El Azote De Cuba

Total Page:16

File Type:pdf, Size:1020Kb

El Azote De Cuba LA POEiTICA CbMICA SEMANARIO SATIRIC0 ILUSTRAD0.-0RGAN0 0FIOAL DE LIB0RI0 Propietario: W.,ICARDO 'DE LA TORRIENTE l!EGJSTRADO EN CORREOS COMO OORRESPONDEICCLI. DE 2' CLASE Y ACOGIDO A LA FRAi.QUJCIA POSTA tó Oficinas, Amistad, 75 Año XVII.-- Núm. 882. Teléfono A-2228 Ha.ba.na,domingo 12 de Noviembre de 1922. El azote de Cuba La vuelta ([e Menodll LIBORIO. -Zata ve, te la pariea loa liberalea: ¡ ti 7a no puedes ni con loa timba.leal La. Política C6mlc:i, encantadora Ca'ldita, y como si qms,era LA POLITICA COMICA pedir auxil~o a Jo,< bomberos, empezó a can• GEMANARIO SATll!.ICO ILUSTRADO, ORGANO OFICIAL DE LIBORIO tarde esta mane?·a: Si tlÍ qu'a<S apaf¡ar Director: DR. OSCAR SOTO, Representan te a la Cámara. • el fuq¡o de m·i pasión, cOntcsta sin dilac-ión, J)U($ yv we quiero casr.r. Pero Juego vino el r~ajuste a desembu­ llar a Julicto, que se anda hacie11do el chi\·o TROZOS ESCOGIDOS loco, pues ya no habla del casorio ni nada de eso; pero la otm noche se topó con C11- Literatura barata o el triunfo del amor biel\es, que I<, aflojó este mameyazo: Si el mntrimonio olvidaste, SAN FELIPE cómprate una medicina para poder engordar. puedes hacer la maleta De seguro se la dan con queso donde­ y traer una. can·eta qu:cra que el tenorio de quien vamos a tra­ Bi,·iana no te ha de amar, tsr redbe una calabaza. pues te niega el dulce sí; para que carge los trastes. Dicho ,·ate, que responde por Tnita y ya que me ,·iste a<¡uí, Alambre y presume de cintura, se amarra yo te daré mi opinión: llll~2=l!!ltr.!lllml!r.::Jl!!Qll!IIUUlffliimlntnllm!ll!l!Cllt!il!!!llO!i11ffl1!1~ con tm,ta gracia la corbata que parece un empújate ese melón galo ahon;ado. pa que te acuerdes de mf. 1 AVISO :- ~o hace más que anclar persiguiendo las nm~hachas, como si éstas no supieran el LOS PASOS, ORIENTE ¡=__· Los que deseen anunciarse en este c!l.mino; pero él dice que es para oir los Don Julieto Yalc, después de haber re­ - semanario de ben enviar sus órdenes .,Jogios que ellas hacen ele él, considerán­ corrido el mundo sin que su corazón diera il a la Agencia. de Anuncios del señor i! dolo como muy trabajador y bonito. Efec­ un brinquito, ahora a los sesenta años es ~ A. Pérez Soto, Ma.nzana de G.ómez, íl tirnmcnte, que cerno trabajador resulta el que se nos viene a destapar como un teno­ ! Dptos. 458-459. Teléfono A-4670. j gran majil y como bonito el gran cocorioco. rio de aquellos que al acercarse a una mu­ Por eso sus amigos Je han dedicado este si Propo~ndas en periódicos y revis. I:·. chacha hay que decirle a ésta: a tas. Dibnjos y clichés a precios con- punto guajiro: -1 Huye, galkta, que te coge die11te ! i vencionales:. Ta.rila de a.nuncios en Déjate ya de bobear Pues este Julie•o ha sentido inflan,ñrsele LA POLITICA COMICA: $ 3,00 plg. Taita Alambre, y de pamplina; a 1 él corazón ante las miradas de fuego de la lnlllA!aHIDIIIIIIHICIIDalUl!ll!lml:mut.mPmu:mimrdml!:llilttll IIUUl!IC!IU .¡:¡i;:,¡¡,J ' ~,ttJYIII• . RICA, PVAA, DIGESTIBLE GI~ATIS EVlTA t,11 111,rw,.oe,e.• WIIC:•u•.ey. .._o,r. PF"UGROS OE LA L[CHE i VINO BRAVAIS • C'O'•C•CM •t::t. s~"-" ,-fllrCCTA \.tCkl: • PAftA ELIXIR BRAVAIS NIÑOS DE PECHO. FORTALECER A U>~ Q\JE VAN A SER MADRES. ENRIQ!JECER SU LECHE LAS Q!JE CRIAN. ADULTOS, ANCIANOS yüRANULAOO BRAVAIS t'l:Ct>l<"Rl'fa·. T..-,,i ~l"ÍlOtt".!J ' ·rruuoos -por 1 mMi.eoa puc,lnn f'('\!lr n,m~:;tr:ns gratis a] N"(tl'f'Hntante • ¾,,, Se manda una muestro. s, se env,a em: cupón al lnscuuto '"GLAXO.. , 0/i.cios 36 1 ~e altos. Habaro, diciendo para qué uso se qu1ere. S, para cnar el niño exclú<l\lameme con ROSENDO ,VILA • GLAXO o darselo Juntamente con el pecho: fortalecer a la que va a ser i {.'O.\lPOt,TgLA, 6~. "'~~"'<di madre, ennquecer su l~he la que cna, la convalecencia, caso de d1ficJ ' q,.4', d1ges11on persona anciana o qué 01ro uso Cie. Gle. Transatlanti~ue VA.POaris 00;:t.REOS Ta.A.NOEGE;S ~~ INDIQ\JE CLARAMENTE AL PIE PARA O!JE Salida..- pr, a Europa un4 t'tZ ~I me,. Q\JIERE E. GAYE.-Ollcios 90, Hab:.ua PROBARLO : ESPECIFICO ZENDEJAS La Unica Medicina de Reconocido Buen Exíto contra d REUMATISMO ~c~~gEii~1E5 1 lb!tlpto tll <1 tilff h&blrt dt Es,cdail&adcs 4e b mJl(cdda wam.1 k Fueudl dt U Stac.Uril de Su1iUd 7 ltac:fkcacl.i bfo d .._ n>., Podero;o deput11ttvo de la ,aoa:re. prep,.rado coa yerbas y túct:t moXicanaa. Muy eficaz contra todu las enfermedades qae- pt'OVie.Jl.eD de impuraus de la ..n¡re, como ULCF,R.\S, TUMORES, ECZEMAS, etc., etc. NO REQUIERE DIETA NI lt.4PJDE .AL ENF'e:RMO ACUDIR A IIU TRABAJO u, "''' 11 Ot,cu11i11 1 FamdBI - Pida r,,,. 1ipillml pilla. 111 Ida 0,p6,ilo Gene,al: A""aida Simón 8oll.. (Rema) 91 Tdéíooo M-5205. Hahua. c.r-c-c-,""'" ~Tblka: JOAQUIN ttAR() :>n ANA M.UU4, R0M9, pt>. P"'8CUAL 1.i!ñ-~.!lc,~,!¡ La Polítlea tMmlt11. Ese dinero prestado por esa gente atrevida EL PORVENIR DE CUBA que a Cub:i pronto vendrá que ya la ~•tá amenazando. será el que siempre tendrá ¡ Lo c¡ue te están preparando, !,a dejó desfallecida ni país esclavizado. ay, Cuba, patria querida! en t'Ísperas de expirar. Ya Liborio está indignado ¡Ay, Cuba, patria querida, y no cesa de exclamar: Es preciso. buen cubano, a drhulr irás a paro.rf -Conmigo van a acabar, llenarse el~ patrio amor, · ele m·seria estoy muriendo para que el interventor Era Cuba la riqueza y a mi nación estoy viendo no venga a ser un tirano. inmensa del Universo, en tíspctlUI de expirar. Liborio, c¡Lwrido hermano, y un gobernante perverso alerta debe~ de estar la rc,lujo & la pobreza. Si el Congreso aquí buscar3 y no dejarte quitar Hoy Libori<> con tristeza lo que tanto amó l.lfartl, dice: -Mi Cuba querida un plan menos peligroso y ~I empréstito ruinoso pues si viene el yam1ui aquí, era la rcrla pucida ;a dóndr- irás a varar! más bella clcl mundo entero; lll yenqut le rechazara, pero el sei,or timbalero tal vez Culm se sal\'ara BL GUAJIRO DE LA LOMA la dejó desfallecida. y no fuera intervenida De Buennvist:i. SE ACABARON LOS BORRACHOS Remedio maravilloso. Siempre bePriida a l:t snlu ➔• Pida infor­ Pepsina 1 mes al Dr. A. FIGUEROA, Padre Varela, 227, Habana. y Ruibarbo l BOSQUE · l'roduee t'!I(elentN 1 tt!JUlta(loa c-n el tra tamieuto de 1A, l'D· ftrn1t'!1fa<lff del e■t.j, llll\gO, ?il:lrro11, •6mit.,. de las emb:i.ru,:a~M, ~to rasteuia ~:'~'ltrie:a. e!, DISPEPSIA GASTRALGIA INDIGESTION lúi todrú la• far,nacw, s, drvuuerf,14, No Consuma Todo lo Que fiana $4.00 MENSUALES QUE NO PIERDE, PUES SIEMPRE LOS TIENE A SU DISPOSI- • • • • ..• "' • '--;. ~ 1, ')- CION, LE DARAN: • ., • I \ • • • ., - .• • .V• • • ·- Una casa propia, s'n sorteos. .• . , .. ,._c.; I Una renta vitalicia de $r,ooo. $700, $500, y $300. Un seguro de villa contra accidente o muerte por $ l,000. Préstamos sin fiador para devolver por semanas o m~ses. CoMulwrio legal para re.solver todos sus asuntos judiciales. Y ADEMAS 10 POR 100 DE INTERES, PAGADERO POR TRIMES­ TRES . Véanos o escríbanos. Compañia General de Fomento, S. A. Belascoain No. 54. Habana. Compramos \·atores y mone­ das extranjeras, especialn:en- te mejicanos. SOLICITAMOS AGENTES • \ • La Política Cóal!ca. SE LA LLEVO CUESTA ¡Acelera, Liborio, acelera! Esta caricaturfl., Inspirada por el gre­ caldía, dejando a Bonito "descacharrado, Cuesta se llevó la Alcaldía de la. Baw mio da chofers de la Habana, indica gri. virado en la c&rretera a Oa.na7a 7 a Sán­ bana, que ea la. sepnda presidencia de la SI.ca.mente el triunfo de Cuesta, que se n. chez "ponchado" 7 sin gasolina, República. de "avi&ci6n" por cuairo alloa con la Al- 1Acelera 7 pon la primera 1 ¡Ali'-ba, Ouestica.l Eso es un doble abuso que sé comete con el estudiante y con el muerto. Con el futurQ LO QUE SE DICE EN LA HABANA médico porque se le obliga a pagar lo qua debe dársele gratuitamente. Y con el ca­ dáver, porque lo tiran a perro, desprcsti_­ Ya tomó posesión de su cargo el nuevo Los estudiantes de la facultad de medi­ giando la mercancía. Un lechón cuesta máa Secretario de Hacienda de la República, tina están pidiendo a eritoa: ¡ Cadáve1c.s 1 caro. Pero no se apuren los estudiantes. Mr. Harding, y cottlo es natural, ha mon­ i Cadáveres! Cuando terminen los escrutinios tado sus oflcinss al lado de Despaigne, que Parece c¡ue, a imitación de Espronceda, de nuestras últimas elecciones, actúa de secreta1io particular. les gusta inmenso tanque de los sarcófagos de las urnas Miater Harding ha declarado a los re­ de muertos b;en relleno i saldrán cadáveres a montones! pórters que su misión tiene carácter amis­ verlos como rumberos ,,. toso. ¡ Es natural! Cuando se ocupa un en las aguar. flotar ; La Asociación de Buen Gobierno ha pues­ puesto de eaa categoria en tierra extrafía y allí el alumno fiero ;o en ridículo al respetable Cartaya.
Recommended publications
  • 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..........................................................................................................................................
    [Show full text]
  • El Corazón De Cuba Educational Program Curriculum
    International Bicycle Fund 4887 Columbia Drive South, Seattle WA 98108-1919 USA +1-206-767-0848 ~ [email protected] ~ www.ibike.org A non-governmental, nonprofit organization promoting bicycle transport, economic development and understanding worldwide. El Corazon de Cuba Educational Program Curriculum Small group, multidiscipline, educational program. The objective of the program is to strengthen your knowledge to better enable you to participate in important public policy discussion on a wide range of topics that affect your life. The program provides and opportunities to comparing and contrasting the work environment, quality of life, social programs, political structure and policies, economic policy and structure, environment, and culture that you are familiar with, to those of Cuba. Day-to-day, on an ongoing basis throughout the program there will be opportunities to meet people, small group discussion with Cubans and excursions and presentations on history, architecture, culture, ethnic diversity, social systems, gender rights and roles, politics, agriculture, mining, industry, fisheries, music, language, religion, geology, botany, and ecology. The following curriculum fails to include literally hundreds of serendipitous people-to-people encounters when we purposefully visit small towns and villages to by snacks and refreshment to talk to people, and ask questions and strike up conversations. Ironically, some of the most meaningful and enlightening people-to-people contacts are the hardest, and virtually impossible, to document. Day 1: “Anatomy of the capital of the Capital: Introducing information on the history and change of Havana, and specifically Vedado ”: architecture (residential and commercial), use patterns (park boulevard, parks, residential and commercial), public institutions (schools, hospitals (8, including cardio and oncology)), religious institutions (churches, convents and two synagogue), monuments and statues (John Lennon, socialist world leaders, military, politician, intellectuals, Jose Marti) and transportation.
    [Show full text]
  • RED HOT + CUBA FRI, NOV 30, 2012 BAM Howard Gilman Opera House
    RED HOT + CUBA FRI, NOV 30, 2012 BAM Howard Gilman Opera House Music Direction by Andres Levin and CuCu Diamantes Produced by BAM Co-Produced with Paul Heck/ The Red Hot Organization & Andres Levin/Music Has No Enemies Study Guide Written by Nicole Kempskie Red Hot + Cuba BAM PETER JAY SHARP BUILDING 30 LAFAYETTE AVE. BROOKLYN, NY 11217 Photo courtesy of the artist Table Of Contents Dear Educator Your Visit to BAM Welcome to the study guide for the live The BAM program includes: this study Page 3 The Music music performance of Red Hot + Cuba guide, a CD with music from the artists, that you and your students will be at- a pre-performance workshop in your Page 4 The Artists tending as part of BAM Education’s Live classroom led by a BAM teaching Page 6 The History Performance Series. Red Hot + Cuba is artist, and the performance on Friday, Page 8 Curriculum Connections an all-star tribute to the music of Cuba, November 30, 2012. birthplace of some of the world’s most infectious sounds—from son to rumba and mambo to timba. Showcasing Cuba’s How to Use this Guide diverse musical heritage as well as its modern incarnations, this performance This guide aims to provide useful informa- features an exceptional group of emerging tion to help you prepare your students for artists and established legends such as: their experience at BAM. It provides an Alexander Abreu, CuCu Diamantes, Kelvis overview of Cuban music history, cultural Ochoa, David Torrens, and Carlos Varela. influences, and styles. Included are activi- ties that can be used in your classroom BAM is proud to be collaborating with and a CD of music by the artists that you the Red Hot Organization (RHO)—an are encouraged to play for your class.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Global Reach of the Fandango in Music, Song and Dance
    The Global Reach of the Fandango in Music, Song and Dance The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by K. Meira Goldberg, Antoni Pizà and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9963-1 ISBN (13): 978-1-4438-9963-5 Proceedings from the international conference organized and held at THE FOUNDATION FOR IBERIAN MUSIC, The Graduate Center, The City University of New York, on April 17 and 18, 2015 This volume is a revised and translated edition of bilingual conference proceedings published by the Junta de Andalucía, Consejería de Cultura: Centro de Documentación Musical de Andalucía, Música Oral del Sur, vol. 12 (2015). The bilingual proceedings may be accessed here: http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/do cumentacion/revistas/revistas-mos/musica-oral-del-sur-n12.html Frontispiece images: David Durán Barrera, of the group Los Jilguerillos del Huerto, Huetamo, (Michoacán), June 11, 2011.
    [Show full text]
  • 29TH ANNUAL SAN JOSE JAZZ SUMMER FEST Friday, August 10 – Sunday, August 12, 2018 Plaza De César Chavez Park, Downtown San Jose, Calif
    ***For Immediate Release: Thursday, May 17, 2018*** 29TH ANNUAL SAN JOSE JAZZ SUMMER FEST Friday, August 10 – Sunday, August 12, 2018 Plaza de César Chavez Park, Downtown San Jose, Calif. Event Info: summerfest.sanjosejazz.org Second Round -- Artist Lineup Announcement Featuring Standout Latin and Salsa Acts, and Much More: Changüí Majadero, Orquesta Son Mayor, Rumbankete, Boogaloo Assassins, Christian Tambuur and Dominick Farinacci, Wayne Wallace Latin Jazz Septet, Kristen Strom: Moving Day – The Music of John Shifflett, Aaron Abernathy Trio, Doug Beavers, SJZ Collective Reimagines Monk, Lydia Pense & Cold Blood With Fred Ross, Mitch Woods and His Rocket 88’s, Alastair Greene Band, Andre Thierry, Eddie Gale, Jessica Lá Rel, YASSOU, Ghost & the City, Eugenie Jones, La Tenaza Tango Son, Maxx Cabello Jr. and many others! San Jose, Calif. -- Silicon Valley’s premier annual music event, San Jose Jazz Summer Fest 2018 returns for its 29th festival season from Friday, August 10 through Sunday, August 12 in and around Plaza de César Chavez ParK in downtown San Jose, Calif. A showcase for jazz, blues, funK, R&B, salsa, world and related genres, SJZ Summer Fest is nationally recognized as one of the biggest Latin festivals in the country. Always guaranteed to be an ecstatic annual celebration of diverse Latin styles, the Salsa Stage is one of San Jose Jazz Summer Fest's musical and social pillars. For 2018, the stage's booKings are in the incredible hands of beloved national radio personality, Betto Arcos. Whether it's the traditional sounds of Changüi Majadero, the modern timba styling of Rumbankete or the Stage's titular salsa courtesy of Orquesta Son Mayor, Arcos has San Jose Jazz Summer Fest patrons covered for the most anticipated epic Latin dance party of the year.
    [Show full text]
  • Rumba Rhythms, Salsa Sound
    MUSIC MILESTONES AMERICAN MS, RUMBA RHYTH ND BOSSA NOVA, A THE SALSA SOUND MATT DOEDEN This Page Left Blank Intentionally MUSIC MILESTONES AMERICAN MS, RUMBA RHYTH ND BOSSA NOVA, A HE SALSA SOUND T MATT DOEDEN TWENTY-FIRST CENTURY BOOKS MINNEAPOLIS NOTE TO READERS: some songs and music videos by artists discussed in this book contain language and images that readers may consider offensive. Copyright © 2013 by Lerner Publishing Group, Inc. All rights reserved. International copyright secured. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means— electronic, mechanical, photocopying, recording, or otherwise—without the prior written permission of Lerner Publishing Group, Inc., except for the inclusion of brief quotations in an acknowledged review. Twenty-First Century Books A division of Lerner Publishing Group, Inc. 241 First Avenue North Minneapolis, MN 55401 U.S.A. Website address: www.lernerbooks.com Library of Congress Cataloging-in-Publication Data Doeden, Matt. American Latin music : rumba rhythms, bossa nova, and the salsa sound / by Matt Doeden. p. cm. — (American music milestones) Includes bibliographical references and index. ISBN 978–0–7613–4505–3 (lib. bdg. : alk. paper) 1. Popular music—United States—Latin American influences. 2. Dance music—Latin America—History and criticism. 3. Music— Latin America—History and criticism. 4. Musicians—Latin America. 5. Salsa (Music)—History and criticism. I. Title. ML3477.D64 2013 781.64089’68073—dc23 2012002074 Manufactured in the United States of America 1 – CG – 7/15/12 Building the Latin Sound www 5 Latin Fusions www 21 Sensations www 33 www The Latin Explosion 43 Glossary w 56 Source Notes w 61 Timeline w 57 Selected Bibliography w 61 Mini Bios w 58 Further Reading, w Websites, Latin Must-Haves 59 and Films w 62 w Major Awards 60 Index w 63 BUILDING THE Pitbull L E F T, Rodrigo y Gabriela R IG H T, and Shakira FAR RIGHT are some of the big gest names in modern Latin music.
    [Show full text]
  • Cuba Rebecca Bodenheimer
    Cuba Rebecca Bodenheimer LAST MODIFIED: 26 MAY 2016 DOI: 10.1093/OBO/9780199757824­0184 Introduction This article treats folkloric and popular musics in Cuba; literature on classical music will be included in the article entitled “Classical Music in Cuba.” Music has long been a primary signifier of Cuban identity, both on and off the island. Among small nations, Cuba is almost unparalleled in its global musical reach, an influence that dates back to the international dissemination of the contradanza and habanera in the 19th century. The 1930s constituted a crucial decade of Cuban musical influence, as the world was introduced to the genre son (mislabeled internationally as “rumba”/”rhumba”) with the hit song “El Manicero.” In the 1990s Cuban music underwent yet another international renaissance, due to both the emergence of a neotraditional style of son related to the success of the Buena Vista Social Club project, and the crystallization of a new style of Cuban dance music called timba. Moreover, Afro­ Cuban folkloric music has enjoyed increased visibility and attention, and has become a focal point of the tourism industry that the Castro regime began to expand as a response to the devastating economic crisis precipitated by the fall of the Soviet Union in 1991. Research on Cuban music has a long and distinguished history that began in earnest in the late 1920s and 1930s with the publications of Cuba’s most celebrated scholar, Fernando Ortiz. Many of Ortiz’s students, such as musicologist Argeliers León and folklorist Miguel Barnet, went on to form the backbone of Cuban folklore research after the Revolution in 1959.
    [Show full text]
  • Celina González: the “Queen” of Punto Cubano 1 Ivor Miller and Ivania Díaz2, Northwestern University
    Celina González: The “Queen” of punto cubano 1 Ivor Miller and Ivania Díaz2, Northwestern University Introduction the Communist Youth Party (UJC), where Drummer Iván Ayala3 grew up in New the chorus of “¡Long live Changó !” “¡Qué York City listening to the music of Celina viva Changó!” was chanted by thousands of González. As a child in the 1960s he was socialist Cuba’s “New M en” at the Square taken to Puerto Rican espiritista ceremonies of the Revolution.5 Celina is a major figure where, instead of using drums, practitioners in Cuban music and cultural identity. Her would play Celina’s records to invoke the 1948 song “Santa Bárbara” was a spirits. This is one of the ways that Celina’s groundbreaking event in modern Cuban music and the dedication of her followers music, reviving Cuban rural music (“música have blasted through the U.S. embargo guajira, el punto cubano”) for a national and against Cuba, which has deprived us of international audience, and infusing it with some of the planet’s most potent music, art, Afro-Cuban creole spirituality. Celina is and literature for thirty-two years. Ivan’s herself a guajira (country girl), and is fiercely experience shows the ingenuity of working proud of it. She grew up near the Sierra people in maintaining human connections Maestra, the mountainous region in eastern that are essential to them, in spite of govern­ Cuba where many slave rebellions, the War ments’ attempts to keep them apart. Hailed of Independence, and the Cuban Revolu­ as musical royalty in Colombia, Venezuela, tion were fomented.
    [Show full text]
  • The Politics and Commodification of Cuban Music During the Special
    NEGOTIATION WITH THE REVOLUTION: THE POLITICS AND COMMODIFICATION OF CUBAN MUSIC DURING THE SPECIAL PERIOD by Eric Jason Oberstein Department of Cultural Anthropology Advisors: Caroline Yezer Paul Berliner Thesis submitted in partial fulfillment of the requirements for graduation with distinction for the degree of Bachelor of Arts in the Department of Cultural Anthropology in the Trinity College of Arts and Sciences of Duke University 2007 Acknowledgements I would like to thank Caroline Yezer and Paul Berliner, my committee members, for their constant support and guidance throughout the writing process. They helped me define my topic, read through my drafts, and gave me direction with my ideas. I would like to thank the Department of Cultural Anthropology at Duke University, especially Orin Starn, who encouraged me to write a senior thesis, and Heather Settle, who was one of my first anthropology instructors and who taught me about the depth of Cuba. In addition, I would like to thank Bradley Simmons, my Afro-Cuban percussion mentor, who taught me how to play and appreciate Cuban music. I would also like to thank my family for fostering my passion for Cuban music and culture. A special thanks goes to Osvaldo Medina, my personal Cuban music encyclopedia, who always managed to find me in the corner at family parties and shared stories of Cuban musicians young and old. Finally, I dedicate this thesis to the musicians of Cuba, both on and off the island. Your work forever inspires and moves me. ii Contents Introduction..............................................................................................................................1 Research Question .............................................................................................................1 Significance of Research.................................................................................................. 14 Methods............................................................................................................................ 18 1.
    [Show full text]
  • Redalyc."Somos Cubanos!"
    Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Froelicher, Patrick "Somos Cubanos!" - timba cubana and the construction of national identity in Cuban popular music Trans. Revista Transcultural de Música, núm. 9, diciembre, 2005, p. 0 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82200903 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 Somos Cubanos! Revista Transcultural de Música Transcultural Music Review #9 (2005) ISSN:1697-0101 “Somos Cubanos!“ – timba cubana and the construction of national identity in Cuban popular music Patrick Froelicher Abstract The complex processes that led to the emergence of salsa as an expression of a “Latin” identity for Spanish-speaking people in New York City constitute the background before which the Cuban timba discourse has to be seen. Timba, I argue, is the consequent continuation of the Cuban “anti-salsa-discourse” from the 1980s, which regarded salsa basically as a commercial label for Cuban music played by non-Cuban musicians. I interpret timba as an attempt by Cuban musicians to distinguish themselves from the international Salsa scene. This distinction is aspired by regular references to the contemporary changes in Cuban society after the collapse of the Soviet Union. Thus, the timba is a “child” of the socialist Cuban music landscape as well as a product of the rapidly changing Cuban society of the 1990s.
    [Show full text]