ANASTASIA VALECCE Assistant Professor of Spanish Dept
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Cuba “Underground”: Los Aldeanos, Cuban Hip-Hop and Youth Culture
Cuba “Underground”: Los Aldeanos, Cuban Hip-Hop and Youth Culture Manuel Fernández University of Wisconsin-Eau Claire Occasional Paper #97 c/o Center for Latin American and Caribbean Studies University of Wisconsin-Milwaukee PO Box 413 Milwaukee, WI 53201 http://www4.uwm.edu/clacs/ [email protected] Fernández 1 Cuba “Underground”: Los Aldeanos, Cuban Hip-Hop and Youth Culture Manuel Fernández The genre most frequently mentioned in U.S. university textbooks and anthologies when discussing Cuba’s recent musical production is the nueva trova , which developed soon after Fidel Castro came to power. The first edition of Más allá de las palabras (2004), to cite just one example of an intermediate Spanish language textbook, uses the trovistas Pablo Milanés and Silvio Rodríguez as examples of “contemporary” Cuban musical artists (204). Books on Cuba aimed at monolingual English speakers also depend largely on the nueva trova when attempting to present Cuba’s current musical production. The Cuba Reader: History, Culture, Politics (2003), an anthology of texts dating back to Columbus, uses samples from Silvio Rodríguez’s music on two occasions, in a chapter dedicated to the international aspects and impact of the Cuban Revolution and once again in a chapter dedicated to Cuba after the fall of the Soviet Union. Without discounting the artistic merit and endurance of the nueva trova or the numerous trovistas , the use of this music (the heyday of which was primarily in the 1960s to early 1980s) as a cultural marker for Cuban culture today seems distinctly anachronistic. It would be analogous to using music from World War II era United States to describe the events and sentiments of the 1960s. -
The Life & Rhymes of Jay-Z, an Historical Biography
ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation 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 Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life. -
Hip-Hop & the Global Imprint of a Black Cultural Form
Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University. -
Why Hip-Hop Is Queer: Using Queer Theory to Examine Identity Formation in Rap Music
Why Hip-Hop is Queer: Using Queer Theory to Examine Identity Formation in Rap Music Silvia Maria Galis-Menendez Advisor: Dr. Irene Mata Submitted in Partial Fulfillment of the Prerequisite for Honors in the Department of Women’s and Gender Studies May 2013 © Silvia Maria Galis-Menendez 2 Table of Contents Introduction 3 “These Are the Breaks:” Flow, Layering, Rupture, and the History of Hip-Hop 6 Hip-Hop Identity Interventions and My Project 12 “When Hip-Hop Lost Its Way, He Added a Fifth Element – Knowledge” 18 Chapter 1. “Baby I Ride with My Mic in My Bra:” Nicki Minaj, Azealia Banks and the Black Female Body as Resistance 23 “Super Bass:” Black Sexual Politics and Romantic Relationships in the Works of Nicki Minaj and Azealia Banks 28 “Hey, I’m the Liquorice Bitch:” Challenging Dominant Representations of the Black Female Body 39 Fierce: Affirmation and Appropriation of Queer Black and Latin@ Cultures 43 Chapter 2. “Vamo a Vence:” Las Krudas, Feminist Activism, and Hip-Hop Identities across Borders 50 El Hip-Hop Cubano 53 Las Krudas and Queer Cuban Feminist Activism 57 Chapter 3. Coming Out and Keepin’ It Real: Frank Ocean, Big Freedia, and Hip- Hop Performances 69 Big Freedia, Queen Diva: Twerking, Positionality, and Challenging the Gaze 79 Conclusion 88 Bibliography 95 3 Introduction In 1987 Onika Tanya Maraj immigrated to Queens, New York City from her native Trinidad and Tobago with her family. Maraj attended a performing arts high school in New York City and pursued an acting career. In addition to acting, Maraj had an interest in singing and rapping. -
Music Production and Cultural Entrepreneurship in Today’S Havana: Elephants in the Room
MUSIC PRODUCTION AND CULTURAL ENTREPRENEURSHIP IN TODAY’S HAVANA: ELEPHANTS IN THE ROOM by Freddy Monasterio Barsó A thesis submitted to the Department of Cultural Studies In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (September, 2018) Copyright ©Freddy Monasterio Barsó, 2018 Abstract Cultural production and entrepreneurship are two major components of today’s global economic system as well as important drivers of social development. Recently, Cuba has introduced substantial reforms to its socialist economic model of central planning in order to face a three-decade crisis triggered by the demise of the USSR. The transition to a new model, known as the “update,” has two main objectives: to make the state sector more efficient by granting more autonomy to its organizations; and to develop alternative economic actors (small private businesses, cooperatives) and self-employment. Cultural production and entrepreneurship have been largely absent from the debates and decentralization policies driving the “update” agenda. This is mainly due to culture’s strategic role in the ideological narrative of the ruling political leadership, aided by a dysfunctional, conservative cultural bureaucracy. The goal of this study is to highlight the potential of cultural production and entrepreneurship for socioeconomic development in the context of neoliberal globalization. While Cuba is attempting to advance an alternative socialist project, its high economic dependency makes the island vulnerable to the forces of global neoliberalism. This study focuses on Havana’s music sector, particularly on the initiatives, musicians and music professionals operating in the informal economy that has emerged as a consequence of major contradictions and legal gaps stemming from an outdated cultural policy and ambiguous regulation. -
Guide to the Raquel Z. Rivera Hip Hop/ Reggaetón Collection
Guide to the Raquel Z. Rivera Hip Hop/ Reggaetón Collection Archives of the Puerto Rican Diaspora Centro de Estudios Puertorriqueños Hunter College, CUNY 2180 Third Avenue @ 119th St., Rm. 120 New York, New York 10035 (212) 396-7877 www.centropr.hunter.cuny.edu Descriptive Summary Resumen descriptivo Creator: Raquel Z. Rivera, 1972- Creador: Raquel Z. Rivera, 1972- Title: The Raquel Z. Rivera Hip Hop/ Reggaetón Título: The Raquel Z. Rivera Hip Hop/ Reggaetón Collection Collection Inclusive Dates: 1977-2008 Años extremos: 1977-2008 Bulk Dates: 1995-2003 Período principal: 1995-2003 Volume: 9 cubic feet Volumen: 9 pies cùbicos Repository: Archives of the Puerto Rican Diaspora, Repositorio: Archives of the Puerto Rican Diaspora, Centro de Estudios Puertorriqueños Centro de Estudios Puertorriqueños Abstract: The Raquel Z. Rivera Hip Hop/ Reggaetón Nota de resumen: La Colección de Hip Hop y Collection helps document Puerto Rican contributions Reggaetón de Raquel Z. Rivera, documenta la to the creation and development of hip hop and contribución puertorriqueña a la creación y el reggaetón both in the United States and Puerto Rico. desarrollo del hip hop y el reggaetón tanto en los Highlights of the collection include an extensive Estados Unidos como en Puerto Rico. Parte importante audiocassette and compact disc collection, essays de la colección incluye una extensa compilación de written by Rivera on hip hop and reggaetón and paper cintas de audio y discos compactos, ensayos sobre hip documentation on numerous artists. hop y reggaetón escritos por Rivera y documentación en papel sobre varios artistas. Administrative Information Información administrativa Collection Number: 2005-07 Número de colección: 2005-07 Provenance: Raquel Z. -
Agricultural Reforms, Land Distribution, and Non-Sugar Agricultural Production in Cuba
https://doi.org/10.7896/j.1817 Studies in Agricultural Economics 121 (2019) 13-20 Mario A. GONZALEZ-CORZO* Agricultural Reforms, Land Distribution, and Non-Sugar Agricultural Production in Cuba Since 2007, the Cuban government has introduced a series of agricultural reforms to increase non-sugar agricultural produc- tion and reduce the country’s dependency on food and agricultural imports. The most important agricultural reforms imple- mented in Cuba (so far) include: (a) increases in the prices paid by the state for selected agricultural products, (b) restructuring the Ministry of Agriculture (MINAGRI) and the Ministry of the Sugar Industry (MINAZ), (c) a new agricultural tax system, (d) the authorisation of direct sales and commercialisation of selected agricultural products, (e) micro-credits extended by state- owned banks to private farmers and usufructuaries, and (f) the expansion of usufruct farming. These reforms have contributed to the redistribution of Cuba’s agricultural land from the state to the non-state sector, notable reductions in idle (non-productive) agricultural land, and mixed results in terms of agricultural output. However, they have not been able to sufficiently incentiv- ise output and reduce the country’s high dependency on agricultural and food imports to satisfy the needs of its population. Achieving these long-desired objectives requires the implementation of more profound structural reforms in this vital sector of the Cuban economy. Keywords: Agricultural reforms, Cuban agriculture, Cuban economy, transition economies JEL classifications: Q15, Q18 * Lehman College, The City University of New York, School of Natural and Social Sciences, Department of Economics and Business, Carman Hall, 382, 250 Bedford Park Boulevard West, Bronx, NY 10468. -
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. -
Afro-Cuban Rap Legends Obsesion Talk Race, Gender and Hip-Hop at UCLA by GABRIEL SAN ROMAN FRIDAY, APRIL 14, 2017 at 7:56 A.M
4/19/2017 Cuban Rap Group Obsesion Comes to UCLA | OC Weekly Afro-Cuban Rap Legends Obsesion Talk Race, Gender and Hip-Hop at UCLA BY GABRIEL SAN ROMAN FRIDAY, APRIL 14, 2017 AT 7:56 A.M. ¿Que bola? Photo by Gabriel San Roman / OC Weekly In a rare cultural exchange, veteran Cuban rap duo Obsesion visited UCLA as the university's week-long artists-in-residence. Magia Lopez Cabrera (Magia MC) and Alexey Rodriguez (...el tipo este...) form one of the most well-respected and longest-running hip-hop groups on the island having celebrated their 20th anniversary last summer. They masterfully mix Afro- Cuban percussion rhythms, jazz and socially conscious rhymes in their infectious brew (think A Tribe Called Quest meets Buena Vista Social Club). http://www.ocweekly.com/content/printView/8038908 1/5 4/19/2017 Cuban Rap Group Obsesion Comes to UCLA | OC Weekly With the UCLA library in a cultural heritage collaboration with the Cuban Hip-Hop Archive on the island, Obsesion spoke on a panel about their craft yesterday evening before giving a mini-performance perfect for the library's budding collection. The duo took questions first from Bruin professor Aisha Finch, whose book Rethinking Slave Rebellion in Cuba: La Escalera and the Insurgencies of 1841-1844 is a must read that won the inaugural Harriet Tubman prize. "One day, we had to perform and we chose the name Obsesion," Rodriguez said in Spanish. Professor Vanessa Diaz, a visiting scholar at UCLA from Cal State Fullerton, provided consecutive translations. The duo mulled over hundreds of possible monikers before the stage pressed the issue. -
“Rap Is War”: Los Aldeanos and the Politics of Music Subversion in Contemporary Cuba Nora Gámez Torres (City University, London)
TRANS 17 (2013) ARTÍCULOS/ ARTICLES “Rap is war”: Los Aldeanos and the Politics of Music Subversion in Contemporary Cuba Nora Gámez Torres (City University, London) Resumen Abstract El estudio del hip hop cubano permite examinar hasta qué Cuban hip-hop provides a good case to examine the extent to punto la música puede convertirse en una práctica de which music can articulate opposition in socialist societies. As oposición política en las sociedades socialistas. Al tiempo hip-hop’s racial politics became a concern to the state and a que la política racial del hip cubano ha provocado estrategias site for hegemonic control and assimilation, I suggest that the estatales de asimilación y control hegemónico, el lado más resistant edge of hip-hop as a cultural form has shifted from contestatario de este movimiento se ha desplazado de las racial politics to a politics of confrontation best illustrated by políticas raciales hacia políticas de confrontación más the rap group Los Aldeanos. I analyse their lyrics and public abiertas hacia el estado como lo ejemplifica el caso de Los interventions to illustrate how these rappers rearticulate the Aldeanos. Este artículo analiza las letras y las intervenciones Cuban Revolution’s framework to propose a radical politics of públicas de este grupo de rap e ilustra cómo estos raperos confrontation that mobilizes a subversive “revolutionary” rearticulan el imaginario de la Revolución Cubana para identity constructed as a political agent. I argue that their proponer una política de confrontación radical que construye music can be interpreted as a form of politics in a context una identidad “revolucionaria” subversiva. -
Maja De Santa Maria Wikipedia
Maja de santa maria wikipedia Continue MATANAS -- When I read the comment Fragile Lifeline published by Ricardo Ronquillo Bello on Sunday, April 5, I assumed that if it happened in Cuba, it would be the end, even for the cougar that strolled through Santiago de Chile. I can't imagine a boar, a goat or an obedient rabbit walking around St. Louis Causeway, where I live, in the city of Matanzas, because their seconds will be washed away. Aside from the jocosa anecdote, when I reread an excellent journalistic work, I was inundated with feelings of loneliness, and I remembered that just a month ago, when I was going to Varadero to cover measures to prevent a new coronavirus, on the shore of a fast track, near the village of Carbonera, we saw a deer in the bushes, perhaps trying to cross. Although I told a few friends, I then did not assume that this fact could be mentioned in writing, but when my neighbor Ariel Avila Barroso found Maya Santa Maria (Epicrates angulifer) crawling through the matansero viaduct, near the beach of El Tenis, I immediately remembered the text of Ronquillo and warned that in Cuba the same thing could happen. Although social isolation has not behaved on the island as in other countries because people are still behind the chicken, let's imagine that 90 percent of Cubans will stay at home for weeks or months, without raucous music or other discomfort to the animals ... Then yes on our streets you could see a rabbit, a lot more dogs or cats, and maybe sub-territory up to crocodiles, wild boars and deer, or juties that would come down from the bushes. -
Public Practice of Accounting in the Republic of Cuba
University of Mississippi eGrove Haskins and Sells Publications Deloitte Collection 1951 Public Practice of Accounting in the Republic of Cuba Angela M. Lyons Haskins & Sells Foundation American Institute of Accountants Follow this and additional works at: https://egrove.olemiss.edu/dl_hs Part of the Accounting Commons, and the Taxation Commons PUBLIC PRACTICE OF ACCOUNTING IK THE REPUBLIC OF CUBA Prepared for AMERICAN INSTITUTE OF ACCOUNTANTS Under the Auspices of HASKINS & SELLS FOUNDATION, INC. By Angela M. Lyons New York, Y.,N. March 1951 CONTENTS Page General Infomation 1 Section I Practice of Accountancy by Nationals ...... 3 Basic Laws and Regulations 3 Concept of Profession ............. 8 Regulatory Authority ............ 10 Who May Practice .. ........ 11 Exercise of the Profession .......... 14 Registration ............ 15 Education of Accountants ............ 20 Some Aspects of Practice . 22 Professional Accountants Engaged in Practice . 23 Professional Accounting Societies ............ 27 II Practice of Accountancy by United States Citizens and Other Non-Nationals ............ 31 Basic Laws and Regulations ............. 31 Qualification of a United States CPA . ... 34 Permanent Practice ............. 36 Isolated Engagements ............ 40 Immigration acquirement............40 Accountants Established in Practice ....... 41 III Treaties and Legislation Pending ............ 42 Proposed Treaty between the United States and Cuba ............ ............42 Treaties between Cuba and Other Countries .... 44 Pending Legislation ............ 45 Appendix Sources of Information ............ REPUBLIC OF CUBA Qssxss^u. Cuba, the largest and most important island of the West Indies, has an area of 44,164 square miles and is comparable in size to the State of Pennsylvania. It is located at the entrance to the Gulf of Mexico, between Worth America and those countries of South America that are bordered by the Caribbean Sea.