Podcasts about nuyoricans

Recibimos una invasión de Nuyoricans.

Created on the streets by young Nuyoricans in the mid-1980s, freestyle music became the soundtrack for the lives of second-generation Puerto Ricans. Hip-hop and pop, Latin Caribbean rhythms and instruments — it all came together in freestyle. The sound was ubiquitous in New York, and later in Orlando, Florida, where many of these Boricuas were charting new ground and new lives across the diaspora.  Artists, many of whom were young Puerto Rican women, ultimately became the face of the genre; and for the listeners that so resembled them, the music provided an opportunity to dance to the beat of someone who looked and sounded like them. Young freestyle artists sang about love, heartbreak, and their sexual desires. In Lisa Lisa & Cult Jam's “I Wonder If I Take You Home” — one of the genre's biggest hits — a young woman sings about her sexual desire, on her own terms and without shame.  As a Boricua born in the '90s, reporter Raquel Reichard didn't experience the freestyle explosion in real time, but she's felt its profound ripple effects. In this episode, we meet two mother-daughter duos — including Raquel and her mother — for whom “I Wonder if I Take You Home” is particularly special. The song opened intergenerational conversations around sexuality, respectability and empowerment, and while impacting their lives both personally and professionally, it also strengthened their relationships with each other.  Learn more about the voices in this episode: • Stacey DiLiberto, lecturer at the University of Central Florida   • Louie Ortiz-Fonseca, freestyle historian and former freestyle artist • Nic Lopez Rodriguez, DJ and performance studies scholar • Stephanie Loraine Piñeiro, Executive Director of Florida Access Network • Read Raquel Reichard's reporting on the history of birth control trials. • Watch the documentary "La Operación,” about the sterilization of Puerto Rican women during the 1950s and 60s. Our cover of “I Wonder If I Take You Home” is by the artist RaiNao, featuring IFE (out this April). Listen to our Spotify playlist, featuring music from this episode — and this season. We'll keep adding to it each week as new episodes come out. Special thanks this week to Zoe Colón, Angel Vendrell, Jackie and Emily Diaz, Richie Rosario, Cynthia Torres, DJ Dominick, and Maritza and Lizardo Reichard. Fact checking this season is by Istra Pacheco and María Soledad Dávila Calero. This season of La Brega is made possible by the Mellon Foundation.

Laudelina Martinez opened my eyes to the world of art in ways that haven't been done before, from her name to defining art, Nuyoricans, and life. Art is beyond everything that I had assumed it be, it is part of our life. Laudelina broke art down on a beautiful level, along with so much more in this fun episode and I can't wait to visit her gallery. I highly recommend checking it out and have posted the website below. I wish that I had Laudelina as my teacher earlier in life.  Check out Martinez Gallery for more and you can connect with her https://www.martinezgallery.org Support us and join our community https://www.patreon.com/whitelabelamericanpod Get our T-Shirts https://vetclothing.com/products/white-label-america-podcast-tee Music by the ever-reliable Infrared_Krypto   #whitelabelamerican #immigrantstories #artists #art #latinoart #africanart #nuyorican #yoruba #newrochelle #puertorico #alexis #information #culture #history #gallery #connecting #indigenous #european #newyorkcity #pasteless #dumpling #cassava

EVOLUTION est un podcast sur l’histoire d’un courant ou d’un genre musical. Cette saison 3 est consacrée aux musiques latino-américaines et caribéennes. À New York, la jeunesse d’origine portoricaine va s’emparer des musiques afro-cubaines et y ajouter son énergie : c’est la salsa. Plus d'infos : www.babugartez.com 01. Frankie Knuckles – The Whistle Song (E.K. 12’’ mix) [Virgin, 1991] 02. Tito Puente – Oye Como Va [Tico Records, 1962] 03. Joe Quijano and his Conjunto Cachana – Azuquita Mami [TeeJay, 1960] 04. Celia Cruz con la Sonora Matancera – El Pai y la Mai [Seeco, 1961] 05. Celia Cruz – Bemba Colorá [Tico Records, 1966] 06. Pete Rodriguez – I Like It (I Like It Like That) [Alegre Records, 1966] (13:07) 07. Joe Bataan – Gypsy Woman [Fania Records, 1967 08. Johnny Pacheco & Pete Rodriguez – Dakar, Punto Final [Fania Records, 1964] 09. Willie Colón – El Malo [Fania Records, 1968] 10. Fania All Stars – Anacaona [Fania Records, 1972] 11. Eddie Palmieri – Vamonos Pa’l Monte [Tico Records, 1971] 12. Hector Lavoe – El Cantante [Fania Records, 1978]

Slumber parties, Nuyoricans and zoom dates. What do all of these things have to do with each other? Listen to Episode 20 of 36 Questions to find out. In this episode we also review the book A New Thing by Lydia Lucas. #juangalloway #tracygalloway #marriedinministry #arthuraron #36questions #friendship #lydialucas #anewthing #IF:Gathering #IF:Lead Check out our facebook page! wedding invitation bff slumber parties the quiet game monologuing praying for your enemies friendship with Jesus seething anger switch off the tree corporal punishment spanking zoom friend dates covid paranoia highway 1 stuck with a dud These aren't the droids you are looking for, move along female theology majors worst friend ever friendship failure Nuyorican IF: Gathering personal board of directors extreme chastity the most important things in life only as sick as the secrets we keep --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Brian is out of town, so we have a very special RCR Podcast this week, as Roman interviews his mother, Maria! The two discuss their family history, road trip stories, favorite and least favorite cars, cultural differences between native Puerto Ricans and Nuyoricans from the mainland, and tales that alternate between uplifting and dark. It's an unusual episode unlike any we've done.

Con José hablamos de identidad deportiva, emigración, patria, el impacto del documental 'Nuyorican Básquet' en su investigación, los nuyos en años recientes, vivencias con Fufi Santori y mucho más. --- Support this podcast: https://anchor.fm/elramuopina/support

This episode includes actress and dancer Emma Pfaeffle, Secretary of State of NY Lorraine Cortés-Vázquez, Puerto Ricans and Nuyoricans after the devastation caused by Hurricane Irma, La Vida Bohème, author and scriptwriter Senel Paz and Terraza 7.

Puerto Rico Meets NYC on this week’s Snacky Tunes!  Solo host Greg Bresnitz is talking all things Puerto Rico with Marie Elena Martinez, founder of the Meets NYC events, Chefs Manolo Lopez, Pedro Alvarez, and Mixologist Lynette Marrero. Rounding out the celebration, Puerto Rico Meets NYC shared the bounty and beauty of this Caribbean island’s culinary legacy. By shedding light on Puerto Rico’s best chefs, the rums, and the accompanying food and travel intersection, Puerto Rico Meets NYC showed this sunny destination the epicurean respect and exposure it deserves. Tapping into the deep network of Nuyoricans inhabiting New York City and surrounding, these guests leave everyone hungry for more. Tune in for a rousing live performance from Bombayo as well, playing the traditional music of Puerto Rico with some amazing bomba music! “I’m from the countryside of the island some would call it, and there’s it’s really centered on family and all the joy of celebrating life and what our tradition is.” [11:50] “I think with Puerto Rican food right now… we’re taking it back to what it usually is.” [17:12] –Chef Manolo Lopez on Snacky Tunes  

Aug. 8, 2013. This presentation tells the story of the Puerto Rican diaspora to the mainland U.S. during the 20th century and into the 21st through the lens of expressive culture. This history has been well recorded, but by drawing on the work of folk and traditional artists, as well as the work of contemporary artists, the speaker explores the traditions practiced or developed in New York by Puerto Ricans and Nuyoricans. For transcript, captions and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6171

"Angela Anselmo, Director of Baruch's SEEK program and her sister Alma Rubal-Lopez, a professor at School of Education, Brooklyn College talked about their co-authored book ""On Becoming Nuyoricans"". Part autobiography, part reflection on culture, curricula and pedagogy, the book details their uneasy relationship to both Puerto Rican and mainstream American culture. The event took place on October 24, 2006 at the Newman Conference Center 750, co-sponsored by the Department of Black and Hispanic Studies, and the Department of Modern Languages & Comparative Literature, Baruch College."

"Angela Anselmo, Director of Baruch’s SEEK program and her sister Alma Rubal-Lopez, a professor at School of Education, Brooklyn College talked about their co-authored book ""On Becoming Nuyoricans"". Part autobiography, part reflection on culture, curricula and pedagogy, the book details their uneasy relationship to both Puerto Rican and mainstream American culture. The event took place on October 24, 2006 at the Newman Conference Center 750, co-sponsored by the Department of Black and Hispanic Studies, and the Department of Modern Languages & Comparative Literature, Baruch College."

Por el año de1972 la Guerra de Vietnam era el encabezado de todas las noticias. El Presidente Nixon recién había sido re-electo. Mientras, los informes del caso "Watergate" comenzaban a darse a conocer. En la ciudad de Nueva York, el pasaje de metro aumentaba de 30 a 35 centavos. Sin embargo para los Nuyoricans que vivían y trabajaban en la Gran Manzana, fue la nueva escena musical de la salsa, la que estaba de moda. En esta octava grabación, Willie Colón continúa confiando en su reputación de “matón” –esta vez mostrando una ilustración en la carátula del álbum, donde el joven líder de orquesta del Bronx es enjuiciado. Los miembros de la orquesta, Milton Cardona, José Mangual, Jr y el Profesor Joe forman parte del jurado. Jerry Masucci parece ser el estenógrafo y ¿es realmente Héctor LaVoe el que actúa como el estoico juez? En la ilustración que acompaña en el reverso, aparecen todos los miembros de la corte como rehenes en el piso, lo que implica, en realidad, que Colón cometió impunemente el crimen. Con cuatro éxitos de está sólida producción de ocho temas, Colón estira sus alas, al mezclar suavemente géneros musicales como la samba brasilera que deriva en son montuno, ritmos religiosos afro-cubanos y bomba y danza puertorriqueña - todos mostrando las vocalizaciones del cantante principal Héctor LaVoe y la visión musical madura de Willie Colón que supera sus pocos años. En la apertura, Ah-Ah/O-NO, escrita por Willie Colón, resuena con un ligero y simple estribillo que es captado sin problemas. La voz de LaVoe es evasiva y traviesa en este número, demostrando su juego vocal de palabras y astucia rítmica. El tema de Tite Curet Alonso, Piraña, hace justicia al estilo y registro de LaVoe, donde él canta acerca de una mujer perversa que es deseada y rechazada al mismo tiempo. Aquí, LaVoe grita frases populares con doble sentido, que se escuchan en la calle, que reflejan los tiempos, de la misma manera que lo hace cuando está sobre el solo de piano del Profesor Joe, cuando LaVoe dice: “Mira, te estas fumando las cáscaras de guineos otra vez,” en referencia a fumar cáscaras de banana. Seguiré Sin Ti es un hermoso bolero que se centra completamente en la técnica y estilo de LaVoe con la forma vocal retardada. Continúa cantando ardientes canciones de amor defensivo, que son suspicaces y, a la vez, sensibles, pero lo hace en un estilo que es apasionado y sentimental. A lo largo de los años, Timbalero se ha convertido en el modelo que todos los percusionistas principiantes escuchan y practican. Gracias a Louie Romero. Una verdadera salsa gorda que rinde tributo a los timbaleros, Romero, legendario entre los percusionistas de hoy, hace un solo de timbal extraordinario, y un coro compuesto por Justo Betancourt y Johnny Pacheco , es un llamado tribal que prepara el camino para el dinámico solo de congas de Milton Cardona. Aguanilé trae el hogar tribal de la madre África con esta Regla de Ocha afro-cubana, llamada de introducción a los dioses. LaVoe implora a los dioses en un lamento morisco. Esto sigue con un verso folclórico típico de las Fiestas de Cruz, que es cantado en latín, Kyrie Eleison, costumbre popular entre la clase pobre y campesina, que se remonta a cientos de años. De particular interés en esta grabación. En Soñando Despierto, Colón toca un solo de trombón, que recuerda a las antiguas bandas municipales de Puerto Rico. En este tema, LaVoe hace una macabra predicción, mientras improvisa, donde detalla un sueño que tuvo, en el que su suegra es arrollada por un trote de cemento. Cuando ella falleció poco después de esta grabación, el vocalista se siente abrumado y nunca mas la cantó. Si La Ves (una de mis favoritas y de mi hijo Bryan) empieza con un sentir de samba y un coro donde la voz de Colón se escucha en las voces secundarias, así como en la principal. Rápidamente se vuelve en un número bailable y cadencioso, con la voz de LaVoe volando sobre el muro de ritmo, creado por la percusión. Participantes en este Álbum Willie Colón – flauta, trombón, voces, artista principal, productor y arreglista Héctor Lavoe –Vocal José Mangual - bongós Louis Romero - timbales Joe Torres - piano Milton Cardona - conga Justo Betancourt - coro Johnny Pacheco –coro, director de grabación Santi Gonzalez - Bajo Eric Matos - Trombon Gene Golden - Percusion Productores: Willie Colon y Jerry Masucci Director Musical: Johnny Pacheco Arreglista: Willie Colon Diseno Original: Aggie Whelan Grabado en: Broadway Recordings, NY Irving Greenbaum - ingeniero Izzy Sanabria – dirección artística