Spaces and Places

2021 ◽  
pp. 27-53
Author(s):  
Sue Miller
Keyword(s):  
New York ◽  
Dance Music ◽  
History Of ◽  
The 1950S ◽  
Latin Music

This chapter provides a summary of the most important venues in New York where musicians have performed danzón, rhumba/son, mambo, chachachá, and pachanga. Aside the Palladium, other venues operating in the 1950s and ‘60s are examined in terms of the types of Latin music played in them, documenting the experiences of performers of Cuban dance music in The Bronx, Spanish Harlem, downtown Manhattan, Brooklyn, and the Catskills resort venues. The usual narrative of the Palladium as ‘home of the mambo’ is not negated but the narrative is expanded so that the relationships between the various performance scenes can be evaluated more fully. In the latter part of this chapter the history of the dance hall from 1947 to 1966 is examined in terms of the mambo big bands, conjuntos, and charanga bands that performed there, drawing on the perspectives of musicians who experienced live performances there.

Conclusion

2021 ◽  
pp. 221-232
Author(s):  
Sue Miller
Keyword(s):  
New York ◽  
Music Performance ◽  
Dance Music ◽  
Future Studies ◽  
History Of ◽  
Research Findings ◽  
Latin Music

In this final chapter research findings are summarized, defining a variety of distinctive New York performance aesthetics and sounds that go beyond the usual description of New York-based Latin music as being simply loud, gritty, and aggressive. Conclusions are drawn here which have implications for future studies on the history of clave-based Latin dance music, performance aesthetics, and improvisational creativity.

The ‘Brazilian Connection’ in the History of American Linguistics

1999 ◽  
Vol 26 (3) ◽  
pp. 355-382
Author(s):  
Cristina Altman
Keyword(s):  
New York ◽  
The United States ◽  
South American ◽  
Columbia University ◽  
Structural Linguistics ◽  
History Of ◽  
Roman Jakobson ◽  
The 1950S ◽  
The 1960S ◽  
The One

Summary When mention is made of Brazil in connection with American linguistics, it usually amounts to a reference to the Linguistic Circle of New York, where Roman Jakobson (1896–1982) and Claude Lévi-Strauss (b.1908), who had come from Brazil where he had done ethnological work, met and exchanged ideas. This singular event has cast a shadow on other contacts between Brazil and American linguistics, of which, the one between Jakobson and the Brazilian linguist Joaquim Mattoso Câmara (1904–1970) was much more consequential, at least as far as the implementation of structural linguistics in Brazil and in South America generally during the 1950s and the 1960s is concerned. Mattoso Câmara came to the United States and spent most of his time in New York City (September 1943 till April 1944), where he got exposure to Praguean type structuralism, notably through Jakobson’s lectures he attended at Columbia University and at the École Libre of New York, which had been established by European refugees at the time. He also participated in the first meetings of the Linguistic Circle of New York in 1943 as one of its co-founders. Following his return to Rio de Janeiro, Mattoso Câmara proposed, in 1949, as his doctoral thesis a phonemic description of Brazilian Portuguese. The work was published a few years later, in 1953. His most influential work, Princípios de Lingüística Gerai, first published in 1954, had two more revised and updated editions (1958, 1967) and served to introduce several generations of Brazilian as well as other South American students to structural linguistics during the 1950s and 1960s.

The Cul-de-Sac of Social Democracy

2018 ◽  
Author(s):  
Alan M. Wald
Keyword(s):  
New York ◽  
Social Democracy ◽  
Left Wing ◽  
Social Democratic ◽  
New York Intellectuals ◽  
The Social ◽  
History Of ◽  
Irving Howe ◽  
The 1950S ◽  
The 1960S

A history of Irving Howe and Dissent magazine is used to examine the strengths and weaknesses of the social democratic alternative that became the Left wing of the New York intellectuals during the 1950s. This is followed by an examination of the life and work of Harvey Swados, which also express the ambiguities that would render this tradition problematic during the era of new radicalization in the 1960s.

Improvising Sabor

2021 ◽  
Author(s):  
Sue Miller
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Music Performance ◽  
Music History ◽  
Dance Music ◽  
Performance Practices ◽  
Performance Culture ◽  
The Usa ◽  
Latin Music ◽  
The Rich

The term ‘salsa’ has come to stand for a particular standardized set of performance practices and the dominant narrative of its origins, particularly through the lens of the Fania Records story, has tended to over-simplify Latin music history in the USA. This book documents an understudied period of Latin music history across the divide of the Cuban Revolution of 1959 to demonstrate a wider narrative which includes the history of the influential charanga orquestas of 1960s New York. A típico aesthetic is shown to be an important one with the combination of charanga and conjunto stylings giving rise to a plurality of ensemble types, each with a distinctive sabor and varying degrees of cubanía. In this book Miller thus examines the New York contexts for Cuban dance music performance in the first part of the twentieth century before considering the mid twentieth-century developments. The text makes its argument for a distinctive New York sabor through interviews with performers and through the sensitive transcription and analysis of recordings by Orquesta Broadway, Pacheco y su Charanga, Charlie Palmieri’s Charanga Duboney, Eddie Palmieri’s La Perfecta, and Ray Barretto’s Charanga Moderna, amongst others. Analytical transcriptions of improvisations, in dialogue with musicians’ own perspectives, highlight a specific Latin music performance aesthetic or sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York.

Histórias de canções pop latinas

2021 ◽  
Vol 24 (2) ◽  
pp. 329-332
Author(s):  
Igor Moreira
Keyword(s):  
New York ◽  
Oral History ◽  
History Of ◽  
Latin Music

COBO, Leila. Decoding “Despacito”: An Oral History of Latin Music. Vintage: New York, 2021.

scholarly journals What the Progressives Had in Common

2011 ◽  
Vol 10 (3) ◽  
pp. 331-339 ◽  
Author(s):  
Glen Gendzel
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York University ◽  
Progressive Movement ◽  
Core Theme ◽  
Early Twentieth Century ◽  
Wide Range ◽  
History Of ◽  
The 1950S ◽  
The 1960S

When Professor Benjamin Parke De Witt of New York University sat down to write the first history of the progressive movement in 1915, he promised “to give form and definiteness to a movement which is, in the minds of many, confused and chaotic.” Apparently it was a fool's errand, because confusion and chaos continued to plague historians of early twentieth-century reform long after Professor De Witt laid his pen to rest. The maddening variety of reform and reformers in the early twentieth century has perpetually confounded historians' efforts to identify what, if anything, the progressives had in common. Back in the 1950s, Richard Hofstadter charitably allowed that progressives were “of two minds on many issues,” whereas Arthur Link argued that “the progressive movement never really existed” because it pursued so many “contradictory objectives.” In the 1960s, Robert Wiebe concluded that the progressives, if they constituted a movement at all, showed “little regard for consistency.” In the 1970s, Peter Filene wrote an “obituary” for progressivism by reasserting Link's claim that the movement had “never existed” because it was so divided and diffuse. In the 1980s, Daniel Rodgers tried to recast the “ideologically fluid” progressive movement as a pastiche of vaguely related rhetorical styles. By the 1990s, so many competing characterizations of progressivism had emerged that Alan Dawley wondered if “they merely cancel each other out.” In 2002, Glenda Elizabeth Gilmore declared emphatically that “historians cannot agree” on progressivism. In 2010, Walter Nugent admitted that “the movement's core theme has been hard to pin down” because progressivism had “many concerns” and “included a wide range of persons and groups.”

Neoliberal Times

2011 ◽  
Vol 35 (3) ◽  
pp. 381-422 ◽  
Author(s):  
John Krinsky
Keyword(s):  
New York ◽  
Social Power ◽  
Labor Relations ◽  
Institutional Development ◽  
Welfare States ◽  
Social Changes ◽  
Market Mechanisms ◽  
History Of ◽  
The 1950S

Recent interpretations of the neoliberal transformation of welfare states emphasize the formative role of crises in which old institutions are rolled back to make way for the “rollout” of neoliberalism’s program of austerity, markets, and privatization. Policy scholars and social historians argue, however, that major social changes combine long-term institutional development, sudden pivots, and cyclical trends. This article draws on a case study of municipal employee labor relations in New York City to examine the temporality of neoliberal transition. It acknowledges that actual neoliberalism involves a mix of policies that depart from its market-liberal ideal type and that include elements of statist, communitarian, and/or corporatist policies. Thus the article engages a puzzle: if paths to neoliberalism are not always sudden and are populated by policies that are not necessarily driven by neoliberal assumptions, how should we understand what neoliberalism is and how it develops? The article traces the history of municipal labor relations from the 1950s through the present to show that the transition to neoliberalism was characterized by the transition from a contentious corporatism that took shape in the 1950s and went through a neocorporatism forged in the fiscal crisis of the 1970s and that kept corporatist institutions in place while undermining their social power and laying the groundwork for neoliberal policies from the 1990s forward. The article shows how longer-term trajectories and shorter-term crises intertwine to produce a neoliberalism better understood as a repertoire of governance than as an undifferentiated set of policy preferences for market mechanisms.

Messy, Energetic, Intense: A Roundtable Conversation among New York's Asian American Experimental Filmmakers of the Eighties with Roddy Bogawa, Daryl Chin, Shu Lea Cheang, and Rea Tajiri

2020 ◽  
Vol 73 (3) ◽  
pp. 66-78
Author(s):  
Vince Schleitwiler ◽  
Abby Sun ◽  
Rea Tajiri
Keyword(s):  
New York ◽  
New York City ◽  
Asian American ◽  
York City ◽  
American Film ◽  
The Sixties ◽  
History Of

This roundtable grew out of conversations between filmmaker Rea Tajiri, programmer Abby Sun, and scholar Vince Schleitwiler about a misunderstood chapter in the history of Asian American film and media: New York City in the eighties, a vibrant capital of Asian American filmmaking with a distinctively experimental edge. To tell this story, Rea Tajiri contacted her artist contemporaries Shu Lea Cheang and Roddy Bogawa as well as writer and critic Daryl Chin. Daryl had been a fixture in New York City art circles since the sixties, his presence central to Asian American film from the beginning. The scope of this discussion extends loosely from the mid-seventies through the late nineties, with Tajiri, Abby Sun, and Vince Schleitwiler initiating topics, compiling responses, and finalizing its form as a collage-style conversation.

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