In this hour-long documentary, our star, the charismatic Lalo Izquierdo (master dancer, percussionist, choreographer, and folklorist of his Afro-Peruvian community), leads us on a journey of discovery of a little-known community with strong parallels to African Americans. Ably supported by the group “de Rompe y Raja,” the performance, Izquierdo's interviews, demonstrations of percussion instruments, on-location footage, plus the host's narrative explore the music, dance and culture of Peruvians of African descent, as well as their music's links to Latin jazz.. Filmed in Peru and the United States.
Winner of the IASPM's Woody Guthrie Award (2007) In the late 1950s to 1970s, an Afro-Peruvian revival brought the forgotten music and dances of Peru's African musical heritage to Lima's theatrical stages. The revival conjured newly imagined links to the past in order to celebrate—and to some extent recreate—Black culture in Peru. In this groundbreaking study of the Afro-Peruvian revival and its aftermath, Heidi Carolyn Feldman reveals how Afro-Peruvian artists remapped blackness from the perspective of the "Black Pacific," a marginalized group of African diasporic communities along Latin America's Pacific coast. Feldman's "ethnography of remembering" traces the memory projects of charismatic Afro-Peruvian revival artists and companies, including José Durand, Nicomedes and Victoria Santa Cruz, and Perú Negro, culminating with Susana Baca's entry onto the global world music stage in the 1990s. Readers will learn how Afro-Peruvian music and dance genres, although recreated in the revival to symbolize the ancient and forgotten past, express competing modern beliefs regarding what constitutes "Black Rhythms of Peru."
One of the feature stories of the Cthulhu Mythos, "The Shadow Out of Time" is the tale of a professor of political economics that is thrown into a mind-shattering journey through time and space, while his body is held hostage by an alien mind. Horrified and panic-stricken by the implications of his experiences, he hopes against all reason and evidence that he has merely lost his mind.
Musician, composer, producer: Brian Eno is unique in contemporary music. Best known in recent years for producing U2's sensational albums, Eno began his career as a synthesizer player for Roxy Music. He has since released many solo albums, both rock and ambient, written music for film and television soundtracks, and collaborated with David Bowie, David Byrne, Robert Fripp, and classical and experimental composers. His pioneering ambient sound has been enormously influential, and without him today's rock would have a decidedly different sound. Drawing on Eno's own words to examine his influences and ideas, this book—featuring a new afterword and an updated discography and bibliography—will long remain provocative and definitive.
Bestselling author Barbara Kingsolver returns with her first nonfiction narrative that will open your eyes in a hundred new ways to an old truth: You are what you eat. "As the U.S. population made an unprecedented mad dash for the Sun Belt, one carload of us paddled against the tide, heading for the Promised Land where water falls from the sky and green stuff grows all around. We were about to begin the adventure of realigning our lives with our food chain. "Naturally, our first stop was to buy junk food and fossil fuel. . . ." Hang on for the ride: With characteristic poetry and pluck, Barbara Kingsolver and her family sweep readers along on their journey away from the industrial-food pipeline to a rural life in which they vow to buy only food raised in their own neighborhood, grow it themselves, or learn to live without it. Their good-humored search yields surprising discoveries about turkey sex life and overly zealous zucchini plants, en route to a food culture that's better for the neighborhood and also better on the table. Part memoir, part journalistic investigation, Animal, Vegetable, Miracle makes a passionate case for putting the kitchen back at the center of family life and diversified farms at the center of the American diet. "This is the story of a year in which we made every attempt to feed ourselves animals and vegetables whose provenance we really knew . . . and of how our family was changed by our first year of deliberately eating food produced from the same place where we worked, went to school, loved our neighbors, drank the water, and breathed the air." Includes an excerpt from Flight Behavior.
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.
