Conclusion

2021 ◽  
pp. 221-232
Author(s):  
Sue Miller

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.

Author(s):  
Sue Miller

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.


2021 ◽  
pp. 27-53
Author(s):  
Sue Miller

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.


Popular Music ◽  
2000 ◽  
Vol 19 (1) ◽  
pp. 31-49 ◽  
Author(s):  
Shane Homan

In a tiny inner city pubThe amps were getting stackedLeads were getting wound upIt was full of pissed Anzacs‘Got no more gigs for Tuesday nights’ said the barman to the star,‘We're putting pokies in the lounge and strippers in the bar’The star, he raised his fingers and said ‘fuck this fucking hole’But to his roadie said ‘it's the death of rock and roll’‘There ain't no single place left to play amplified guitarEvery place is servin' long blacks if they're not already tapas bars(TISM (This Is Serious Mum), ‘The Last Australian Guitar Hero’, 1998)Introduction: local music-makingA number of recent studies have focused upon the places and spaces of popular music performance. In particular, analyses of British live music contexts have examined the role of urban landscapes in facilitating production/consumption environments. Building upon Simon Frith's (1983) initial exploration of the synthesis of leisure/work ideologies and popular music, Ruth Finnegan's detailed examination of amateur music practices in Milton Keynes (1989) and Sara Cohen's account of the Liverpool scene (1991) reveal the benefits of engaging in detailed micro-studies of the local. Paul Chevigny's history of the governance of New York City jazz venues (1991) similarly provides a rich insight into performance contexts and the importance of hitherto unnoticed city ordinances in influencing the production of live music.


2021 ◽  
pp. 54-76
Author(s):  
Sue Miller

This chapter examines the different manifestations of mambo in Havana and New York to demonstrate the musical connections between the big bands, son conjuntos, and charangas across three decades of regular Cuban dance music performance. The Palladium, in addition to the music venues in the Bronx, provided various opportunities for New York-based musicians to create their own versions of Cuban dance music. Recordings by mambo big bands are analyzed alongside Arsenio Rodríguez’s mambo diablos and Antonio Arcaño’s charanga composition “Mambo” to outline the historic connections between these formats.


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

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


2001 ◽  
Vol 10 (3) ◽  
pp. 351-353
Author(s):  
Elisa J. Gordon

A history of injustices to diverse groups of human subjects in medical research has resulted in concerted efforts by U.S. policymakers in the second half of the twentieth century to provide greater protection for future subjects. However, in the context of patient populations demanding better therapies, potential medical advances, and greater attention to issues of social justice, Kahn, Mastroianni, and Sugarman set out to reconceptualize the principle of justice in human subjects research to address these urgent concerns. In Beyond Consent, Kahn and colleagues advance a framework of justice in terms of access to participation in research, instead of protection. Their worthy cause, developed out of collaboration on the White House Advisory Committee on Human Radiation Experiments, aims to demonstrate how previously unaddressed notions of justice now require greater consideration in research. Specifically, they emphasize how fairness requires a greater distribution of risks and benefits, and that “equals should be treated equally.” The volume does not report new research findings but rather draws on multidisciplinary approaches, including law, medicine, philosophy, history, and health policy, to argue that justice must go beyond informed consent. The editors posit that this challenge to protectionism is necessary given the heightened urgency for patients to benefit from investigational therapies although they incur increased risks.


2021 ◽  
Vol 22 (1) ◽  
Author(s):  
Nabil Serrano ◽  
Marc Kissling ◽  
Hannah Krafft ◽  
Karl Link ◽  
Oliver Ullrich ◽  
...  

Abstract Background For optimal prosthetic anchoring in omarthritis surgery, a differentiated knowledge on the mineralisation distribution of the glenoid is important. However, database on the mineralisation of diseased joints and potential relations with glenoid angles is limited. Methods Shoulder specimens from ten female and nine male body donors with an average age of 81.5 years were investigated. Using 3D-CT-multiplanar reconstruction, glenoid inclination and retroversion angles were measured, and osteoarthritis signs graded. Computed Tomography-Osteoabsorptiometry (CT-OAM) is an established method to determine the subchondral bone plate mineralisation, which has been demonstrated to serve as marker for the long-term loading history of joints. Based on mineralisation distribution mappings of healthy shoulder specimens, physiological and different CT-OAM patterns were compared with glenoid angles. Results Osteoarthritis grades were 0-I in 52.6% of the 3D-CT-scans, grades II-III in 34.3%, and grade IV in 13.2%, with in females twice as frequently (45%) higher grades (III, IV) than in males (22%, III). The average inclination angle was 8.4°. In glenoids with inclination ≤10°, mineralisation was predominantly centrally distributed and tended to shift more cranially when the inclination raised to > 10°. The average retroversion angle was − 5.2°. A dorsally enhanced mineralisation distribution was found in glenoids with versions from − 15.9° to + 1.7°. A predominantly centrally distributed mineralisation was accompanied by a narrower range of retroversion angles between − 10° to − 0.4°. Conclusions This study is one of the first to combine CT-based analyses of glenoid angles and mineralisation distribution in an elderly population. The data set is limited to 19 individuals, however, indicates that superior inclination between 0° and 10°-15°, and dorsal version ranging between − 9° to − 3° may be predominantly associated with anterior and central mineralisation patterns previously classified as physiological for the shoulder joint. The current basic research findings may serve as basic data set for future studies addressing the glenoid geometry for treatment planning in omarthritis.


2021 ◽  
pp. 3-26
Author(s):  
Sue Miller

This chapter offers an overview of the book’s content, terms, and the author’s methods of research and analysis. Central to this research is an examination of “Latin” performance aesthetics using the Cuban charanga format (flute, violins, timbales, congas, güiro, piano, bass, and vocals), as the main case study. Here the concept of sabor in performance is explored and interrogated and the book’s main themes are therefore sabor, cubanía, and Cuban dance music performance aesthetics in the context of New York. The introduction concludes with a chapter outline. Some chapters in the book provide historical and ethnographic detail and a focus on musical arrangement, style, and performance aesthetics; others draw on these contextual and stylistic matters to inform more detailed musical analysis of improvised solos.


1988 ◽  
Vol 18 (4) ◽  
pp. 547-560 ◽  
Author(s):  
James A. Inciardi

The theory of civil commitment holds that while some drug users are motivated for treatment, most are not. For these, there must be some lever for diverting them into treatment. The New York experience with compulsory treatment is especially interesting, and much of what happened was never reported in the literature. The New York Parole Project was deemed a success, but for a variety of reasons the data on which the Program was evaluated were tainted. New York's Narcotic Addiction Control Commission (NACC), reportedly the largest and costliest civil commitment program in history was doomed to failure from its inception because of mismanagement and misrepresentation. First, it was founded, in part, on biased research findings. Second, its treatment facilities were former prisons having general environments that were unconducive to behavioral change. Third, treatment facility directors were for the most part political appointees with little or no administrative and/or clinical experience. Fourth, NACC's aftercare program was incapable of influencing or controlling the behavior of its charges. Finally, NACC lost public support through a number of Watergate-like coverups.


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