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2. 'There is no revolution without song': New song in Latin America
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Fairley,Jan, (Author)
- Format:
- Book, Section
- Publication Date:
- 01/01; 2013
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Collected Work: Music and protest in 1968.Pages: 119-136.(AN: 2013-04228).
- Notes:
- Focuses on specific aspects of the independent, creative network of musicians who in the late 1960s and early 1970s bonded together as the nueva canción or nueva canción movement across the Latin American continent, the Caribbean, and Spain. The author traces nueva canción through various key phrases. Nueva canción describes a music enmeshed within historical circumstances which included: the forging of revolutionary culture in Cuba; the coming together of political parties to form a coalition to elect the first ever socialist president in Chile in 1970; resistance to brutal Latin American dictatorships; and the struggle for new democracies. The music was often referred to by different names in different countries. It was known as: nueva cancionero (new song book) in Argentina; nueva canción (new song) in Chile and Peru; nueva trova (new song) in Cuba; and volcanto (volcanic song) in Nicaragua. Nueva canción musicians never saw their music as protest song. Nueva canción was regarded as a social force in itself and a key resource for creating collective bonds. This movement in its various forms was an emblematic music of the 1960s, 1970s, and 1980s. Functioning as both a national and international music, nueva canción has become part of the active memory of this period. Its potent legacy can be seen in the fact that many high-profile commercial singers today continue to be influenced by it: nueva canción continues to be perceived as a legitimate, unifying, and active force for peaceful change.
3. Baila! : a bibliographic guide to Afro-Latin dance musics from mambo to salsa
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Gray,John (Author)
- Format:
- Book, Whole
- Publication Date:
- 2013
- Published:
- Nyack, NY: African Diaspora Press
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- 661 p., Focuses on the diffusion of Cuban popular musical styles throughout the Americas as well as the creation of new hybrids in places such as Puerto Rico, the Dominican Republic, Mexico, Colombia, Venezuela and Latin New York. Students, scholars and librarians will find Baila! to be an essential resource on Afro-Latin music and dance, language, literature, aesthetics, and more.
4. Before Elvis: The prehistory of rock 'n' roll
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Birnbaum,Larry, (Author)
- Format:
- Book, Whole
- Publication Date:
- 01/01; 2013
- Published:
- Lanham: Scarecrow Press
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- Surveys the origins of rock 'n' roll from the minstrel era to the emergence of Bill Haley and Elvis Presley. Dispelling common misconceptions, this book examines rock's origins in hokum songs and big-band boogies as well as Delta blues, detailing the embrace by white artists of African-American styles long before rock 'n' roll appeared. This study ranges far and wide, highlighting not only the contributions of obscure but key precursors like Hardrock Gunter and Sam Theard but also the influence of celebrity performers like Gene Autry and Ella Fitzgerald. Too often, rock historians treat the genesis of rock 'n' roll as a bolt from the blue, an overnight revolution provoked by the bland pop music that immediately preceded it and created through the white appropriation of music until then played only by and for black audiences. Here, Birnbaum argues a more complicated history of rock's evolution from a heady mix of ragtime, boogie-woogie, swing, country music, mainstream pop, and R&B—a melange of genres that influenced one another along the way, from the absorption of blues and boogies into jazz and pop to the integration of country and Caribbean music into R&B.
5. Beginning a new Cuban dream: An interview with Carlos Varela
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Cumaná,María Caridad, (Author) and Dubinsky,Karen, (Author)
- Format:
- Journal Article
- Publication Date:
- Fall; Fall-winter, 2013
- 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:
- 34(2) : 196-222
- Notes:
- 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.
6. Bloomsbury encyclopedia of popular music of the world. Volume 9, Genres, Caribbean and Latin America
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Horn,David (Editor) and Shepherd,John (Editor)
- Format:
- Book, Edited
- Publication Date:
- 2013
- Published:
- London, UK: Bloomsbury Academic
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- 704 p., Comprehensive reference to a range of musical styles, from Bailanta to Bossa Nova and from Salsa to Ska. It includes discussions on cultural, historical and geographic origins; technical musical characteristics; instrumentation and use of voice; typical features of performance and presentation; and, relationships to other genres and sub-genres.
7. Claiming Caribbeanness in the Brazilian Amazon: Lambada, critical cosmopolitanism, and the creation of an alternative Amazon
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Lamen,Darien, (Author)
- Format:
- Journal Article
- Publication Date:
- Fall; Fall-winter, 2013
- 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:
- 34(2) : 131-161
- Notes:
- Located in the eastern Brazilian Amazon roughly three hours by boat from the open Atlantic, the port city of Belém do Pará has been an important point of convergence for transnational flows of commodities, people, and culture, including a vast array of up-tempo Caribbean dance genres known locally as lambada. Since the late twentieth century, inhabitants of Belém and surrounding areas have sought to make a virtue of their liminal position between the hegemonic centers of southeastern Brazil and the circum-Caribbean. This article shows how musicians, dancers, listeners, and culture brokers draw on the local history of Caribbean cosmopolitan musicality to articulate an alternative Amazonian regional identity, one characterized by connectedness and proximity to their Caribbean neighbors rather than by isolation and provincialism. In so doing, the article contributes to the remapping of the cultural contours of Brazil, the Caribbean, the Amazon, and Latin America.
8. Cumbia music in Colombia: Origins, transformations, and evolution of a coastal music genre
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- D'Amico,Leonardo, (Author)
- Format:
- Book, Section
- Publication Date:
- 01/01; 2013
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Collected Work: Cumbia!: Scenes of a migrant Latin American music genre.Pages: 29-48.(AN: 2013-03996).
- Notes:
- The Caribbean coastal region of Colombia is called the costa, and its inhabitants are referred to as costeños. The müsica costeña (coastal music) is a product of tri-ethnic syncretic cultural traditions including Amerindian, Spanish, and African elements, a merging that begins with the colonial period and continues into the republican period on the Caribbean Coast. Traditional music from the Colombian Caribbean coast expresses its tri-ethnic costeño identity in various vocal styles and musical forms and through its types of instruments and the way they are played. This essay describes the aspects and circumstances under which cumbia, a coastal musical genre and dance form of peasant origins characterized by an African-derived style, has spread from its local origins in the valley of the Magdalena River to acquire a Colombian national identity, becoming in a few years a transnational musical phenomenon.
9. Reggae: The steady rock of black Jamaica
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Kopkind,Andrew, (Author)
- Format:
- Book, Section
- Publication Date:
- 01/01; 2013
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Collected Work: The rock history reader.Pages: 149-151.(AN: 2013-00127).
- Notes:
- Reprint of the article cited as RILM ref]2007-07178/ref].
10. Singing the city, documenting modernization: Cortijo y su combo and the insertion of the urban in 1950s Puerto Rican culture
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Esterrich,Carmelo, (Author)
- Format:
- Book, Section
- Publication Date:
- 01/01; 2013
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Collected Work: Song and social change in Latin America.Pages: 9-26.(AN: 2013-02135).
- Notes:
- The band Cortijo is contextualized within the socioeconomic changes in Puerto Rico from the late 1940s to the early 1960s as it adjusted to its new status as a commonwealth. Cortijo documents the realities of Puerto Rico's rapid urbanization and modernization at the time. The band's gritty reflections of a black, working class, urban, and marginalized population contradict the official rhetoric and imagery of an idealized rural landscape promoted by the government as the symbol of the commonwealth. Cortijo enjoyed immense popularity and visibility, despite, or perhaps because of, its critique of the euphoria of modernization and its questioning of the sociopolitical effects of internal migration that ran counter to the official stance.