African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
CD, Album, Snowboy has crafted his own distinct rhythmic identity using a mixture of three rhythms that make a kind of big groove sound on four congas. It comes from a style of bata [sacred Afro-Cuban] drumming called chachalokafun, rumba, and mozambique.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
614 p, Cuba has been central to popular music developments throughout the Caribbean, Latin America, the United States and Europe. Unfortunately, no one has ever attempted to survey the extensive literature on the island's music, in particular the vernacular contributions of its Afro-Cuban population. This unprecedented bibliographic guide attempts to do just that. Ranging from the 19th century to early 2009 it offers almost 5000 entries on all of the islandâ¿¿s main genre families, e.g. Cancion Cubana, Danzon, Son, Rumba, and Sacred Musics (Santeria, Palo, Abakua, and Arara), as well as such recent developments as timba, rap and regueton.
Eastern Caribbean nationals will feel at home, as their region's music seems to dominate the lineup. Brother Marvin, Singing Sandra and Crazy are all from T&T. Each offering a different style of delivery, they represent calypso's many flavors. To add to that element, ADLIB Steel Orchestra will add instrumentation to the islands' unique genre. Winners of last year's steel band and calypso competitions at the West Indian-American Day Carnival Association's Labor Day gala on Eastern Parkway in Brooklyn, the 30-member, 11-year-old group promises youth from 7 years old to deliver the beat. St. Paul's J.O.B. Young Adult Choir represents New York in drama, song and dance. Traditional island-style Christmas carols are promised by Charles Dougherty and Circle of Friends Caribbean ensemble.
Another question is why Shaggy's "Hot Shot" was overlooked by voters. Released last summer, the album made it under the Sept. 30, 2000, deadline and fulfills the requirements with original material. The fact the album went virtually ignored for almost a half-year probably contributed to its absence on the list of finalists. Reportedly, the single "It Wasn't Me" gained life when a KIKI-FM deejay down-loaded the tract from the Internet and put it on the radio. The Honolulu station played the track, winning appeal from all of Hawaii. These months later, BET and MTV have spirited the video to return the Boombastic Lover Lover to the charts. The album is now No. 3 on Billboard Magazine's album chart, but nowhere on the Grammy list of five selections. Favored to place, show or win, The Baha Men of the Banamas were a sure bet. Their baseball-friendly "Who Let the Dogs Out" is awaiting verdict in the dance recording category.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
266 p, This study spans several linguistic areas of the Caribbean and parts of the Atlantic coast of the U.S., Mexico, and South America; it examines historical, national, popular, parading, sacred, and combat dances to reveal both meanings and consequences of performance. Beyond unfolding important physical and cultural significances of each genre, the analyses deepen to understand core motivations for African diaspora performance; the results are transcendence, resilience, and citizenship among dancing and music-making participants. The study repeatedly acknowledges Katherine Dunham, who began teaching the citizenship of Caribbean dance/music practices and reviews the literature since her original trilogy on Caribbean dance practices. Analyses also place local Caribbean dances as viable commodities within crucial Caribbean tourism and both cultural and economic globalization.
In 1984, the association opened an expanded Historical Museum at the Miami-Dade Cultural Center in downtown Miami. This 40,000-square-foot facility includes a permanent exhibition that traces the history of South Florida and the Caribbean, a temporary exhibition gallery that features several new exhibitions each year, a theater and classroom area for variety of educational programs, and storage areas for the museum's extensive collections of artifacts and archival materials, including books, manuscripts, maps and more than one million photographs related to the region. In recent year, the Historical Museum has directed increasing attention to Miami's role as a gateway of the Americas. To explore Miami's multifaceted connections with the Caribbean and Latin America, a new program series, Miami: The Gateway City, was introduced in Spring 1999. The objective of the 12-month series is to use the museum as a central forum for public dialogue about current issues facing Miami and as a space for related artistic presentations.
"But equally important, it was a celebration of the showbiz pioneers who met the standards of excellence that have enabled the Black community to lead the world of entertainment in Britain today." Songstress Beverley Knight, who became the envy of every woman in the land when she belted her heart out alongside sexy soulster Lynden David Hall, described the evening as "an history event." Roachford said: "I was honoured to be asked to perform."
Discussion of the books Caribbean currents: Caribbean music from rumba to reggae (1995), by Peter Manuel, with Kenneth Bilby and Michael Largey; Bachata: a social history of a Dominican popular music (1995), by Deborah Pacini Hernández; and Merengue: Dominican music and Dominican identity (1995), by Paul Austerlitz.
Euba,Akin (Editor) and Kimberlin,Cynthia Tse (Editor)
Format:
Book, Edited
Publication Date:
2010
Published:
Pt. Richmond, CA: MRI Press
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
202 p., Includes Tan Sooi Beng's "African music in Asia, Europe, and Latin America. Asia meets Africa: cross-cultural communication through the Rainforest World Music Festival, Sarawak."
