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| roberto sanchez cantante cubano: La música popular en Cuba Armando Ledón Sánchez, 2003 Este libro ofrece una vision condensada de la historia de la musica popular cubana desde sus origenes hasta la epoca actual. El estudio comprende el surgimiento, analisis y desarrollo de los generos que la conforman, as? como de sus mas destacados representantes, tanto autores como interpretes. El libro, que viene a llenar un vacio informativo en los estudios sobre musica cubana, sera util no solo para especialistas en el genero, sino tambien para los amantes de la musica popular en general, avidos de ampliar sus conocimientos sobre la historia musical de Cuba, un peque?o pais que tanta riqueza y diversidad ha aportado al mundo en esta esfera de la creaci?n artistica. El libro esta escrito en una forma comunicativa y de facil comprension, y pone a disposicion del lector el resultado de las consultas hechas por el autor en los libros y revistas mas importantes que han abordado esta tematica. A esto se suma el extenso archivo personal de entrevistas y testimonios que el autor posee producto de su trabajo radial vinculado a la musica, que ya sobrepasa medio siglo. Armando Ledon Sanchez es musico, locutor, actor, y escritor. Desde hace un cuarto de siglo es Director y Asesor de Programas Musicales de Radio Progreso, en La Habana, la radioemisora m's escuchada de Cuba. |
| roberto sanchez cantante cubano: Verdades, mentiras y anécdotas de las canciones Ofelia Peláez, 2002 |
| roberto sanchez cantante cubano: Diccionario enciclopédico de la música en Cuba Radamés Giro, 2007 |
| roberto sanchez cantante cubano: La radio cubana, el derecho de nacer Josefa Bracero Torres, 2024-07-25 La Radio de Cuba llega a su centenario. Sea el recuerdo para los prístinos amantes del novedoso medio, que, en su andar, dejan una profunda huella por sus aportes al surgimiento y posterior desarrollo. Esta obra trata, de forma representativa, de rendirles un modesto homenaje a los fundadores, pilares, forjadores y precursores y, mostrar a glorias de la cultura cubana, que se acercan a las puertas del arte a través de la radio cubana. |
| roberto sanchez cantante cubano: Bibliografía cubana , 1989 |
| roberto sanchez cantante cubano: Cuba internacional , 1994 |
| roberto sanchez cantante cubano: Boletín interamericano de música , 1962 |
| roberto sanchez cantante cubano: Diccionario de la música cubana Helio Orovio, 1981 |
| roberto sanchez cantante cubano: Descarga cubana Leonardo Acosta, 2000 |
| roberto sanchez cantante cubano: Por esto! , 1984 |
| roberto sanchez cantante cubano: Historia del bolero cubano, 1883-1950 Luis Antonio Bigott, 1993 |
| roberto sanchez cantante cubano: Raices del jazz latino Leonardo Acosta, 2001 El autor es un erudito en el tema, hizo parte de los jazzbands como saxofonista; a parte de músico es periodista y escritor, es por ello esta gran obra sobre la historia del jazz latino. |
| roberto sanchez cantante cubano: Golpe al corazón Carlos Ossa Coo, Carlos Joaquín Ossa, 1997 |
| roberto sanchez cantante cubano: La narrativa de Roberto Ampuero en la globalización cultural Gioconda Marún, 2006 |
| roberto sanchez cantante cubano: Mujeres en la historia de Cuba Antonio José Molina, 2004 El autor ha invertido más de 30 años en recopilar estas miles de fichas sobre mujeres cubanas que la historia no debía olvidar. Los investigadores e historiadores futuros tendrán en este libro la fuente más importante y abarcadora que se haya escrito sobre la mujer en Cuba. El autor ha utilizado como fuentes para este libro, sus investigaciones en numerosos archivos públicos y privados, periódicos, revistas, apuntes inéditos y testimonios orales. Es un libro único y seguramente uno de los aportes más valiosos a la historiografía cubana. Lo merecen, sin dudas, las mujeres cubanas que tan bellas páginas han escrito durante todo el proceso histórico de la Isla Mayor de las Antillas. Ilustrado con fotografías de mujeres cubanas. |
| roberto sanchez cantante cubano: Tiempo , 1984 |
| roberto sanchez cantante cubano: Dos gardenias para ti Carmela de León, 2003 |
| roberto sanchez cantante cubano: Negro Soy Yo Marc D. Perry, 2015-12-30 In Negro Soy Yo Marc D. Perry explores how Cuban raperos (black-identified rappers) in Havana craft notions of black Cuban identity and racial citizenship in the face of continuing racism and marginalization during an era in which the Cuban economy, society, and nationhood have been under constant flux. |
| roberto sanchez cantante cubano: Verde olivo , 1986 |
| roberto sanchez cantante cubano: Diccionario argentino de seudónimos Rubén Mario de Luca, 2008 |
| roberto sanchez cantante cubano: Heterosexual Havana Silje Lundgren, 2011 |
| roberto sanchez cantante cubano: Después de la tormenta, adiós al delito Félix Vargas Chacón, 1991 |
| roberto sanchez cantante cubano: The American Dance Band Discography 1917-1942: Arthur Lange to Bob Zurke Brian Rust, 1975 |
| roberto sanchez cantante cubano: Diccionario de la música española e hispanoamericana Emilio Casares, José López-Calo, Ismael Fernández de la Cuesta, María Luz González Peña, 1999 |
| roberto sanchez cantante cubano: Mambo Kingdom Max Salazar, Max Salazar Primero, 2002 In this collection of profiles and essays, Max Salazar, perhaps the most eminent Latin-music historian in the United States, tells the story of the music and the musicians who made it happen. |
| roberto sanchez cantante cubano: The Official Descarga.com Latin Music Guidebook Bruce Polin, 2001 |
| roberto sanchez cantante cubano: Refried Elvis Eric Zolov, 1999-07-05 This book traces the history of rock 'n' roll in Mexico and the rise of the native countercultural movement La Onda (the wave). This story frames the most significant crisis of Mexico's postrevolution period: the student-led protests in 1968 and the government-orchestrated massacre that put an end to the movement.--BOOKJACKET. |
| roberto sanchez cantante cubano: Fania All-Stars: Salsa, Inc. Tommy Muriel , 2016-08-01 Desde hace poco más de 50 años, la música afrocaribeña se conoce (¡y se baila!) en los Estados Unidos, el Caribe, Centro y Sur América y buena parte del mundo bajo un nombre tan inclusivo como controversial: SALSA. Este libro narra con detalles la historia de dos de las fuerzas principales detrás de este fenómeno. Por un lado, la FANIA ALL-STARS o Estrellas de Fania, el conglomerado de artistas que llevó la bandera salsera a través del mundo y los protagonistas principales de esta historia. Por el otro lado, Fania Records, el sello discográfico fundado por Jerry Masucci en 1964 que patentizó el género a lo largo de las siguientes dos décadas y que dio a conocer a muchos de sus más grandes nombres. Celia Cruz * Johnny Pacheco * Tito Puente * Ray Barretto * Mongo Santamaría * Eddie Palmieri * Willie Colón * Larry Harlow * Roberto Roena * Bobby Valentín * Joe Bataan * Ricardo Ray * Louie Ramírez * Nicky Marrero * Papo Lucca * Yomo Toro * Pupi Legarreta * Luis “Perico” Ortiz * Johnny Rodríguez * Barry Rogers * Orestes Vilató * Víctor Paz * Luis García * Cheo Feliciano * Ismael Rivera * Justo Betancourt * Bobby Cruz * Santos Colón * Héctor Lavoe * Ismael Miranda * Ismael Quintana * Rubén Blades * Pete “El Conde” Rodríguez * Adalberto Santiago * Chivirico Dávila * Monguito * Andy Montañez * Luigi Texidor * Héctor Casanova * Junior González * Jimmy Sabater * Cali Alemán * Juancito Torres * Reynaldo Jorge * Ray Maldonado * Bomberito Zarzuela * Lewis Kahn * Sal Cuevas * Eddie Montalvo * Nelson González * Oscar D’León * Leopoldo Pineda * Puchi Boulong * Domingo Quiñones * Wilfrido Vargas * Papo Vázquez * Alfredo De La Fe * Elías Lopés * Ed Byrne * Roberto Rodríguez * Larry Spencer * Lew Soloff * Jimmy Bosch * Isidro Infante * Ite Jerez * Jerry Medina * Tito Allen * Tito Nieves * Néstor Sánchez * Ray De La Paz * Aníbal Vázquez * Izzy Sanabria * Tite Curet Alonso ...son solo algunos de los nombres cuyas historias y música se entrelazan en este texto. Su visión, sus aciertos, sus fracasos y controversias y, sobre todo, su legado, con fotografías y discografía completa y actualizada, son plasmados en este libro por su autor Thomas Tommy Muriel, percusionista, escritor y antiguo colaborador de Fania Records entre 2006 y 2011. |
| roberto sanchez cantante cubano: Cronología del cine cubano IV (1953-1959) Arturo Agramonte, Luciano Castillo, 2022-12-07 En 1966 Arturo Agramonte publicó una preciosa Cronología del cine cubano, editada por el ICAIC, y en 2008 María Eulalia Douglas completó aquel trabajo pionero con su Catálogo del cine cubano (1897-1960), divulgado por la Cinemateca de Cuba. Y ahora, con el título de Cronología del cine cubano aparece la investigación histórica de Arturo Agramonte y Luciano Castillo, una exhaustiva indagación que desborda la modestia de su título. Nos hallamos, en efecto, ante una monumental investigación hemerográfica y archivística, insólita en el panorama de la memoria de los cines nacionales. |
| roberto sanchez cantante cubano: Cecilia Valdés or El Angel Hill Cirilo Villaverde, 2005-09-29 Cecilia Valdés is arguably the most important novel of 19th century Cuba. Originally published in New York City in 1882, Cirilo Villaverde's novel has fascinated readers inside and outside Cuba since the late 19th century. In this new English translation, a vast landscape emerges of the moral, political, and sexual depravity caused by slavery and colonialism. Set in the Havana of the 1830s, the novel introduces us to Cecilia, a beautiful light-skinned mulatta, who is being pursued by the son of a Spanish slave trader, named Leonardo. Unbeknownst to the two, they are the children of the same father. Eventually Cecilia gives in to Leonardo's advances; she becomes pregnant and gives birth to a baby girl. When Leonardo, who gets bored with Cecilia after a while, agrees to marry a white upper class woman, Cecilia vows revenge. A mulatto friend and suitor of hers kills Leonardo, and Cecilia is thrown into prison as an accessory to the crime. For the contemporary reader Helen Lane's masterful translation of Cecilia Valdés opens a new window into the intricate problems of race relations in Cuba and the Caribbean. There are the elite social circles of European and New World Whites, the rich culture of the free people of color, the class to which Cecilia herself belonged, and then the slaves, divided among themselves between those who were born in Africa and those who were born in the New World, and those who worked on the sugar plantation and those who worked in the households of the rich people in Havana. Cecilia Valdés thus presents a vast portrait of sexual, social, and racial oppression, and the lived experience of Spanish colonialism in Cuba. |
| roberto sanchez cantante cubano: Open Veins of Latin America Eduardo Galeano, 1997 [In this book, the author's] analysis of the effects and causes of capitalist underdevelopment in Latin America present [an] account of ... Latin American history. [The author] shows how foreign companies reaped huge profits through their operations in Latin America. He explains the politics of the Latin American bourgeoisies and their subservience to foreign powers, and how they interacted to create increasingly unequal capitalist societies in Latin America.-Back cover. |
| roberto sanchez cantante cubano: Voice of the Leopard Ivor L. Miller, 2010-01-06 In Voice of the Leopard: African Secret Societies and Cuba, Ivor L. Miller shows how African migrants and their political fraternities played a formative role in the history of Cuba. During the eighteenth and nineteenth centuries, no large kingdoms controlled Nigeria and Cameroon's multilingual Cross River basin. Instead, each settlement had its own lodge of the initiation society called Ékpè, or “leopard,” which was the highest indigenous authority. Ékpè lodges ruled local communities while also managing regional and long-distance trade. Cross River Africans, enslaved and forcibly brought to colonial Cuba, reorganized their Ékpè clubs covertly in Havana and Matanzas into a mutual-aid society called Abakuá, which became foundational to Cuba's urban life and music. Miller's extensive fieldwork in Cuba and West Africa documents ritual languages and practices that survived the Middle Passage and evolved into a unifying charter for transplanted slaves and their successors. To gain deeper understanding of the material, Miller underwent Ékpè initiation rites in Nigeria after ten years' collaboration with Abakuá initiates in Cuba and the United States. He argues that Cuban music, art, and even politics rely on complexities of these African-inspired codes of conduct and leadership. Voice of the Leopard is an unprecedented tracing of an African title-society to its Caribbean incarnation, which has deeply influenced Cuba's creative energy and popular consciousness. |
| roberto sanchez cantante cubano: The City of Musical Memory Lise A. Waxer, 2012-01-01 Winner of the ASCAP Deems Taylor Award for Popular Music Books (2002) Winner of the Society for Ethnomusicology's (SEM) Alan P. Merriam Prize (2003) Salsa is a popular dance music developed by Puerto Ricans in New York City during the 1960s and 70s, based on Afro-Cuban forms. By the 1980s, the Colombian metropolis of Cali emerged on the global stage as an important center for salsa consumption and performance. Despite their geographic distance from the Caribbean and from Hispanic Caribbean migrants in New York City, Caleños (people from Cali) claim unity with Cubans, Puerto Ricans and New York Latinos by virtue of their having adopted salsa as their own. The City of Musical Memory explores this local adoption of salsa and its Afro-Caribbean antecedents in relation to national and regional musical styles, shedding light on salsa's spread to other Latin American cities. Cali's case disputes the prevalent academic notion that live music is more real or authentic than its recorded versions, since in this city salsa recordings were until recently much more important than musicians themselves, and continued to be influential in the live scene. This book makes valuable contributions to ongoing discussions about the place of technology in music culture and the complex negotiations of local and transnational cultural identities. |
| roberto sanchez cantante cubano: Negro Musicians and their Music Maud Cuney-Hare, 2020-09-28 In offering this study of Negro music, I do so with the admission that there is no consistent development as found in national schools of music. The Negro, a musical force, through his own distinct racial characteristics has made an artistic contribution which is racial but not yet national. Rather has the influence of musical stylistic traits termed Negro, spread over many nations wherever the colonies of the New World have become homes of Negro people. These expressions in melody and rhythm have been a compelling force in American music Ð tragic and joyful in emotion, pathetic and ludicrous in melody, primitive and barbaric in rhythm. The welding of these expressions has brought about a harmonic effect which is now influencing thoughtful musicians throughout the world. At present there is evidenced a new movement far from academic, which plays an important technical part in the music of this and other lands. The question as to whether there exists a pure Negro art in America is warmly debated. Many Negroes as well as Anglo-Americans admit that the so-called American Negro is no longer an African Negro. Apart from the fusion of blood he has for centuries been moved by the same stimuli which have affected all citizens of the United States. They argue rightly that he is a product of a vital American civilization with all its daring, its progress, its ruthlessness, and unlovely speed. As an integral part of the nation, the Negro is influenced by like social environment and governed by the same political institutions; thus page vi we may expect the ultimate result of his musical endeavors to be an art-music which embodies national characteristics exercised upon by his soul's expression. In the field of composition, the early sporadic efforts by people of African descent, while not without historic importance, have been succeeded by contributions from a rising group of talented composers of color who are beginning to find a listening public. The tendency of this music is toward the development of an American symphonic, operatic and ballet school led for the moment by a few lone Negro musicians of vision and high ideals. The story of those working toward this end is herein treated. Facts for this volume have been obtained from educated African scholars with whom the author sought acquaintanceship and from printed sources found in the Boston Public Library, the New York Public Library and the Music Division of the Library of Congress. The author has also had access to rare collections and private libraries which include her own. Folk material has been gathered in personal travel. |
| roberto sanchez cantante cubano: Loving Che Ana Menéndez, 2007-12-01 In this “evocative first novel,” an elderly woman looks back on the world of revolutionary Cuba as she recalls her intimate, secret love affair with Ernesto “Che” Guevara (Publishers Weekly). A young Cuban woman has been searching in vain for details of her birth mother. All she knows of her past is that her grandfather fled the turbulent Havana of the 1960s for Miami with her in tow, and that pinned to her sweater—possibly by her mother—were a few treasured lines of a Pablo Neruda poem. These facts remain her only tenuous links to her history, until a mysterious parcel arrives in the mail. Inside the soft, worn box are layers of writings and photographs. Fitting these pieces together with insights she gleans from several trips back to Havana, the daughter reconstructs a life of her mother, her youthful affair with the dashing, charismatic Che Guevara and the child she bore by the enigmatic rebel. Loving Che is a brilliant recapturing of revolutionary Cuba, the changing social mores, the hopes and disappointments, the excitement and terror of the times. It is also an erotic fantasy, a glimpse into the private life of a mythic public figure, and an exquisitely crafted meditation on memory, history, and storytelling. Finally, Loving Che is a triumphant unveiling of how the stories we tell about others ultimately become the story of ourselves. “A moving novel from a writer to watch.” —Publishers Weekly “Inventive and hypnotic . . . [An] artful and restless examination of the exile soul.” —Los Angeles Times “[Menendez] captures Cuba’s potential, its desperation and decay, and also its dark humor.” —The New York Times “The writing is consistently beautiful. Highly recommended.” —Library Journal |
| roberto sanchez cantante cubano: Cronología del cine cubano III (1945-1952) Arturo Agramonte, Luciano Castillo, 2022-12-07 En 1966 Arturo Agramonte publicó una preciosa Cronología del cine cubano, editada por el ICAIC, y en 2008 María Eulalia Douglas completó aquel trabajo pionero con su Catálogo del cine cubano (1897-1960), divulgado por la Cinemateca de Cuba. Y ahora, con el título de Cronología del cine cubano aparece la investigación histórica de Arturo Agramonte y Luciano Castillo, una exhaustiva indagación que desborda la modestia de su título. Nos hallamos, en efecto, ante una monumental investigación hemerográfica y archivística, insólita en el panorama de la memoria de los cines nacionales. |
| roberto sanchez cantante cubano: Encuentro de la cultura cubana , 2003 |
| roberto sanchez cantante cubano: The Worlds of Langston Hughes Vera M. Kutzinski, 2012-10-15 The poet Langston Hughes was a tireless world traveler and a prolific translator, editor, and marketer. Translations of his own writings traveled even more widely than he did, earning him adulation throughout Europe, Asia, and especially the Americas. In The Worlds of Langston Hughes, Vera Kutzinski contends that, for writers who are part of the African diaspora, translation is more than just a literary practice: it is a fact of life and a way of thinking. Focusing on Hughes's autobiographies, translations of his poetry, his own translations, and the political lyrics that brought him to the attention of the infamous McCarthy Committee, she shows that translating and being translated—and often mistranslated—are as vital to Hughes's own poetics as they are to understanding the historical network of cultural relations known as literary modernism.As Kutzinski maps the trajectory of Hughes's writings across Europe and the Americas, we see the remarkable extent to which the translations of his poetry were in conversation with the work of other modernist writers. Kutzinski spotlights cities whose role as meeting places for modernists from all over the world has yet to be fully explored: Madrid, Havana, Buenos Aires, Mexico City, and of course Harlem. The result is a fresh look at Hughes, not as a solitary author who wrote in a single language, but as an international figure at the heart of a global intellectual and artistic formation. |
| roberto sanchez cantante cubano: Los campeones del ritmo Gaspar Marrero Pérez-Urría, 2014-01-01 Los campeones del ritmo. Memorias del Conjunto Casino aborda el devenir de una de las agrupaciones más trascendentes de la música popular cubana del siglo XX desde su fundación hasta la muerte de su director Roberto Espí. A partir de la discografía, la información testimonial y el enfoque historiográfico, el autor reconstruye el panorama musical del período y ofrece datos invaluables acerca de la transformación de los formatos instrumentales soneros, desde el sexteto hasta el conjunto. Se trata de otro texto que contribuye a la desmitificación de presuntas verdades absolutas que persisten en el ámbito musical cubano y foráneo, no solo con la información factual sino con la valoración necesaria para entender tan complejos procesos. |
| roberto sanchez cantante cubano: Arsenio Rodríguez and the Transnational Flows of Latin Popular Music David Garcia, 2011-02-07 Arsenio Rodríguez was one of the most important Cuban musicians of the twentieth century. In this first scholarly study, ethnomusicologist David F. García examines Rodríguez's life, including the conjunto musical combo he led and the highly influential son montuno style of music he created in the 1940s. García recounts Rodríguez's battle for recognition at the height of mambo mania in New York City and the significance of his music in the development of salsa. With firsthand accounts from relatives and fellow musicians, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music follows Rodríguez's fortunes on several continents, speculating on why he never enjoyed wide commercial success despite the importance of his music. García focuses on the roles that race, identity, and politics played in shaping Rodríguez's music and the trajectory of his musical career. His transnational perspective has important implications for Latin American and popular music studies. |
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