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| la tradicion cubana the big one: Official Gazette of the United States Patent and Trademark Office , 1997 |
| la tradicion cubana the big one: Oye Loca Susana Peña, 2013-08-01 During only a few months in 1980, 125,000 Cubans entered the United States as part of a massive migration known as the Mariel boatlift. The images of boats of all sizes, in various conditions, filled with Cubans of all colors and ages, triggered a media storm. Fleeing Cuba’s repressive government, many homosexual men and women arrived in the United States only to face further obstacles. Deemed “undesirables” by the U.S. media, the Cuban state, and Cuban Americans already living in Miami, these new entrants marked a turning point in Miami’s Cuban American and gay histories. In Oye Loca, Susana Peña investigates a moment of cultural collision. Drawing from first-person stories of Cuban Americans as well as government documents and cultural texts from both the United States and Cuba, Peña reveals how these discussions both sensationalized and silenced the gay presence, giving way to a Cuban American gay culture. Through an examination of the diverse lives of Cuban and Cuban American gay men, we learn that Miami’s gay culture was far from homogeneous. By way of in-depth interviews, participant observation, and archival analysis, Peña shows that the men who crowded into small apartments together, bleached their hair with peroxide, wore housedresses in the street, and endured ruthless insults challenged what it meant to be Cuban in Miami. Making a critical incision through the study of heteronormativity, homosexualities, and racialization, ultimately Oye Loca illustrates how a single historical event helped shape the formation of an entire ethnic and sexual landscape. |
| la tradicion cubana the big one: The Art of the Shmooze Bret Saxon, Steve Stein, 1998 With humour and wisdom, this book shows you how to talk your way to success! Learn the right way to approach anyone and leave a good impression. Learn how to become indispensable at your job. Learn how to get people talking positively about you. Learn how to start a life-long friendship within the first few minutes after meeting anyone! Whether you are meeting someone famous, or the boss's wife, this book teaches you how to better handle that most intimate act: conversation. The authors of this book prefer to call it The Art of the Shmooze! |
| la tradicion cubana the big one: Latinization of America Eliot Tiegel, 2007-10-01 Latinization of America provides a contemporary overview of the Hispanic population’s cultural impact in the United States. The author explores the growth of this community in show business at large as well as in the Spanish-speaking entertainment industry. Focusing on music, television, film, theater, and sports—while also considering economic and political factors—the author tracks developments over the first decade of the 21st century. Encompassing the various groups of immigrants who create new vistas of opportunity for both Spanish-speaking and mainstream entrepreneurs, this volume highlights the crossover and integration of Hispanics into competitive mainstream show business—and the rush by Anglo companies to grab their piece of the Latin pie. |
| la tradicion cubana the big one: Florida Kimberly Grant, Kim Grant, Paige R. Penland, Elaine Merrill, 2003 Want to swim with dolphins, witness a space shuttle liftoff and rub shoulders with Mickey and Minnie ? Whether you seek escape or adventure, this jam-packed guide delivers the goods on the Sunshine State, from the steamy Everglades to the warm, white sands of America's best beaches. Miami essentials - deco delights, Cuban cuisine, nonstop nightclubs ; in-depth coverage of Disney World and Cher major theme parks ; the lowdown on hiking, cycling, canoeing, fishing and more ; food and lodging options to please all budgets ; 53 detailed maps, including special Miami map section. |
| la tradicion cubana the big one: Cuban Studies 39 Louis A. Perez, Jr., 2009-01-01 Cuban Studies 39 includes essays on: the recent transformation of the Cuban film animation industry; the influence of the liberal agenda of Justo Rufino Barrios on Jose Mart; a profile of the music of the Special Period and its social commentary; an in-depth examination of the contents, important themes, and enormous research potential of the Miscelnea de Expedientes collection at the Cuban National Archive; and a realistic assessment on the political future of Cuba. |
| la tradicion cubana the big one: The Chinese Trace in Cuban Literature Rogelio Rodriguez Coronel, 2024-10-30 A Chinese proverb that reminds us of this book reads: The strongest and most luxuriant tree lives from what it has underneath. Thus, Cuban culture has nourishing sources that must be fully known in order to enjoy and understand what we are. Generally, the analyses of the nation's profile pay attention to the Hispanic and African components, and the important role of the Chinese channel in our culture is often overlooked. The Chinese Trace in Cuban Literature is, without a doubt, the most notable effort so far to reveal this trace in our literature, from the 19th century to today, and in different literary genres and discursive types; as its author maintains: From the creation of novel characters designed within a reproductive realism, the assumption of signs typical of Chinese culture and thought for the shaping of the text, the treatment of historical issueseither in the evolutionary outline of a lineage or in the investigation of significant events, the incursion into this problem from generic modalities or literary renovation proposals, to the aesthetic feat of the transcoding of forms and meanings from Chinese to our language and culture. |
| la tradicion cubana the big one: Urban Space as Heritage in Late Colonial Cuba Paul Niell, 2015-05-15 According to national legend, Havana, Cuba, was founded under the shade of a ceiba tree whose branches sheltered the island's first Catholic mass and meeting of the town council (cabildo) in 1519. The founding site was first memorialized in 1754 by the erection of a baroque monument in Havana's central Plaza de Armas, which was reconfigured in 1828 by the addition of a neoclassical work, El Templete. Viewing the transformation of the Plaza de Armas from the new perspective of heritage studies, this book investigates how late colonial Cuban society narrated Havana's founding to valorize Spanish imperial power and used the monuments to underpin a local sense of place and cultural authenticity, civic achievement, and social order. Paul Niell analyzes how Cubans produced heritage at the site of the symbolic ceiba tree by endowing the collective urban space of the plaza with a cultural authority that used the past to validate various place identities in the present. Niell's close examination of the extant forms of the 1754 and 1828 civic monuments, which include academic history paintings, neoclassical architecture, and idealized sculpture in tandem with period documents and printed texts, reveals a dissonance of heritage—in other words, a lack of agreement as to the works' significance and use. He considers the implications of this dissonance with respect to a wide array of interests in late colonial Havana, showing how heritage as a dominant cultural discourse was used to manage and even disinherit certain sectors of the colonial population. |
| la tradicion cubana the big one: CMJ New Music Report , 2000-02-07 CMJ New Music Report is the primary source for exclusive charts of non-commercial and college radio airplay and independent and trend-forward retail sales. CMJ's trade publication, compiles playlists for college and non-commercial stations; often a prelude to larger success. |
| la tradicion cubana the big one: Improvising Sabor Sue Miller, 2021-02-01 Improvising Sabor: Cuban Dance Music in New York begins in 1960s New York and examines in rich detail the playing styles and international influence of important figures in US Latin music. Such innovators as José Fajardo, Johnny Pacheco, George Castro, and Eddy Zervigón dazzled the Palladium ballroom and other Latin music venues in those crucible years. Author Sue Miller focuses on the Cuban flute style in light of its transformations in the US after the 1959 revolution and within the vibrant context of 1960s New York. While much about Latin jazz and salsa has been written, this book focuses on the relatively unexplored New York charangas that were performing during the chachachá and pachanga craze of the early sixties. Indeed, many accounts cut straight from the 1950s and the mambo to the bugalú’s development in the late 1960s with little mention of the chachachá and pachanga’s popularity in the mid-twentieth century. Improvising Sabor addresses not only this lost and ignored history, but contends with issues of race, class, and identity while evaluating differences in style between players from prerevolution Cuban charangas and those of 1960s New York. Through comprehensive explorations and transcriptions of numerous musical examples as well as interviews with and commentary from Latin musicians, Improvising Sabor highlights a specific sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York. The distinctive styles generated by these musicians sparked compelling points of departure and influence. |
| la tradicion cubana the big one: Into the Mainstream Jorge Febles, 2009-03-26 Into the Mainstream: Essays on Spanish American and Latino Literature and Culture is a direct outgrowth of Jorge Febles’s involvement with the annual conference of the American Culture Association and the Popular Culture Association. In that sense, the compilation expands on a project initiated in 1993 by Helen Ryan-Ransom with her book Imagination, Emblems and Expressions: Essays on Latin American, Caribbean, and Continental Culture and Identity (Bowling Green, Ohio: Bowling Green State University Popular Press, 1993). David William Foster, who penned a lengthy preface to that collection, justified its intent by underscoring: “The very fact that our approach to culture is dominated by categories based on high, academic, institutionalized phenomena poses from the very outset the question of how to deal with all those other cultural manifestations that do not comfortably assimilate to the accepted canon” (Ryan-Ransom 3). The past fourteen years, however, have witnessed a radical transformation of that so-called canon due to the widespread acceptance of ideas espoused by cultural theorists like García Canclini, Homi Bhabba, Said, Stuart Hall, Benhabib, Bourdieu and countless others. Therefore, the ambivalence regarding what constitutes culture identified by Foster is inoperative nowadays to a substantial degree. In fact, a fundamental component of the postmodern outlook resides in the ability to blend comfortably the high and the low, the elitist and the popular realms of production in a multiplicity of textual artifacts, creative as well as critical in nature. Hence, the essays that conform Into the Mainstream do not question barriers anymore, nor do they expound on the need to assign a discursive intellectual space to matters pertaining to popular culture. Thus, this collection espouses an inclusive approach in which a variety of analytical approaches coalesce to reflect on an equally kaleidoscopic textuality. Pursuant to its comprehensive nature, Into the Mainstream airs established as well as developing critical voices so as to reflect both ideological continuity and evolving viewpoints. Scholars who have compiled strong academic records like Hortensia Morell, Raquel Rivas Rojas, Elsa Gilmore, David Petreman and Benjamín Torres Caballero share a venue with younger critics like Corey Shouse Tourino, Roberto Vela Córdova, Stacy Hoult, Eduardo del Río, Bruce Campbell, Laura Redruello, Dinora Cardoso and April Marshall, as well as with two graduate students about to complete their academic preparation: Nuria Ibáñez Quintana and María Teresa Vera Rojas. The result is an eclectic compilation meant to elicit discussion on the basis of its variety. Into the Mainstream’s primordial objective is to place these provocative essays—which are expanded versions of papers presented during the annual gathering of the American Culture Association and the Popular Culture Association in the period 2002-2005—along with the numerous subjects they treat in the academic mainstream where they rightfully belong. |
| la tradicion cubana the big one: 2002 Massimo Mastrogregori, 2011-07-11 Annually published since 1930, the International bibliography of Historical Sciences (IBOHS) is an international bibliography of the most important historical monographs and periodical articles published throughout the world, which deal with history from the earliest to the most recent times. The works are arranged systematically according to period, region or historical discipline, and within this classification alphabetically. The bibliography contains a geographical index and indexes of persons and authors. |
| la tradicion cubana the big one: Revolution of Forms John A. Loomis, 1999 A revolution of forms is a revolution of essentials.-Jos Mart, Cuban intellectual and independence leader. Although the current surge of interest in Cuba has extended to that country's architecture, few know that the most outstanding architectural achievement of the Cuban Revolution stands neglected just outside Havana. The Escuelas Nacionales de Arte (National Art Schools), constructed from 1961 to 1965, were the result of an educational program initiated by Fidel Castro and Che Guevara soon after the Revolution of 1959. The architects they commissioned created an organic complex of brick and terra-cotta Catalan vaulted structures that reflected the optimism and exuberance of the period. The schools attempted to reinvent architecture, just as the Revolution hoped to reinvent society. However, even before construction was completed, the schools fell out of official favor and were subjected to an attack that resulted in their subsequent disappearance. An ideological campaign branded them politically incorrect, a bourgeois luxury that was not in keeping with the Revolution. The buildings fell into disuse and, abandoned to the jungle, were literally overgrown. Now, almost 40 years later, Cuba is beginning to recognize and reclaim these significant works of architecture. Revolution of Forms investigates the history and politics surrounding the creation of these structures as well as their subsequent abandonment. The text is accompanied by archival photographs, plans, and images of the present condition of these structures. |
| la tradicion cubana the big one: Breaking Barriers Fla.) Museum of Art (Fort Lauderdale, Carol Damian, 1997 Selections from the Museum of Art's permanent contemporary Cuban collection. Includes information on the artists. |
| la tradicion cubana the big one: The New International Year Book Frank Moore Colby, Allen Leon Churchill, Herbert Treadwell Wade, Frank H. Vizetelly, 1926 |
| la tradicion cubana the big one: The Politics of Culture Pacific Coast Council on Latin American Studies, Robert M. Smetherman, 1977 |
| la tradicion cubana the big one: Cuba Gary Russell Libby, Juan A. Martínez, 1997-01 Richly illustrated in full color, this volume is the first to present many of the most important Cuban paintings in the collection of The Museum of Arts and Sciences in Daytona Beach--called the best of its kind by Miami El Herald editor Roberto Fabricio. It contains the work of 30 Cuban artists and includes an essay on each artist and painting that provides an aesthetic, historical, social, and cultural overview. Of particular interest to Cuban art aficionados are essays by art historians Gary Libby and Juan Martinez, who discuss the rise of a Cuban style, its flowering in the Republican Period from 1902 to 1959, and the convergence of forces that made Havana a center of New World modernism in the early 20th century. Gary Libby also discusses the development of photography as an instrument of commerce and art. |
| la tradicion cubana the big one: Cuban Zarzuela Susan Thomas, 2009 On September 29, 1927, Cuban soprano Rita Montaner walked onto the stage of Havana's Teatro Regina, her features obscured under a mask of blackened glycerin and her body clad in the tight pants, boots, and riding jacket of a coachman. Standing alongside a gilded carriage and a live horse, the blackfaced, cross-dressed actress sang the premiere of Eliseo Grenet's tango-congo, Ay Mama Ines. The crowd went wild. Montaner's performance cemented Ay Mama Ines as one of the classics in the Cuban repertoire, but more importantly, the premiere heralded the birth of the Cuban zarzuela, a new genre of music theater that over the next fifteen years transformed popular entertainment on the island. Cuban Zarzuela: Performing Race and Gender on Havana's Lyric Stage marks the first comprehensive study of the Cuban zarzuela, a Spanish-language light opera with spoken dialogue that originated in Spain but flourished in Havana during the early twentieth century. Created by musicians and managers to fill a growing demand for family entertainment, the zarzuela evidenced the emerging economic and cultural power of Cuba's white female bourgeoisie to influence the entertainment industry. Susan Thomas explores zarzuela's function as a pedagogical tool, through which composers, librettists, and business managers hoped to control their troupes and audiences by presenting desirable and problematic images of both feminine and masculine identities. Zarzuela was, Thomas explains, anti-feminist but pro-feminine, its plots focusing on female protagonists and its musical scores showcasing the female voice. Focusing on character types such as the mulata, the negrito, and the ingenue, Thomas uncovers the zarzuela's richly textured relationship to social constructs of race, class, and especially gender. |
| la tradicion cubana the big one: Tía Fortuna's New Home Ruth Behar, 2022-01-25 A poignant multicultural ode to family and what it means to create a home as one girl helps her Tía move away from her beloved Miami apartment. When Estrella's Tía Fortuna has to say goodbye to her longtime Miami apartment building, The Seaway, to move to an assisted living community, Estrella spends the day with her. Tía explains the significance of her most important possessions from both her Cuban and Jewish culture, as they learn to say goodbye together and explore a new beginning for Tía. A lyrical book about tradition, culture, and togetherness, Tía Fortuna's New Home explores Tía and Estrella's Sephardic Jewish and Cuban heritage. Through Tía's journey, Estrella will learn that as long as you have your family, home is truly where the heart is. |
| la tradicion cubana the big one: Tequesta , 1998 |
| la tradicion cubana the big one: Handbook of Latin American Studies , 1970 Contains scholarly evaluations of books and book chapters as well as conference papers and articles published worldwide in the field of Latin American studies. Covers social sciences and the humanities in alternate years. |
| la tradicion cubana the big one: Hispanic Link , 1985 |
| la tradicion cubana the big one: Island in the Light/Isla en la luz Jorge M. Perez Family Foundation, 2019-07-02 Island in the Light / Isla en la luz is a fascinating and insightful compilation that pairs contemporary Cuban visual art and literature by having 30 prominent writers respond to the works of 35 renowned artists. Contemporary Cuban art, literature, and music come together in Island in the Light / Isla en la luz. This bilingual compilation of the work of 35 artists and 30 writers began by selecting artwork by renowned artists and asking prominent writers to create original stories, poems, or essays in response. The result is a thoroughly original and captivating selection of visual arts and literature in dialogue that conveys a sense of the essence and energy of Cuban arts today. Artists represented include Tania Bruguera, Maria Magdalena Campos-Pons, Yoan Capote, Teresita Fernández, Roberto Fabelo, Carlos Garaicoa, and Enrique Martinez Celaya. Among the writers are Wendy Guerra, José Kozer, Jorge Enrique Lage, Legna Rodríguez Iglesias, Achy Obejas, Leonardo Padura, and Reina María Rodríguez. The works are drawn from the Jorge M. Pérez Art Collection; the majority have been gifted to the Pérez Art Museum Miami (PAMM), while the others are promised gifts to PAMM. The volume also includes music: Pavel Urkiza composed original scores inspired by several of the selections that readers link to through QR codes. In addition to the short stories, poems, and essays inspired by the artwork, the volume includes commentary and critical essays by Jorge M. Pérez, Carlos Garaicoa, and Wendy Guerra and Leonardo Padura. Proceeds benefit The Jorge M. Pérez Family Foundation, which will redirect the funds to arts organizations. |
| la tradicion cubana the big one: The Cuban Americans Miguel Gonzalez-Pando, 1998-04-23 Today more than one million emigrés make up the Cuban diaspora, and many, though living in America, still consider themselves part of Cuba. This book captures the struggles and dreams of Cuban Americans. Using this resource, students, teachers, and interested readers can examine the engaging and often controversial details of Cuban immigration. Such details include patterns of immigration, adaptation to American life and work, cultural traditions, religious traditions, women's roles, the family, adolescence, language, and education. Because the author is himself a Cuban American, he does not treat the emigr^D'es as mere subjects nor does he tell their story in statistical terms alone. As an insider, he delves deeply into the soul of the community to illustrate all the dimensions of the Cuban American experience. Gonzalez-Pando's unique vantage point yields not just a detailed account of major events that have influenced the development of the Cuban exile community in the United States, but also a knowledgeable interpretation of the impact of those events. He focuses on the community's self-identification as exiles, showing how these reluctant emigr^D'es have found the strength to succeed in America without surrendering their sense of national and cultural identity. A timeline of Cuban American history, biographical sketches of 20 noted Cuban Americans, a bibliography, and photos complete the text. Like its subjects, this book is thought-provoking and inspiring. |
| la tradicion cubana the big one: Challenge of a utopia Patricia Rodríguez Alomá, 1999 |
| la tradicion cubana the big one: A Guide to Caribbean Music History Robert Stevenson, 1975 |
| la tradicion cubana the big one: Cuba between Empires, 1878-1902 Louis A. Pérez Jr., 1983-06-15 Cuban independence arrived formally on May 20, 1902, with the raising of the Cuban flag in Havana - a properly orchestrated and orderly inauguration of the new republic. But something had gone awry. Republican reality fell far short of the separatist ideal. In an unusually powerful book that will appeal to the general reader as well as to the specialist, Louis A. Perez, Jr., recounts the story of the critical years when Cuba won its independence from Spain only to fall in the American orbit.The last quarter of the nineteenth century found Cuba enmeshed in a complicated colonial environment, tied to the declining Spanish empire yet economically dependent on the newly ascendant United States. Rebellion against Spain had involved two generations of Cubans in major but fruitless wars. By careful examination of the social and economic changes occurring in Cuba, and of the political content of the separatist movement, the author argues that the successful insurrection of 1895-98 was not simply the last of the New World rebellions against European colonialism. It was the first of a genre that would become increasingly familiar in the twentieth century: a guerrilla war of national liberation aspiring to the transformation of society.The third player in the drama was the United States. For almost a century, the United States had pursuedthe acquistion of Cuba. Stepping in when Spain was defeated, the Americans occupied Cuba ostensibly to prepare it for independence but instead deliberately created institutions that restored the social hierarchy and guaranteed political and economic dependence. It was not the last time the U.S. intervention would thwart the Cuban revolutionary impulse. |
| la tradicion cubana the big one: Dictionary Catalog of the History of the Americas New York Public Library. Reference Department, 1961 |
| la tradicion cubana the big one: Folklore Series Indiana University, 1963 |
| la tradicion cubana the big one: Dictionary Catalog of the History of the Americas New York Public Library. Reference Dept, 1961 |
| la tradicion cubana the big one: Review of Inter-American Bibliography , 1994 |
| la tradicion cubana the big one: Encyclopedia of Cryptozoology Michael Newton, 2016-10-05 On every continent and in every nation, animals unrecognized by modern science are reported on a daily basis. People passionately pursue these creatures--the name given to their field of study is cryptozoology. Coined in the 1950s, the term literally means the science of hidden animals. When the International Society of Cryptozoology (ISC) was formed in 1982, the founders declared that the branch of science is also concerned with the possible existence of known animals in areas where they are not supposed to occur (either now or in the past) as well as the unknown persistence of presumed extinct animals to the present time or to the recent past...what makes an animal of interest to cryptology is that it is unexpected. This reference work presents a flesh and blood view of cryptozoology. Here, 2,744 entries are listed, the majority of which each describe one specific creature or type of creature. Other entries cover 742 places where unnamed cryptids are said to appear; profiles of 77 groups and 112 individuals who have contributed to the field; descriptions of objects and events important to the subject; and essays on cryptotourism and hoaxes, for example. Appendices offer a timeline of zoological discoveries, annotated lists of movies and television series with cryptozoological themes, a list of crypto-fiction titles and a list of Internet websites devoted to cryptozoology. |
| la tradicion cubana the big one: Cuban Lives Jose I. Lasaga, 1984 Bilingual text discusses the history, culture, and famous people of Cuba from the discovery of the island by Columbus through the end of the nineteenth century. |
| la tradicion cubana the big one: Edicion Alternativa Samaniego, Fabián A. Samaniego, Fabi?n A Samaniego, Fabi N a Samaniego, 2000-05-22 |
| la tradicion cubana the big one: Archivos de arquitectura antillana , 2005 |
| la tradicion cubana the big one: A Bibliography of the Romance and Related Forms in Spanish America Merle E. Simmons, 1972 This annotated bibliography of materials on ballads of Latin America is classified by geographical areas. |
| la tradicion cubana the big one: The New International Year Book , 1926 |
| la tradicion cubana the big one: Newsletter - Cuba Resource Center Cuba Resource Center, 1972 |
| la tradicion cubana the big one: Bacardí y la larga lucha por Cuba Tom Gjelten, 2012-02-21 En 1862, Facundo Bacardí apostó por crear en Cuba una pequeña destilería de ron, una bebida que hasta entonces solo consumían marineros y obreros. Pronto el ron Bacardí se convertiría en la bebida favorita de la isla y quedaría ligado a la identidad cubana. Recorriendo la historia de la familia Bacardí, que siempre ha estado en primer plano en todos los grandes acontecimientos de la historia de Cuba ––desde la Independencia hasta el actual embargo pasando por la Revolución y Bahía de Cochinos–– Tom Gjelten ha escrito una épica narrativa que explica la Cuba moderna, sus tormentosas relaciones con Estados Unidos, la ascensión de Fidel Castro —de la que se ofrece una perspective hasta ahora desconocida— y la violenta división que sufre la nación cubana desde entonces. |
| la tradicion cubana the big one: Bibliographic Guide to Latin American Studies , 1981 |
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Los Angeles is home to renowned museums, unique hotels, diverse experiences and 75 miles of sunny coastline. The best way to discover LA is by exploring all of the vibrant multicultural …
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2 days ago · Los Angeles , city, seat of Los Angeles county, southern California, U.S. It is the second most populous city and metropolitan area (after New York City) in the United States.
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