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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. 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.
4. Solid foundation: An oral history of reggae
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Katz,David, (Author)
- Format:
- Book, Whole
- Publication Date:
- 01/01; 2012
- Published:
- London: Jawbone Press
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- The first edition is abstracted as RILM ref]2003-02263/ref].
5. The Clash: London calling (1979)
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Fournier,Karen, (Author)
- Format:
- Book, Section
- Publication Date:
- 01/01; 2012
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Collected Work: The album: A guide to pop music's most provocative, influential, and important creations.Vol.3: Adding punk attitude to the mix, 1974-1988.Pages: 159-164.(AN: 2012-13294).
- Notes:
- The third album by the Clash, London calling captured the zeitgeist of its time with references to various domestic and international news items that had captured the attention of Joe Strummer (née John Mellor) and Mick Jones as they composed the songs. Many seek to represent the state of Britain in the late 1970s, where an inflation rate of 25 percent and high unemployment fueled anger at the government and sparked attacks on minorities who were blamed for taking jobs that might otherwise have employed Britons. The album tackles such issues as racial disharmony, police brutality, unemployment, drug and alcohol abuse, and the sense of alienation felt by many working-class youths and contextualized these social ills in a broader international frame with references to similar political and social crises in Spain, the Caribbean, and the Middle East.
6. “Tropical mix”: Afro-Latino space and Notch’s reggaetón
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Rivera,Petra R., (Author)
- Format:
- Journal Article
- Publication Date:
- May; May, 2011
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Popular music and society
- Journal Title Details:
- 34(2) : 221-235
- Notes:
- Examines how Connecticut-born reggaetón artist Notch incorporates oratorical, visual, and musical cues in his music video, Qué te pica (What's itching you?), to establish connections between Latino and Caribbean communities in the U.S. These communities have typically been disavowed by hegemonic racial categories that distinguish between them. While Notch’s music disrupts these particular racial hierarchies, he also maintains hetero-normative patriarchal relations in his video. An analytic, Afro-Latino space is proposed to account for the ways that reggaetón as a musical genre, and Notch more specifically, unsettle certain distinctions between blackness and Latinidad, while simultaneously relying on stereotypes of black hypermasculinity.