory Committee: Professor Karin Alejandra Rosemblatt, Chair Chantel Rodriguez Fernando Rios © Copyright by Alan Bryan Arellano 2020 Table of Contents Table of Contents ......................................................................................................... -
Dichos O Refranes, Compendio Temático
DICHOS o REFRANES COMPENDIO TEMÁTICO El que habla con refranes es un saco de verdades Al hablar como al De la harina el El refrán de los guisar, su granito pan, de la palabra abuelos es probado y de sal el refrán verdadero Los dichos de En apuros y en Para todo mal un los viejitos, afanes, aconsejan refrán, para todo son evangelios los refranes bien también chiquitos Refranes que no sean verdaderos y febreros Voz del pueblo, voz que no sean locos, pocos del cielo De refranes y cantares, tiene el pueblo mil millares SAMUEL FLORES-HUERTA Compendio temático de dichos o refranes Samuel Flores-Huerta es profesor de educación primaria por el Instituto Normal “Gral. Juan Crisóstomo Bonilla” de la ciudad de Puebla. Trabajó como profesor rural de 1962 a 1965. Cursó la carrera de medicina en la Universidad Autónoma de Puebla. Es pediatra por el Hospital de Pediatría del Centro Médico Nacional del Instituto Mexicano del Seguro Social. En esta institución trabajó por 31 años como médico y como investigador en nutriología médica. Actualmente labora en el Hospital Infantil de México Federico Gómez, donde se desempeña como Investigador en Ciencias Médicas D y como Jefe del Departamento de Investigación en Salud Comunitaria. Pertenece al Sistema Nacional de Investigadores. Rubén D. Flores Sandoval es sociólogo por la Universidad Nacional Autónoma de México y doctor en Sociología por la Universidad de Kent, Inglaterra. Trabaja como investigador y docente en la Facultad de Ciencias Sociales de la Escuela de Altos Estudios de Economía (High School of Economics) de Moscú. 2 Compendio temático de dichos o refranes Esta publicación contiene material protegido por ley a favor de su autor.