The Tide Was Always High : The Music of Latin America in Los Angeles
معرفی کتاب «The Tide Was Always High : The Music of Latin America in Los Angeles» نوشتهٔ Josh Kun; Pacific Standard Time: LA/LA (Project)، منتشرشده توسط نشر University of California Press در سال 2019. این کتاب در 9 صفحه، فرمت epub، زبان انگلیسی ارائه شده است.
In 1980, the celebrated new wave band Blondie headed to Los Angeles to record a new album and along with it, the cover song "The Tide Is High," originally written by Jamaican legend John Holt. Featuring percussion by Peruvian drummer and veteran LA session musician "Alex" Acuña, and with horns and violins that were pure LA mariachi by way of Mexico, "The Tide Is High" demonstrates just one of the ways in which Los Angeles and the music of Latin America have been intertwined since the birth of the city in the eighteenth century. The Tide Was Always High gathers together essays, interviews, and analysis from leading academics, artists, journalists, and iconic Latin American musicians to explore the vibrant connections between Los Angeles and Latin America. Published in conjunction with the Getty's Pacific Standard Time: LA/LA , the book shows how Latin American musicians and music have helped shape the city's culture—from Hollywood film sets to recording studios, from vaudeville theaters to Sunset Strip nightclubs, and from Carmen Miranda to Pérez Prado and Juan García Esquivel. A Collection Of Essays, Interviews, And Scholarship Exploring The Often Overlooked History Of Latin American Musicians And Music In The Shaping Of Los Angeles. Featuring A Mix Of Academics, Musicians, And Journalists, The Book Listens To The Vibrant Latin American Soundtracks Of Los Angeles, From Hollywood Film Sets To Recording Studios, From Vaudeville Theaters To Sunset Strip Nightclubs, And From Carmen Miranda To Perez Prado And Juan Garcia Esquivel.--provided By Publisher. Mexican Musical Theater And Movie Palaces In Downtown Los Angeles Before 1950 / By John Koegel -- Rumba Emissaries / By Alexandra T. Vazquez -- Doing The Samba On Sunset Boulevard : Carmen Miranda And The Hollywoodization Of Latin Music / By Walter Aaron Clark -- Walt Disney's Saludos Amigos : Hollywood And The Propaganda Of Authenticity / By Carol Hess -- A Century Of Latin Music At The Hollywood Bowl / By Agustin Gurza -- Voice Of The Xtabay, And Bullock's Wilshire : Hearing Yma Sumac From Southern California / By Carolina Miranda -- Musical Anthropology : A Conversation With Elisabeth Waldo / By Gabriel Reyes-whitaker -- Esquivel! / By Hans Ulrich Obrist -- Listening Across Boundaries : Soundings From The Paramount Ballroom And Boyle Heights / By David F. Garcia -- Stories From The Studio : Session Player Interviews / By Betto Arcos, With Josh Kun -- From Bahianas To The King Of Pop : A Speculative History Of Brazilian Music In Los Angeles / By Brian Cross -- Heroes And Saints / By Luis Alfaro -- Staging The Dance Of Coalition With Versa-style And Contra-tiempo / By Cindy Garcia -- Booming Bandas Of Los Ángeles : Gender And The Transnational Zapotec Philharmonic Brass Bands / By Xochitl C. Chavez -- Caminos Y Canciones En Los Angeles, Ca / By Martha González. Edited By Josh Kun. Includes Bibliographical References And Index. Mexican musical theater and movie palaces in downtown Los Angeles before 1950 / by John Koegel Rumba emissaries / by Alexandra T. Vazquez Doing the samba on Sunset Boulevard : Carmen Miranda and the Hollywoodization of Latin American music / by Walter Aaron Clark Walt Disney's Saludos Amigos : Hollywood and the propaganda of authenticity / by Carol A. Hess A century of Latin music at the Hollywood Bowl / by Agustin Gurza Voice of the Xtabay and Bullock's Wilshire : hearing Yma Sumac from Southern California / by Carolina A. Miranda Musical anthropology : a conversation with Elisabeth Waldo / by Gabriel Reyes-Whittaker Esquivel! / by Hans Ulrich Obrist Listening across boundaries : soundings from the Paramount Ballroom and Boyle Heights / by David F. García Studio stories : interviews with session musicians / by Betto Arcos and Josh Kun From Bahianas to the King of Pop... : a speculative history of Brazilian music into Los Angeles / by Brian Cross Heroes and saints / by Luis Alfaro Staging the dance of coalition with versa-style and CONTRA-TIEMPO / by Cindy García Booming bandas of Los Ángeles : gender and the practice of transnational Zapotec philharmonic brass bands / by Xóchitl C. Chávez Caminos y canciones en Los Angeles, CA / by Martha Gonzalez. In 1980, the celebrated new wave band Blondie headed to Los Angeles to record a new album and along with it, the cover song “The Tide Is High,” originally written by Jamaican legend John Holt. Featuring percussion by Peruvian drummer and veteran LA session musician “Alex” Acuña, and with horns and violins that were pure LA mariachi by way of Mexico, “The Tide Is High” demonstrates just one of the ways in which Los Angeles and the music of Latin America have been intertwined since the birth of the city in the eighteenth century.
The Tide Was Always High gathers together essays, interviews, and analysis from leading academics, artists, journalists, and iconic Latin American musicians to explore the vibrant connections between Los Angeles and Latin America. Published in conjunction with the Getty's Pacific Standard Time: LA/LA, the book shows how Latin American musicians and music have helped shape the city’s culture—from Hollywood film sets to recording studios, from vaudeville theaters to Sunset Strip nightclubs, and from Carmen Miranda to Pérez Prado and Juan García Esquivel. Cover -- THE TIDE WAS ALWAYS HIGH -- Title -- Copyright -- CONTENTS -- Preface -- Acknowledgments -- Introduction: The Tide Was Always High -- 1. Mexican Musical Theater and Movie Palaces in Downtown Los Angeles before 1950 -- 2. Rumba Emissaries -- 3. Doing the Samba on Sunset Boulevard: Carmen Miranda and the Hollywoodization of Latin American Music -- 4. Walt Disney's Saludos Amigos: Hollywood and the Propaganda of Authenticity -- 5. A Century of Latin Music at the Hollywood Bowl -- 6. Voice of the Xtabay and Bullock's Wilshire: Hearing Yma Sumac from Southern California -- 7. Musical Anthropology: A Conversation with Elisabeth Waldo -- 8. Esquivel! -- 9. Listening across Boundaries: Soundings from the Paramount Ballroom and Boyle Heights -- 10. Studio Stories: Interviews with Session Musicians -- 11. From Bahianas to the King of Pop ... : A Speculative History of Brazilian Music into Los Angeles -- 12. Heroes and Saints -- 13. Staging the Dance of Coalition with Versa-Style and CONTRA-TIEMPO -- 14. Booming Bandas of Los Ángeles: Gender and the Practice of Transnational Zapotec Philharmonic Brass Bands -- 15. Caminos y Canciones en Los Angeles, CA -- List of Contributors -- Index In 1980, the celebrated new wave band Blondie headed to Los Angeles to record a new album and along with it, the cover song "The Tide Is High," originally written by Jamaican legend John Holt. Featuring percussion by Peruvian drummer and veteran LA session musician "Alex" Acu#65533;a, and with horns and violins that were pure LA mariachi by way of Mexico, "The Tide Is High" demonstrates just one of the ways in which Los Angeles and the music of Latin America have been intertwined since the birth of the city in the eighteenth century. The Tide Was Always High gathers together essays, interviews, and analysis from leading academics, artists, journalists, and iconic Latin American musicians to explore the vibrant connections between Los Angeles and Latin America. Published in conjunction with the Getty's Pacific Standard Time: LA/LA, the book shows how Latin American musicians and music have helped shape the city's culture--from Hollywood film sets to recording studios, from vaudeville theaters to Sunset Strip nightclubs, and from Carmen Miranda to P#65533;rez Prado and Juan Garc#65533;a Esquivel In 1980, the celebrated new wave band Blondie headed to Los Angeles to record a new album and along with it, the cover song “The Tide Is High,” originally written by Jamaican legend John Holt. Featuring percussion by Peruvian drummer and veteran LA session musician “Alex” Acuña, and with horns and violins that were pure LA mariachi by way of Mexico, “The Tide Is High” demonstrates just one of the ways in which Los Angeles and the music of Latin America have been intertwined since the birth of the city in the eighteenth century. This book gathers together essays, interviews, and analysis from leading academics, artists, journalists, and iconic Latin American musicians to explore the vibrant connections between Los Angeles and Latin America. The book shows how Latin American musicians and music have helped shape the city's culture—from Hollywood film sets to recording studios, from vaudeville theaters to Sunset Strip nightclubs, and from Carmen Miranda to Pérez Prado and Juan García Esquivel. In 1980, the celebrated new wave band Blondie headed to Los Angeles to record a new album and along with it, the cover song 'The Tide Is High', originally written by Jamaican legend John Holt. Featuring percussion by Peruvian drummer and veteran LA session musician 'Alex' Acuña, and with horns and violins that were pure LA mariachi by way of Mexico, 'The Tide Is High' shows just one of the ways in which Los Angeles and the music of Latin America have been intertwined since the birth of the city in the eighteenth century. This work gathers together essays, interviews, and analysis from leading academics, artists, journalists, and iconic Latin American musicians to explore the vibrant connections between Los Angeles and Latin America
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The Tide Was Always High gathers together essays, interviews, and analysis from leading academics, artists, journalists, and iconic Latin American musicians to explore the vibrant connections between Los Angeles and Latin America. Published in conjunction with the Getty's Pacific Standard Time: LA/LA, the book shows how Latin American musicians and music have helped shape the city’s culture—from Hollywood film sets to recording studios, from vaudeville theaters to Sunset Strip nightclubs, and from Carmen Miranda to Pérez Prado and Juan García Esquivel. Cover -- THE TIDE WAS ALWAYS HIGH -- Title -- Copyright -- CONTENTS -- Preface -- Acknowledgments -- Introduction: The Tide Was Always High -- 1. Mexican Musical Theater and Movie Palaces in Downtown Los Angeles before 1950 -- 2. Rumba Emissaries -- 3. Doing the Samba on Sunset Boulevard: Carmen Miranda and the Hollywoodization of Latin American Music -- 4. Walt Disney's Saludos Amigos: Hollywood and the Propaganda of Authenticity -- 5. A Century of Latin Music at the Hollywood Bowl -- 6. Voice of the Xtabay and Bullock's Wilshire: Hearing Yma Sumac from Southern California -- 7. Musical Anthropology: A Conversation with Elisabeth Waldo -- 8. Esquivel! -- 9. Listening across Boundaries: Soundings from the Paramount Ballroom and Boyle Heights -- 10. Studio Stories: Interviews with Session Musicians -- 11. From Bahianas to the King of Pop ... : A Speculative History of Brazilian Music into Los Angeles -- 12. Heroes and Saints -- 13. Staging the Dance of Coalition with Versa-Style and CONTRA-TIEMPO -- 14. Booming Bandas of Los Ángeles: Gender and the Practice of Transnational Zapotec Philharmonic Brass Bands -- 15. Caminos y Canciones en Los Angeles, CA -- List of Contributors -- Index In 1980, the celebrated new wave band Blondie headed to Los Angeles to record a new album and along with it, the cover song "The Tide Is High," originally written by Jamaican legend John Holt. Featuring percussion by Peruvian drummer and veteran LA session musician "Alex" Acu#65533;a, and with horns and violins that were pure LA mariachi by way of Mexico, "The Tide Is High" demonstrates just one of the ways in which Los Angeles and the music of Latin America have been intertwined since the birth of the city in the eighteenth century. The Tide Was Always High gathers together essays, interviews, and analysis from leading academics, artists, journalists, and iconic Latin American musicians to explore the vibrant connections between Los Angeles and Latin America. Published in conjunction with the Getty's Pacific Standard Time: LA/LA, the book shows how Latin American musicians and music have helped shape the city's culture--from Hollywood film sets to recording studios, from vaudeville theaters to Sunset Strip nightclubs, and from Carmen Miranda to P#65533;rez Prado and Juan Garc#65533;a Esquivel In 1980, the celebrated new wave band Blondie headed to Los Angeles to record a new album and along with it, the cover song “The Tide Is High,” originally written by Jamaican legend John Holt. Featuring percussion by Peruvian drummer and veteran LA session musician “Alex” Acuña, and with horns and violins that were pure LA mariachi by way of Mexico, “The Tide Is High” demonstrates just one of the ways in which Los Angeles and the music of Latin America have been intertwined since the birth of the city in the eighteenth century. This book gathers together essays, interviews, and analysis from leading academics, artists, journalists, and iconic Latin American musicians to explore the vibrant connections between Los Angeles and Latin America. The book shows how Latin American musicians and music have helped shape the city's culture—from Hollywood film sets to recording studios, from vaudeville theaters to Sunset Strip nightclubs, and from Carmen Miranda to Pérez Prado and Juan García Esquivel. In 1980, the celebrated new wave band Blondie headed to Los Angeles to record a new album and along with it, the cover song 'The Tide Is High', originally written by Jamaican legend John Holt. Featuring percussion by Peruvian drummer and veteran LA session musician 'Alex' Acuña, and with horns and violins that were pure LA mariachi by way of Mexico, 'The Tide Is High' shows just one of the ways in which Los Angeles and the music of Latin America have been intertwined since the birth of the city in the eighteenth century. This work gathers together essays, interviews, and analysis from leading academics, artists, journalists, and iconic Latin American musicians to explore the vibrant connections between Los Angeles and Latin America