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2. Billy Ocean: Sea change
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Kantor,Justin M., (Author)
- Format:
- Journal Article
- Publication Date:
- 01/01; 2011
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Wax poetics
- Journal Title Details:
- 47 : 84-90
- Notes:
- Before finding international success and stardom with a string of well-known radio hits, Billy Ocean grinded on the U.K. circuit for well over a decade. The singer-songwriter released a handful of singles and four relatively unknown albums prior to the breakthrough in the mid-1980s, which included a mix of ballads, Caribbean-influenced R&B, club-shaking disco, synth-filled boogie, and even country-inflected Southern soul. The pre-fame arc of Ocean's career is traced record by record.
3. Construcciones de lo negro y de África en Colombia: Política y cultura en la música costeña y el rap
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Wade,Peter, (Author)
- Format:
- Book, Section
- Publication Date:
- 01/01; 2011
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Collected Work: Cumbia: Nación, etnia y género en Latinoamérica.(AN: 2011-17572).
4. Discordant beats of pleasure amidst everyday violence: The cultural work of party music in Trinidad
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Guilbault,Jocelyne, (Author)
- Format:
- Journal Article
- Publication Date:
- 01/01; 2011
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- MUSICultures
- Journal Title Details:
- 38 : 7-26
- Notes:
- In spaces of violence, scholars and activists have typically addressed music as sites of resistance. In postcolonial Caribbean, the focus of most studies unsurprisingly has thus been placed on the work music has done for the oppressed—or conversely, on the ways the (neo)colonial regimes have used music to increase their control over the masses. Until recently, few publications have addressed the music that has been performed to fortify and gather people together in times of hardship. In this case, what is at stake is not so much a matter of 'us and them' or of resistance, but rather the ways in which the 'us' is mobilized to strengthen senses of belonging and networks of solidarity. Amidst the escalating everyday violence since the mid-1990s, party music in Trinidad continues to thrive. Instead of dismissing such music as merely a source of escapism or hedonism, I want to examine what makes it so compelling and what it does for people. This paper is based on in-depth study of soca music making and mumerous ethnographic interviews with Trinidadian soca artists and fans over the past 15 years.
5. El origen de sones afroantillanos: Perspectivas dominicanas con respecto al “Son de la Ma’ Teodora”
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Bahrs,Karoline, (Author)
- Format:
- Journal Article
- Publication Date:
- Fall; Fall-winter, 2011
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Latin American music review/Revista de música latinoamericana
- Journal Title Details:
- 32(2) : 218-239
- Notes:
- Focuses on interrelations between popular music genres in the Spanish Caribbean exemplifying the Dominican Republic. The genre son has been the source of ideological conflicts for the middle and upper classes, particularly for Dominican musicians and intellectuals. The most urgent inquiry is about the local origin of the so considered primary authentic work, the “Son de la Ma’ Teodora'. Analyzing both historiographic and oral sources, the significance and the symbolic value of the musical genre son in the national history and context are discussed., unedited non–English abstract received by RILM] En este artículo se discuten las interrelaciones entre géneros musicales populares en el Caribe Hispánico tal y como aparecen en la República Dominicana. El género son ha sido fuente de conflictos ideológicos entre las clases media y alta dominicana, así como entre músicos e intelectuales. El asunto más polémico en este sentido gira alrededor del origen local de la así considerada primera obra documentada, el “Son de La Ma’ Teodora”. Haciendo uso de diferentes fuentes historiográficas y orales se discute el significado y valor simbólico del género musical son en relación a la historia nacional dominicana.
6. Fonograma 108.077: O lundu de George W. Johnson
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Palombini,Carlos, (Author)
- Format:
- Journal Article
- Publication Date:
- Jan; Jan-June, 2011
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Per musi: Revista acadêmica de música
- Journal Title Details:
- 23 : 58-70
- Notes:
- Through an examination of the recording Gargalhada (pega na chaleira), a chansonnette sung by Eduardo das Neves, the origin of the expression 'pegar na chaleira' (bootlicking) is traced, while some inconsistencies in the online catalogue of the Instituto Moreira Salles are revealed. Probably recorded in 1906, six years before the establishment of the Odeon plant in Rio, the piece was labeled a lundu, a paradigmatically Afro-Brazilian genre, in the 1915–26 catalogues. The music and laughter that Neves appropriates for himself were created by George Washington Johnson, the first black star of early sound recording, and reused in other Casa Edison (Brazilian Odeon) recordings on sale from 1913 to 1919. But while the former North American slave ridicules himself in accordance with white stereotypes, the self-designated Creole stages a satire on the behavior of upperclass men in Rio de Janeiro. In this process, the coon song turns into its antithesis., unedited non–English abstract received by RILM] Um exame do fonograma Gargalhada (pega na chaleira), cançoneta por Eduardo das Neves, expõe a origem da expressão “pegar na chaleira” e revela incongruências nos critérios de catalogação online do Instituto Moreira Salles. Provavelmente datada de 1906, a gravação aparece como um “lundu” em catálogos comerciais de 1915–1926, e as mesmas ideias musicais foram reaproveitadas em outros registros sonoros da Casa Edison comercializados entre 1913 e 1919. A música e o gargalhar que Neves reaproveita foram criados por George Washington Johnson, o primeiro astro negro da gravação mecânica. Mas enquanto o ex-escravo norte-americano se auto-ridiculariza de acordo com estereótipos brancos, o autodenominado “crioulo” encena uma sátira ao comportamento masculino das classes dominantes do Rio. Neste processo, a coon song transforma-se na antítese do gênero.
7. French Caribbean: Adieu foulard, adieu madras: A sonic study in (post)colonialism
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Oryu,Yoko, (Author) and Baldacchino,Godfrey, (Author)
- Format:
- Book, Section
- Publication Date:
- 01/01; 2011
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Collected Work: Island songs: A global repertoire.Pages: 37-47.(AN: 2011-12098).
- Notes:
- Adieu foulard, adieu madras is a very popular tune from the French Caribbean. It is just as popular today in continental France, where it has been adapted to different musical genres. Yet, for those familiar with the simple melody and its evocative lyrics, which encourages carefree humming, not many may be aware that it is so deeply rooted in the history of French colonialism, island tropes, and ethnic relations. This essay uses Adieu foulard, adieu madras and its multiple sonic meanings as the lens to better understand the dynamics of the (post)colonial relationship of the people of the French Antilles, particularly from the island overseas departments of Martinique and Guadeloupe, many of whom have now migrated permanently to metropolitan France. For these, Adieu has now also become their song of exile.
8. Funky Nassau: Roots, routes, and representation in Bahamian popular music
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Rommen,Timothy, (Author)
- Format:
- Book, Whole
- Publication Date:
- 01/01; 2011
- Published:
- Berkeley: University of California Press
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- Examines the role music has played in the formation of the political and national identity of the Bahamas. It analyzes Bahamian musical life as it has been influenced and shaped by the islands’ location between the United States and the rest of the Caribbean; tourism; and Bahamian colonial and postcolonial history. Focusing on popular music in the second half of the twentieth and early 21st c., in particular rake-n-scrape and Junkanoo, the author finds a Bahamian music that has remained culturally rooted in the local even as it has undergone major transformations. Highlighting the ways entertainers have represented themselves to Bahamians and to tourists, he illustrates the shifting terrain that musicians navigated during the rapid growth of tourism and in the aftermath of independence.
9. Island songs: A global repertoire
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Baldacchino,Godfrey, (Ed.And Intro.), Cohen,Annabel J., (Foreword), Dawe,Kevin, (Preface), and Connell,John, (Epilogue)
- Format:
- Book, Whole
- Publication Date:
- 01/01; 2011
- Published:
- Lanham: Scarecrow Press
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- The following contributions are cited separately in RILM: Godfrey BALDACCHINO, Yoko ORYU, French Caribbean: Adieu foulard, adieu madras: A sonic study in (post)colonialism (RILM ref]2011-12101/ref]); Sergio BONANZINGA, Sicily: Navigating responses to global cultural patterns (RILM ref]2011-12111/ref]); Kathryn A. BURNETT, Ray BURNETT, Scotland's Hebrides: Song and culture, transmission, and transformation (RILM ref]2011-12104/ref]); Jennifer CATTERMOLE, Fiji Islands: A sustainable future for sigidrigi? (RILM ref]2011-12107/ref]); Ijahnya CHRISTIAN, English Caribbean: When people cannot talk, they sing (RILM ref]2011-12099/ref]); Judith R. COHEN, Ibiza and Formentera: Worlds of singers and songs (RILM ref]2011-12113/ref]); Cristoforo GARIGLIANO, Aeolian Islands: Three singers, their folk songs, and the interpretation of tradition (RILM ref]2011-12112/ref]); Waldo GARRIDO, Philip HAYWARD, Chiloé: An offshore song culture (RILM ref]2011-12109/ref]); Maria HNARAKI, Crete—Souls of soil: Island identity through song (RILM ref]2011-12110/ref]); Henry M. JOHNSON, Jersey: Jèrriais, song, and language revitalization (RILM ref]2011-12105/ref]); Soraya MARCANO, Spanish Caribbean: Liquid identities (RILM ref]2011-12100/ref]); Owe RONSTRÖM, Gotland: Where folk culture and island overlap (RILM ref]2011-12114/ref]); Heather SPARLING, Cape Breton Island: Living in the past? Gaelic language, song, and competition (RILM ref]2011-12102/ref]); Deatra WALSH, Newfoundland: From Ron Hynes to Hey Rosetta! (RILM ref]2011-12103/ref]); Oli WILSON, Papua New Guinea: Popular music and the continuity of tradition—An ethnographic study of the songs by the band Paramana Strangers (RILM ref]2011-12106/ref]).
10. Joe Arroyo y La Verdad: Me le fugué a la candela
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Yglesias,Pablo, (Author)
- Format:
- Journal Article
- Publication Date:
- 01/01; 2011
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Collected Work: Wax poetics.49 (2011): Latin issue.Pages: 96.(AN: 2011-12593).
- Notes:
- With Joe Arroyo's passing on 26 July 2011, the world has lost a superstar and true innovator of modern Latin music. His work combined lyrics of protest, romance, and spirituality with a joyful music that was at once fresh and accessible. The sixth album Arroyo put out with La Verdad marked a transition from a less adventurous to a more radical approach, where the diverse mix heard on later records is fully embraced for the first time. With Me le fugué a la candela (I escaped the fire) his players gelled, and the pan-Caribbean sound they became famous for came into its own, especially on side two.