Pop Culture and Music essay Expert Essay Writers
There are many different types of music in the world today
And then Jimmy Castor earlier this week. A really deep brutha. What I knew of him initially was that he was part of that hip black-latin-conga-bongo thing that was happnin in the mid 60's that served as the springboard for the likes of Santana and that whole West Coast African/Spanish wave that swept the country into the 70's. See it all started with Joe Bataan. It was called Latin Soul or Boogaloo (Boogalu). It combined the most primal elements of doo-wop and R&B and married them to the African rhythms of the barrios and the ghettoes of Harlem and Newark and North Philly. Jimmy Castor did EXACTLY the same sort of thing with his work with Frankie Lymon and the Teenagers subbing for Frankie and serving as understudy. He wrote one of their biggest hits in Promise To Remember. But this Latin Soul thing was something else. No Mandrill, Osibisa, Cymande or any other early funk/roots acts would have been possible without this small but hugely significant piece of musical culture. No Salsa either. New Yorkers more than anyone remember the days when Puerto Ricans and Blacks gang warred and fought like dogs back in the day. But then like nowhere else these two subdivisions of basically the same ethnicity began to come together. First musically and then socially and politically. The music was as greasy as anything JB made but it also moved with a lil bit mo syncopation with that clave underscoring everything. Cornbread, hawgmaws and chit-ta-lins became a battle cry that was equaled only by 'I'll Never Go Back To Gawgia'! Jimmy Castor and Hey Leroy was smack dab in the middle of this. Cats like Joe Bataan, Joe Cuba, TNT Band and Pucho and the Latin Soul Brothers all made this music that was basically born on the stoop. When I was a kid cats used to do the doo-wop but many also got bongos and congas (the cheap studded head kind) that had to be tuned by heating over the burners on the stove or a can of sterno. This gave em that 'teacup' sound. Cats played sambas, guaguancoes and mozambiques (basic African hand drumming rhythms) on my steps until late or until the cops shooed em away. This is what made Jimmy Castor so special to me. The 1st place I saw him was at the Apollo and he tore the house up! He could've stopped right there and made a career out of that but instead he used the concept of ancient times, Genesis and the dawning of civilization to spawn a novelty act that HAD to be very influential to the Troutman clan. From Troglodyte through Bertha Butt and all of the slick, hard driving funk in-between Jimmy Castor became a monster in his own right. How bout Groove Gon Make You Move? It's Only Just Begun? Potential? These are all funk workouts SUPREME!!!!! If you were in a band one or all were worthy of your playlist just as much as Kool or JB or Sly.
Mama Lisa's World of Children and International Culture
Free signup required to download or reading online Music as Social and Cultural Practice book. The linking theme of the essays collected here is the intersection of musical work with social and cultural practice. Inspired by Professor Strohm's ideas, as is fitting in a volume in his honour, leading scholars in the field explore diverse conceptualizations of the "work" within the contexts of a specific repertory, over four main sections. Music in Theory and Practice studies the link between treatises and musical practice, and analyses how historical writings can reveal period views on the "work" in music before 1800. Art and Social Process: Music in Court and Urban Societies looks at the social and cultural practices informing composition from the late Renaissance until the mid-eighteenth century, and interrogates current notions of canon formation and the exchange between local and foreign traditions. Creating an Opera Industry focuses on how genre and artistic autonomy were defined in operas from diverse eras and countries, explaining the role of literature and politics in this process. Finally, The Crisis of Modernity treats nineteenth-century music, offering new models for "work" and "context" to challenge reigning theories of the meaning of these terms. CONTRIBUTORS: AMNON SHILOAH, ANNA MARIA BUSSE BERGER, MARGARET BENT, EDWARD WICKHAM, BONNIE J. BLACKBURN, DAVID BRYANT, ELENA QUARANTA, OWEN REES, ALINA ZORAWSKA-WITKOWSKA, ELLEN T. HARRIS, CHRISTOPH WOLFF, NORBERT DUBOWY, MICHAEL TALBOT, MELANIA BUCCIARELLI, FRANCESCA MENCHELLI-BUTTINI, BERTA JONCUS, MICHEL NOIRAY, MICHAEL FEND, EMANUELE SENICI, FEDERICO CELESTINI, PAMELA POTTER, GIOVANNI MORELLI, JANET SMITH