Willy Chirino - Pandora We're having trouble loading Pandora Try refreshing this page. If that doesn't work, please visit our help page. Find great deals for Son del Alma by Willy Chirino (CD, Oct-2004, Latinum/Sony). Shop with confidence on eBay! Willy Chirino, one of the architects of the “Miami Sound,” fused salsa. He has since released more than 25 albums, including Son del Alma in 2006.

1. Grammy Award For Best Salsa/Merengue Album
2. Del Alma Durango

Lo que sigue es un 'estudio' maniguero sobre la transicion del poder politico en cuba y sus principales protagonistas, segun el historiador e investigador pedro roig del instituto de estudios cubanos y cubanoamericanos. Lamentable es una palabra benigna para calificar este mejunje con ropaje akademico que como diria un marxista clasico, no trasciende la escenografia de la puesta en escena para revelar el contenido y las esencias del sistema de dominio politico y control social que constituye el neocastrismo. Para 'fundamentar' su hipotesis, el autor se saca de la chistera una listica de la genetica del privilegio donde con la excepcion de alejandro castro espin y luis alberto lopez-callejas, los 6-7 restantes son desechables en cualquier momento.

La hipotesis de la herencia privilegiada o el reciclaje en el poder de los hijos de los papas, se desmorona cuando no se puede ni armar un piten de 4 esquinas. Por otro lado, si la fuente suprema del poder ha emanado siempre -y continua siendolo de alguna manera- de punto cero, como explica el ilustrado que los hijitos del moringuero en jefe no se encuentren debidamente insertados en los primeros mandos militares o al menos en el buro politico? Amor a cuba expresado con frescura y profundidad trae el excelente el trabajo de mandy, porque armando navarro vega es mandy.

Aquel contemporaneo de la facultad de economia de la 2da mitad de la decada del 70 que era la antitesis del hombre nuevo marcial, atletico, obediente y simulador como todavia quedan unos pocos empecinados oportunistas de aquella generacion, y que se acentuaba particularmente en aquella catedra militar universitaria. Mandy se gastaba un bigotico negro detras del cual salian disparadas como dardos sus ironicos y en ocasiones cinicos capsulados comentarios. Sus espejuelos de miope eterno, no podian ocultar a un observador atento, lo incisivo de su mirada. Muchos se sorprendieron cuando se inserto en el claustro de profesores de la facultad, yo realmente me alegre, pues desde siempre intui que alli habia al menos un reformista inteligente.

Hay muchas cosas a subrayar en el prolifico texto pero me limitare solo a alguna de ellas:. ante todo el autor demuestra y emplea brillantemente pero sin petulancia un no comun -incluso a nivel de academicos y especialistas- dominio de la situacion interna de cuba, de las relaciones y estructura del poder, de los sujetos politicos implicados directa o indirectamente y de los contextos foraneos que influyen en la dinamica cubana; asi como de los procesos transicionales que sirven de referencia historico-conceptual. Asimismo recrea con maestria la frustracion de la nacion en una vivida diseccion de la sicologia social de todos los estratos de la sociedad cubana.

se aprecia una notable maestria en el discurso que permite articular lo conceptual y lo concreto de manera elegante, profesional, rigurosa pero accesible tanto para expertos como para neofitos. Hay dominio relevante de las claves del texto ensayistico sin atribular al lector promedio sino compulsandolo a continuar la reflexion comun. en particular me llamo la atencion el dialogo que sostiene con los lectores donde se citan escenarios y hechos muchos de los cuales habia olvidado y que demuestran que el autor es ademas de un criollisimo cubano un habanero rellollo sin cortapisas.

Y lo subrayo, porque ello forma parte de la memoria historica en proceso de extincion por muerte forzada, compulsada por el regimen y por via natural y, por consiguiente, requiere ser rescatada tanto para las nuevas generaciones, como para la historia en tanto parte cultural intrinseca de la nacion. ciertamente hay cosas que hubiera deseado se le dedicara una mayor espacio conceptual como el propio asunto de la pobreza estructural, en tanto mecanismo de coercion y control social, pero quizas sea solo porque yo alguna vez trate el tema. Un par de cosas: de los recesos de las catedras militares habia percibido que mandy poseia un humor refinado y ello se percibe en su escritura y me parece excelente.

Pero creo que hay algo que quizas no haya interiorizado el autor y que percibi nada mas que empece a leer el libro: mandy es un novelista. Ahi, en esa recreacion maravillosa pero dramatica que brota de los mas intimos reconditos de su memoria en centro habana hay una novela.

El drama de una nacion subyugada y secuestrada por mas de 55 anos por un clan en franco proceso neocastrista y sucesorio.

. The music of Cuba, including its instruments, performance and dance, comprises a large set of unique traditions influenced mostly by west African and European (especially Spanish) music. Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional musics of the world. For instance, the merges an adapted Spanish guitar (tres), melody, harmony, and lyrical traditions with Afro-Cuban percussion and rhythms. Almost nothing remains of the original native traditions, since the native population was exterminated in the 16th century. Since the 19th century Cuban music has been hugely popular and influential throughout the world. It has been perhaps the most popular form of regional music since the introduction of recording technology.

Cuban music has contributed to the development of a wide variety of genre and musical styles around the globe, most notably in, the, and. Examples include, many West African re-adaptations of Afro-Cuban music (, ), Spanish fusion genres (notably with ), and a wide variety of genres in Latin America. Contents. Overview Large numbers of African slaves and European, mostly Spanish, immigrants came to and brought their own forms of music to the island. European dances and folk musics included, and. Later, northern European forms like, and the appeared among urban whites. There was also an immigration of Chinese laborers later in the 19th century.

Ancient print of colonial Havana, the first great Cuban folklorist, described Cuba's musical innovations as arising from the interplay ('transculturation') between African slaves settled on large and Spaniards from different regions such as Andalusia and. The African slaves and their descendants made many percussion instruments and preserved rhythms they had known in their homeland. The most important instruments were the drums, of which there were originally about fifty different types; today only the, and drums are regularly seen (the are descended from kettle drums in Spanish military bands). Also important are the, two short hardwood batons, and the, a wooden box, originally made from crates. Claves are still used often, and wooden boxes ( cajones) were widely used during periods when the drum was banned. In addition, there are other percussion instruments in use for African-origin religious ceremonies.

Chinese immigrants contributed the (Chinese cornet), a still played in the, or groups, of. The great instrumental contribution of the Spanish was their, but even more important was the tradition of European and techniques of. Hernando de la Parra's archives give some of our earliest available information on Cuban music. He reported instruments including the, and. There were few professional musicians at the time, and fewer still of their songs survive.

One of the earliest is Ma Teodora, supposed to be related to a freed slave, of Santiago de Cuba, who was famous for her compositions. The piece is said to be similar to 16th-, 17th- and 18th-century Spanish popular songs and dances. Cuban music has its principal roots in Spain and West Africa, but over time has been influenced by diverse genres from different countries. Important among these are France (and its colonies in the Americas), and the United States. Cuban music has been immensely influential in other countries.

It contributed not only to the development of and, but also to the Argentine, Ghanaian, West African, Dominican and, Colombian and Spanish Nuevo and to the Arabo-Cuban music developed by in the 1990s. The African beliefs and practices certainly influenced Cuba's music. Polyrhythmic is an inherent part of African music, as melody is part of European music. Also, in African tradition, percussion is always joined to song and dance, and to a particular social setting. The result of the meeting of European and African cultures is that most Cuban popular music is creolized. This creolization of Cuban life has been happening for a long time, and by the 20th century, elements of African belief, music and dance were well integrated into popular and folk forms. 18th and 19th centuries.

Grammy Award For Best Salsa/Merengue Album

Main article: A genre of Cuban song similar to the and the Criolla. It contains bucolic countryside lyrics, similar to poetry. Its music shows a mixture of 6/8 and 3/4 rhythms. According to, its first section is usually presented in a minor key, and its second section in its direct major relative key. The term Guajira is now used mostly to describe a slow dance music in 4/4 time, a fusion of the and the (called Guajira-Son).

Singer and guitarist was the most outstanding representative of this genre. 3-2 clave and 2-3 clave written in cut-time The clave pattern is used as a tool for organization in Afro-Cuban music, such as, conga de, and.

The five-stroke clave pattern (distributed in groups of 3 + 2 or 2 + 3 beats) represents the structural core of many Afro-Cuban rhythms. Just as a holds an in place, the clave pattern holds the rhythm together in Afro-Cuban music. The clave pattern originated in, where it serves essentially the same function as it does in Cuba. The pattern is also found in the musics of and Afro. The clave pattern is used in North as a rhythmic or, or simply a form of rhythmic decoration. Cuban Carnival.

Adolfo Colombo From the 18th century (at least) to modern times, popular theatrical formats used, and gave rise to, music and dance. Many famous composers and musicians had their careers launched in the theatres, and many famous compositions got their first airing on the stage. In addition to staging some European operas and operettas, Cuban composers gradually developed ideas that better suited their audience. Was to be the couduit for Cuban music to reach the world. The most recorded artist in Cuba up to 1925 was a singer at the Alhambra,. Records show he recorded about 350 numbers between 1906 and 1917.

The first theatre in Havana opened in 1776. The first Cuban-composed appeared in 1807. Was hugely important in the 19th century and the first half of the 20th century; its significance only began to wane with the change in political and social weather in the second part of the 20th century. Radio, which began in Cuba in 1922, helped the growth of popular music because it provided publicity and a new source of income for the artists. Zarzuela.

Main article: Coros de Clave were popular choral groups that emerged at the beginning of the 20th century in Havana and other Cuban cities. The Cuban government only allowed black people, slaves or free, to cultivate their cultural traditions within the boundaries of certain mutual aid societies, which were founded during the 16th century. According to David H. Brown, those societies, called Cabildos, 'provided in times of sickness and death, held masses for deceased members, collected funds to buy nation-brethren out of slavery, held regular dances and diversions on Sundays and feast days, and sponsored religious masses, processions and dancing carnival groups (now called comparsas) around the annual cycle of Catholic festival days.' Within the Cabildos of certain neighborhoods from Havana, and, some choral groups were founded during the 19th century that organized competitive activities, and in some occasions were visited by local authorities and neighbors that gave them money and presents. Those choral societies were called Coros de Clave, probably after the instrument that used to accompany their performances, the Cuban.

The accompaniment of the choirs also included a and the percussion was executed over the sound box of an American banjo from which the strings were removed, due to the fact that African drums performance was strictly forbidden in Cuban cities. The style of the Coros de Clave music, and particulally its rhythm, originated at a later time a popular song genre called Clave, which most probable served as the original prototype for the creation of the Criolla genre. Both genres, the Clave and the Criolla became very popular within the Cuban vernacular theater repertoire.

Del Alma Durango

Rural rumba. Tropicana stage The triumph of the in 1959 signalled the emigration of many musicians to, and, and in Cuba artists and their work came under the protection (and control) of the Socialist state, and the monopoly state-owned recording company. The Castro government abolished copyright laws in Cuba, closed many of the venues where popular music used to be played (e.g. Night clubs), and so indirectly threw many musicians out of work. P202 This undoubtedly had deleterious effects on the evolution of popular music and dance.