Number of results to display per page
Search Results
12. Bachata: a Social History of Dominican Popular Music
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Pacini Hernandez,Deborah (Author)
- Format:
- Book, Whole
- Publication Date:
- January, 1995
- Published:
- Philadelphia, PA: Temple University Press
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- 267 P., Like rap in the United States, bachata began as a music of the poor and dispossessed. Originating in the shantytowns of the Dominican Republic, it reflects the social and economic dislocation of the poorest Dominicans.
13. 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.
14. 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.
15. 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.
16. Beyond the Stars and Stripes: Charting Van Dyke Parks' new world musical voyage
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Carter,Dale (Author)
- Format:
- Journal Article
- Publication Date:
- 2009
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Popular music
- Journal Title Details:
- 28(2) : 197
- Notes:
- During the early 1970s the U.S. songwriter, musician, and producer Van Dyke Parks completed work on a series of albums exploring the musical contours of the circum-Caribbean region and, through them, broader patterns and issues in 20th-century relations between the U.S. and the Caribbean.
17. 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.
18. 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.
19. Brazilian popular music and citizenship
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Avelar,Idelber, (Ed.And Intro.) and Dunn,Christopher, (Ed.And Intro.)
- Format:
- Book, Whole
- Publication Date:
- 2011
- Published:
- Durham, NC: Duke University Press
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- 376 p, Covering more than one hundred years of history, this multidisciplinary collection of essays explores the vital connections between popular music and citizenship in Brazil. While popular music has served as an effective resource for communities to stake claims to political, social, and cultural rights in Brazil, it has also been appropriated by the state in its efforts to manage and control a socially, racially, and geographically diverse nation. The question of citizenship has also been a recurrent theme in the work of many of Brazil's most important musicians. These essays explore popular music in relation to national identity, social class, racial formations, community organizing, political protest, and emergent forms of distribution and consumption.
20. Calypso Circuits: Trans-Atlantic Popular Culture and the Gendering of Black Nationalism
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Dawson,Ashley (Author)
- Format:
- Journal Article
- Publication Date:
- 2011-07
- Published:
- Routledge
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Popular Music & Society
- Journal Title Details:
- 34(3) : 277-291
- Notes:
- "This paper examines the tradition of misogynistic picong or satire in calypso songs recorded as artists moved from Trinidad to Britain during the period immediately after World War II. I argue that, while these traditions of anti-woman representation began in conflicts around race and class inequalities within Caribbean culture during the Depression, they came to take on an anti-colonial animus when translated to the mother country. Calypso singers' tales of their exploits with hapless wealthy Englishwomen thus functioned not simply to express superiority over other men from the Caribbean, but to challenge the forms of racial subordination that black male migrants encountered in Britain during the 1940s and 1950s." --The Author