Discussed is the 'passion for Cuba' held by Dr. Robert Stephens, professor of music at the University of Connecticut-Storrs and interim director of the school's Institute for African American Studies
An essay on the gendered aspects of war and revolution in Cuba and Nicaragua. According to the author, militarized violence in these states was hierarchical and ultimately created alternative privileged masculinities despite revolutionary movements' ideological commitments to equality. Details related to racial and gender binaries are also presented.
Fox discusses Lydia Cabrera, a novelist and short story writer many consider the mother of Afro-Cuban studies. Examined are her contributions to Cuba's Africanized popular culture, as well as her bridging the cultures of France, Africa and Cuba.;
Reviews Mullen's examination (Greenwood Press, 1998, 236p) of Afro-Cuban literature. Notes that this study is "perceptive" and "important" to the field of Afro-Hispanic literary criticism.;
With stark income inequalities rooted in its dual currency economy, Cuba is taxing down high and unearned incomes, while trying to raise national productivity and official salaries through performance-related pay and labor restructuring. Such measures are portrayed as an abandonment of socialism, but in Cuba are discussed in terms of historic socialist debates about distribution and the balance of moral and material incentives at work, in a society still characterized by common ownership, social protection, and collective debate.
Carlos Varela is one of the best-known singer-songwriters to emerge from the Cuban nueva trova movement: heir to the musical traditions forged by Silvio Rodríguez and Pablo Milanés. Parochially, if accurately, known in North America as “Cuba’s Bob Dylan,” he has produced eight CDs since he began recording in 1988 and has toured Europe, the United Kingdom, Latin America, the Caribbean, and North America. In Cuba he is known as the voice of the generation that came of age during the Special Period of the 1990s, those raised with the promise and seeming collapse of the Cuban Revolution, for whom his songs have become generational anthems. In this interview, Varela discusses the meaning his music has for Cubans in the diaspora and on the island, the benefits and liabilities of creating music in today’s Cuba, censorship, history, the current Cuban hip-hop scene, and the ongoing significance of music as a political language for his own and other generations of Cubans. He also shares some reflections about his own career and his song-writing process since the 1980s., unedited non–English abstract received by RILM] Carlos Varela es uno de los cantautores más famosos surgido del movimiento cubano de la nueva trova, y heredero de la tradición musical de Silvio Rodríguez y Pablo Milanés. Celebrado como el “Bob Dylan cubano”, ha producido ocho discos desde que comenzó a grabar en 1988, y ha dado giras por Europa, el Reino Unido, América Latina, el Caribe y América del Norte. En Cuba, Varela es conocido como la voz de la generación que se formó durante el Período Especial de los años noventa, los que crecieron con la promesa y, a la vez, la desilusión de la Revolución Cubana, y para quienes sus canciones se convirtieron en himnos generacionales. En esta entrevista, habla sobre el significado de sus canciones para los cubanos dentro y fuera de la isla, sobre los beneficios y las dificultades de la creación musical en la Cuba de hoy, sobre la censura, la historia, el escenario actual del hip-hop cubano, y el constante significado de la música como lenguaje político, tanto para su generación como para las otras generaciones de cubanos. También, Varela comparte algunas reflexiones sobre su carrera y el proceso de creación de sus canciones desde los años ochenta.
Argues that the bedrock of U.S. policy is an ideology of benevolent domination. Created at the time of the Spanish-American War, President Theodore Roosevelt captured this ideology perfectly in 1907 when he explained, "I am seeking the very minimum of interference necessary to make them good," and it is seen today in the 2004 report of the Commission for Assistance to a Free Cuba. Adapted from the source document.
Reviews the books "Economies of Desire: Sex and Tourism in Cuba and the Dominican Republic," by Amalia L. Cabezas and "The Industrial Vagina: The Political Economy of the Global Sex Trade," by Sheila Jeffreys.
