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A Cuban Aleph | Just another WordPress.com site

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‘Mi Balsa’ – Porno Para Ricardo: Representations of the Special Period | A Cuban Aleph

https://acubanaleph.wordpress.com/2012/02/12/mi-balsa-porno-para-ricardo-representations-of-the-special-period

Just another WordPress.com site. Skip to primary content. Mi Balsa’ – Porno Para Ricardo: Representations of the Special Period. February 12, 2012. One song which addresses of the trauma of the Special Period is ‘. My Raft’). Although the song does not overtly locate the song as taking place within the Special Period, the imagery of a lone ‘. Rafter) drifing in the Straits of Florida evokes memories of that particular time; the. Hysteria of ‘My Heart Will Go On [2]. The not telling of the story serves as...

2

Remembering a National Identity | A Cuban Aleph

https://acubanaleph.wordpress.com/2012/02/22/remembering-a-national-identity

Just another WordPress.com site. Skip to primary content. Remembering a National Identity. February 22, 2012. And since I’m experiencing different phenomena, a different energy, those are the ones I’m trying to confront, to figure out, to question. (Raudel Collazo Pedroso – aka Escuadrón Patriota Havana Times, 2011. The above quote from Cuban rapper Escuadrón Patriota, aside from speaking to the desire of a younger generation of Cubans to step out from under the shadow of the Revolution, tells of the.

3

Laughter and Cuban Identity – Carlos Puebla | A Cuban Aleph

https://acubanaleph.wordpress.com/2012/03/09/aspidochelone-a-sci-fi-novella

Just another WordPress.com site. Skip to primary content. Laughter and Cuban Identity – Carlos Puebla. March 9, 2012. The use of laughter. When examining Porno Para Ricardo’s oeuvre for examples of laughter, two things become apparent. One, that laughter that is members of the band. To resolve this quandary, I refer to a most prescient assertion made by Charles Baudelaire in his essay ‘On the Essence of Laughter’; there are. Different varieties of laughter. Baudelaire, 1995 [1855]:155, emphasis original)...

4

A Cuban Aleph | Just another WordPress.com site | Page 2

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Just another WordPress.com site. Skip to primary content. Skip to secondary content. Newer posts →. Interview With Pedro Luis Ferrer: May 2010. February 6, 2012. TA: the first thing I want to know about is this idea of ‘double Africanness’, which we have spoken about before. What does that mean? TA: can you give a couple of examples of how double Africanness is found in the music that you write? How is it expressed? And the new album. How has your music changed through these albums and why? And it is use...

5

Destruction as Remembrance: A Cuban Punk Identity Played Out | A Cuban Aleph

https://acubanaleph.wordpress.com/2012/02/06/destruction-as-remembrance-a-cuban-punk-identity-played-out

Just another WordPress.com site. Skip to primary content. Destruction as Remembrance: A Cuban Punk Identity Played Out. February 6, 2012. This paper concerns itself with minutiae, and deliberately so. Whittled down to one part of one band’s repertoire, representing one face of contemporary Cuban music making: The event is the destruction of an electric guitar at concerts in Havana in the early 2000s, the band are Porno Para Ricardo, the genre punk. What is their identity? A thin description of this act m...

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A Cuban Aleph | Just another WordPress.com site

Just another WordPress.com site. Skip to primary content. Skip to secondary content. Laughter and Cuban Identity – Carlos Puebla. March 9, 2012. The use of laughter. When examining Porno Para Ricardo’s oeuvre for examples of laughter, two things become apparent. One, that laughter that is members of the band. To resolve this quandary, I refer to a most prescient assertion made by Charles Baudelaire in his essay ‘On the Essence of Laughter’; there are. Different varieties of laughter. Baudelaire, 1995 [18...

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