2nd Global Conference
Heavy Fundametalisms: Music, metal and Politics

Tuesday 10th November - Thursday 12th November 2009
Salzburg, Austria

Call for Papers
What makes metal powerful? Is it the power of amplification, the
brutality of the music, the violence of its discourse? Is power
essential to the core of metal? Is metal a mechanism for the
dissemination of power?

The terms ‘heavy metal’ and power may be so strongly related as to
suggest they are cultural synonyms. Power in heavy metal music extends
well beyond the boundaries of performance, seeping into to other music
genres and the cultures and subcultures that compose the scene. Metal
power modification may be on plain display, but behind this, deep in the
fabric of metal culture a plethora of debates can be surmised on what
exactly power is and what can be understood by it, from the stage
through to the politics, ideologies, culture and lifestyle in metal.
This conference investigates the varied relationships between heavy
metal music and sexual potency, social agency, coercion, bodily
strength, ideological domination, and myriad other forms of social,
psychological, and physical power in modern human existence.

The second conference meeting of this project on heavy metal, music and
politics aims to bring together papers on the theme of Metal and power.
We hope to promote contributions from a range of disciplines, including
the sciences.

Abstracts are invited for submission under, but not restricted to the
following headings:

* Heavy Metal power (hegemony, commodification,
globalization,sexualities)
* Intersectionalities of power and structural relationships
(gender, race, nation, class)
* Intersectionalities of theories of identity issues of whiteness
* Masculinity and politics
* Lack of power/absence of power
* Power and psychology
* Nietzsche, Foucault and power
* Knowledge production and power discourse
* Nationalism racism and identity construction in pagan metal
* The power, ballad
* Cock rock, poodle hair and power metal
* Battle metal and mythologies of war
* Power, sexuality and the subject
* Post-structural analysis of the construction of the subject
* Gender and Power in Metal
* Homosociality
* Homoeroticism
* Identity Construction
* Sado-masochism
* Scarring, piercing and fashion
* Psychology of the Self
* Self-loathing, self-destruction and violence
* Sublimation of aggression and the erotic in the music and scene
* Power and discharge
* Power in the metal music industry
* Musicology: the powerchord

Papers will be considered on any related theme. 300 word abstracts
should be submitted by Friday 12th June 2009. If your paper is accepted
for presentation at the conference, an 8 page draft paper should be
submitted by Friday 9th October 2009.

300 word abstracts should be submitted simultaneously to both Organising
Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the
following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e)
body of abstract.

Please use plain text (Times Roman 12) and abstain from using footnotes
and any special formatting, characters or emphasis (such as bold,
italics or underline). We acknowledge receipt and answer to all paper
proposals submitted. If you do not receive a reply from us in a week you
should assume we did not receive your proposal; it might be lost in
cyberspace! We suggest, then, to look for an alternative electronic
route or resend.

Organising Chairs
Niall Scott
Centre for Professional ethics
University of Central Lancashire
Preston, Lancashire, U.K
Email: nwrscott@uclan.ac.uk

Rob Fisher
Inter-Disciplinary.Net
Priory House, Wroslyn Road
Freeland, Oxfordshire OX29 8HR
Email: mmp2@inter-disciplinary.net

The conference is part of the Ethos Hub series of ongoing research and
publications projects conferences, run within the Critical Issues domain
which aims to bring together people from different areas and interests
to share ideas and explore innovative and challenging routes of
intellectual and academic exploration.

All papers accepted for and presented at the conference will be eligible
for publication in an ISBN eBook. Selected papers may be developed for
publication in a themed hard copy volume, or for the launch edition of a
new interdisciplinary journal examining intersections of music and
politics and published by the Inter-Disciplinary Press.

For further details about the project please visit:
http://www.inter-disciplinary.net/critical-issues/ethos/music-metal-politics/

For further details about the conference please visit:
http://www.inter-disciplinary.net/critical-issues/ethos/music-metal-politics/call-for-papers/
--

New MA in Performance Studies

The Department of Performance Studies at Texas A&M University announces
a new Master of Arts degree in Performance Studies. This
interdisciplinary program emphasizes the ethnographic study of
vernacular culture. The Department of Performance Studies has strengths
in Africana studies, dance and ritual studies, ethnomusicology,
folklore, performance ethnography, popular music studies, religious
studies, theatre and media studies, and women’s studies.

Application deadline for Fall, 2010 is January 15, 2010. Assistantships
are available.

Ethnocide in the Colombian Pacific

The New York Times on the situation of the Embera indigenous group in Chocó Colombia. Link. Audio slide show here.

Shady labor practices at NYU

Please read below for more information on the NYU administration's FAR-4 -- Financial Aid Restructuring 4 -- proposal to restructure graduate employee funding and work arrangements at NYU. The proposal would remove the teaching requirement from MacCracken fellowships. The NYU administration claims that all graduate employees engaged in teaching would then be classified as adjuncts. NYU did not consult GSOC/UAW nor the adjunct union, UAW Local 7902, in the development of this proposal and it remains legally questionable whether or not graduate employees would be protected by the adjunct contract. There are other serious concerns with FAR-4 that you can read about below. In response to FAR-4, GSOC/UAW plans to push the administration to provide more information and consult with affected members of the NYU community. GSOC/UAW is also working to create dialog on campus and offer support to graduate employees who are raising serious concerns with the problems of FAR-4. We also ask for your help in expanding and strengthening GSOC/UAW for a big push to secure our collective bargaining rights in the Fall. To get more involved and to participate in upcoming GSOC/UAW events, please emailgsocuaw@gmail.com. It is important to note that whatever the administration decides to do, no amount of shuffling titles and categories can change the fact that graduate employees have their own labor concerns that can only be secured through collective bargaining. GSOC/UAW remains fully committed to securing collective bargaining rights for graduate employees at NYU.

GSOC Statement on FAR-4 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ On Friday, April 10, the NYU administration unveiled a memorandum to GSAS deans and department chairs outlining "FAR-4," a plan to drastically restructure graduate employee funding and work arrangements. Beginning in September 2009, FAR- 4 proposes to eliminate the teaching assistant position in GSAS and possibly other schools as well. FAR-4 claims that teaching would be decoupled from the McCracken fellowship-that is, graduate students would not be formally required to teach under the terms of the MacCracken. Instead, graduate employees on fellowship would be encouraged to teach on a voluntary basis for one year. Graduate employees teaching while on fellowship would then be paid as adjuncts and receive adjunct wages in addition to their stipends. Teaching after the fifth year of fellowship would also be compensated at the adjunct rate of roughly $4000 a semester. The NYU administration presents FAR-4 as a strategy to save the university money while addressing graduate employee labor concerns by allowing graduate employees to join the adjunct union. While it remains legally questionable whether graduate employees would be protected by the adjunct contract, other details of the proposal are equally troubling, including the imposition of a five-year cutoff on graduate employee funding, significant decreases in the total number of McCrackens and the creation of a tier of completely unfunded PhD students. These concerns are compounded by the secrecy surrounding the development of FAR-4 and the rush to implement the plan by September 2009. Faculty, graduate employees, undergraduate students, and other affected members of the NYU community were not consulted or allowed to give input on the FAR-4 proposal in any meaningful way. GSOC/UAW -- the union for graduate employees at NYU -- has had no voice in FAR-4's creation. Further, the FAR-4 proposal document itself is vague and leaves much to the imagination or to promised departmental "customization" that has yet to be defined. And what is explicitly spelled out in the Far-4 plan poses enormous problems. Deans Foley and Stimpson have claimed in meetings with GSAS chairs and DGSs that FAR-4 will not only address the time to degree, but also "finesse" the union issue by recognizing teaching as work. FAR-4, however, will largely shift that work to graduate employees late in the PhD process, or to insecure and low-paid jobs for recently minted PhDs. It will reverse many of the gains GSOC achieved with our 2002-2005 contract with the university while turning back the clock to an informal culture of exploitation where no clear rules govern the kind and amounts of work graduate employees would be expected to perform. The informal, decentralized nature of teaching appointments will rely heavily on faculty favoritism and/or bullying in the allotment of departmental labor -- a situation the union was created to fight. Creating an unfunded PhD tier could have dire consequences for the accessibility and diversity of the graduate school, never mind the collegial atmosphere within and between departments. It is unclear where NYU plans to find the labor to replace the hundreds of teachers and graders who would not teach under this plan. Possibilities discussed in the 3-page summary of the plan include expanding instructorships like those currently used in several departments. These involve a 3/2 course load at pay only slightly above TA levels. That's much more work for roughly the same pay right when the pressure is mounting to finish dissertations. Additionally, by cutting off funding at five years, FAR-4 as written would make it difficult, if not impossible, for most international students to remain in the U.S. to complete their studies. FAR 4 is union busting. The tactics are textbook: division of work force (MacCracken teachers and adjunct-style teachers); informalization of labor (the "moral authority" of employers to persuade MacCracken students to teach); rearranging work (foisting more work on some students and less on others); the relabeling of work (as if eliminating the term "TA" changes at all the actual work done in the classroom); and the haste to implement FAR-4 in the face of graduate employees asserting collective bargaining rights. FAR-4 is an attempt to stymie the Obama administration's efforts to restore sanity to our labor laws. These include his support for amending the National Labor Relations Act to guarantee collective bargaining rights for TAs and RAs at private universities and colleges. GSOC/UAW is disappointed by this latest evidence that the NYU administration is willing to sacrifice the interests of their undergraduates and any sense of academic integrity by proposing a last-minute attempt to restructure graduate student funding without regard for pedagogical concerns or collective decision-making. The FAR-4 proposal never once mentions undergraduates as group with interests in how teaching is performed at NYU. The silence and confusion surrounding how many of the proposed changes would be implemented does little to quell anxieties of how FAR-4's underthought overhaul of graduate employee teaching will affect the quality of undergraduate education. Currently, graduate employees teach hundreds of sections and hold hundreds of office hours. We work to help students learn the fundamentals of calculus, hone writing skills and perform experiments in laboratories that lay the foundations for future learning. As the FAR-4 proposal stands with cuts in the total number of MacCrackens offered and no required teaching under fellowship, no one is slated to take on the necessary work currently performed by teaching assistants that ensures undergraduates get the most for their fifty thousand dollar a year education. Even with cuts in recitation times and increased enrollment in courses, if faculty do not willingly take on more unpaid labor themselves, then graduate employees will have to be persuaded or coerced to do so. GSOC/UAW finds this unacceptable. FAR-4 is no substitute for the guarantees and protections that come with collective bargaining and real labor protections. A GSOC/UAW union contract is the only real way to ensure that graduate employees have a voice in our wages, benefits, and working conditions. Through numerous petitions and card drives, the majority of graduate students at NYU have consistently expressed their desire to be represented by GSOC/UAW and work under the protections of a GSOC/UAW contract. We urge the NYU administration to negotiate the terms and conditions of NYU graduate employment with GSOC/UAW. What You Can Do: Ask and Circulate These Questions About FAR-4 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The NYU administration recently released plans for FAR-4 -- Financial Aid Restructuring 4. NYU administrators hope to implement FAR-4 by September 2009. Neither faculty, graduate employees, students or other affected members of the NYU community were consulted in any meaningful or representative way in the creation of FAR-4. GSAS chairs and other faculty in administrative positions have reported that the NYU administrators have stated in meetings that this plan is intended to change university policy ASAP in order to thwart democratically elected President Obama's promises to correct the past eight years' abuses of federal labor policy. Deans Foley and Stimpson have explicitly framed the reforms to the faculty as an attempt to circumvent GSOC/UAW -- the union for graduate employees at NYU. The admininstration's April 10th letter about FAR-4 describes a radical departure from the current TA system. Without describing how money will be saved, the administration is proposing that it can solve its financial problems by offering more fellowship years for the MacCracken and a substantial new wave of adjunct hiring. Sound too good to be true? The plan doesn't seem to add up. There are a lot of unanswered questions about NYU's new plan. Please ask your DGS, Department Chair, and faculty the following questions: What happens to 5th and 6th year graduate employees who have already lined up TAships at McCracken rates for the fall? Will they be paid adjunct pay rates (roughly $4,000 per course)? Why weren't faculty, graduate employees, and other affected members of the NYU community members consulted in the MacCracken restructuring plan? How will "customization" by department work and when will chairs do it? Will this proposal actually lead to a reduction in workload? How many undergraduate students will be enrolled per section? FAR4 suggests that NYU will admit many more unfunded PhD students who -- if they taught as adjunct would be paid much less than MacCracken rates. Won't that create a world of "haves" and "have-nots"? Won't this plan re-create the same problems we organized a union to deal with in the first place? What does the establishment of an unfunded PhD tier and funding cutoffs after five years mean for the accessibility and diversity of the graduate school? Why is undergraduate education unmentioned in the FAR 4 proposal? Won't undergraduate education suffer in quality as graduate employment expectations shift and become unclear? Will section enrollments increase? Will section times decrease? Who will do grading? Will it be dumped on faculty? How will international students in their post-McCracken years get their visas renewed? The F-1 visa is predicated on proving you make at least 20k a year. That's not so easy to do on adjunct wages? The average time to degree is 7-8 years. Why cut support at 5 in this economy? According to the Council of Graduate Schools' PhD completion project, only 12% of PhD students in the humanities and 20% in the social sciences finish in 5 years. How will grads support themselves? With more teaching? How does this plan actually save money for the NYU administration? What will the informal nature of teaching assignments under the FAR 4 do to the faculty/graduate student mentoring relationship? How will faculty in administrative positions fill teaching slots if grads are not formally obligated to teach? By leaning on their grad students or by outright coercion? Does NYU intend to hire undergraduates as graders and recitation leaders? What does FAR 5 look like? Is there any guarantee that this plan will remain in effect as implemented or even as articulated in this document? How will the presence of funded and unfunded graduate students affect departmental collegiality? NYU claims free money for the humanities and social sciences, but is vague about the sciences. How will science department funding structures be affected?

Burnt Sugar, The Arkestra Chamber: A Workshop in Conducted Improvisation

Columbia University Center for Jazz Studies

presents

Burnt Sugar, The Arkestra Chamber:

A Workshop in Conducted Improvisation

Wednesday, April 22, 2009, 7 pm

Columbia University Main Campus

116^th Street and Broadway

301 Philosophy Hall

Free and open to the public

Campus map: http://www.columbia.edu/about_columbia/map/philosophy.html

In this unprecedented performance workshop,

open to students and performers from any and all traditions

l musicians, poets, actors, dancers, writers l

Greg Tate,

Louis Armstrong Visiting Professor at the Center for Jazz Studies for Fall 2009,

will demonstrate how new musical material maybe generated and

existing may be restructured and renewed in real-time performance

using Conduction,

the versatile lexicon of hand and baton gestures

developed over the past twenty years by improviser and conductor Lawrence “Butch” Morris.

This event is sponsored by

the Louis Armstrong Educational Foundation

and presented by the Center for Jazz Studies

in collaboration with

the Louis Armstrong Jazz Performance Program

and the Music Performance Program,

Columbia University.

For more information about Center for Jazz Studies activities,

please visit www.jazz.columbia.edu

or call 212-851-1633

CFP: Society for American Music

Call for Submissions
Society for American Music

March 17-21, 2010

Vale la pena mencionar que esta sociedad esta abierta a ponencias sobre todas las musicas de America -- norte/sur/central/Caribe/etc -- y sus manifestaciones en otras partes del mundo. En el pasado se ha aceptado unas ponencias en espanol -- aunque mejor presentar en ingles para que la otra gente entienda. Los mexicanos, y de pronto otros latinoamericanos no requieren visa para entrar en Canada

2010 Program Committee: Michael Pisani, chair; Drew Edward Davies, Robin Elliott, Larry D. Hamberlin, Mary Ingraham, Felicia M. Miyakawa, and Gillian M. Rodger

The Society for American Music invites proposals for papers, papers on one of two seminar topics (see “New Seminar Format” below), additional panels of 2-3 papers, concerts, lecture-performances, and scholarly posters for its 36th Annual Conference. The conference will be held in Ottawa, Ontario (Canada) March 17-21, 2010. The submission deadline for all proposals is Monday, 15 June 2009.

In addition to proposals on the topics of the seminar panels, we welcome proposals involving all facets of musical life in the Americas and manifestations of these cultures anywhere in the world. For this conference we especially welcome proposals addressing:

• Cultural politics and the nation: the role of federal policies, government institutions, and public organizations in the creation, performance, and reception of music
• The role of French culture in shaping North American musical life, with a focus on Quebec, but also including Acadian and Creole cultures.
• “The Idea of North” (to cite Glenn Gould). [Are there measurable aspects of an identifiable “Northern culture” in music, comparable to the U.S.’s “Western” or “Southern” traditions?]
• Cross-border musical relations in the Americas (affecting musicians, institutions, organizations, cultural policies, etc.)
• The impact of immigration on musical life in the United States and Canada
• Music in Canada, including classical, popular, aboriginal, and traditional music (considered either in isolation or in contact with each other)

Guidelines
Presenters are required to register for the entire conference. The committee encourages proposals from those who did not present at the 2009 Denver meeting, but all proposals will be judged primarily on merit. With the exception of concerts or lecture-performances with accompanying audio-visual materials, all proposals must be submitted electronically using the online submission form (see below).

Proposers for all except lecture-recitals must specify whether the proposal is for 1) paper, 2) poster, or 3) either presentation format, the latter to be determined by the Program Committee as it builds sessions. Individual or joint papers should be no longer than twenty minutes. Lecture-performances should be no longer than thirty minutes. For complete session proposals, the organizer should include an additional statement explaining the rationale for the session, in addition to abstracts for each paper.

New Seminar Format
Of the proposals submitted in January, 2009, the two selected by the program committee for the 2010 conference in Ottawa will be: 1) “ ‘The Art of Association’: Exploring Institutions as Agents of American Music in Theory and Practice” and 2) “Nineteenth-Century American Music Studies: The State of the Field in 2010”. Unlike regular SAM sessions, in which papers are read, papers for the conference seminars will be posted at a password-protected location in advance of the conference, where they may be read by all interested SAM members. The bulk of the conference session will be devoted to discussion of the papers as they relate to the general theme. Since papers will be posted electronically on the web, we would like to encourage materials that are recently published or "in press" as one kind of submission that would be appropriate for the seminar structure. These papers may be full articles, up to 20 pages, and should include notes, examples (where relevant), and bibliography. All proposals should be submitted in the usual way by the regular SAM deadline, except that the specific seminar topic should be clearly specified. Unless the author specifies otherwise, abstracts not accepted for either of the two seminars will be considered by the program committee for one of the regular sessions.

Although papers for the seminars will not be “read” in the traditional sense, the act of participating in the seminar as a presenter and defending the ideas of one's paper constitutes the same level of participation in an academic conference as would a normal paper. For this reason, those submitting abstracts toward a seminar cannot also submit toward a regular session.

Research Poster Sessions
The poster format provides an opportunity for SAM members to meet informally with authors and discuss research. Each author attends his/her respective 90-minute session, distributes abstracts, and answers questions. Supporting sound and/or video examples (on personal computers and utilizing battery, rather than AC power) will be coordinated with other presenters once sessions have been formed by the Program Committee. Further poster guidelines may be found at www.american-music.org.

Interest Groups — Interest Groups with a guaranteed slot for 2010 are requested to convey a brief description of their plans to the Program Committee using the online submission system by June 15, if possible. To ensure proper scheduling and room assignments, Groups should indicate by this date whether they would prefer a lunchtime slot (12:45-1:45) or a longer evening session. Please note that all the information that will appear in the conference program book (participant names, titles, 100-word abstract) must be submitted not later than August 5. Interest Groups without a guaranteed slot for 2010 may submit panel proposals via the online submission system if they wish, but acceptance or rejection of these proposals will be at the discretion of the Program Committee. All Interest Group submissions (guaranteed or not) should use the "Panel" option below.

Include the following for all submissions:

1. 250-word proposal
2. 100-word abstract suitable for publication in the conference program (.txt or .rtf format)
3. Audio and visual needs selected from the following list only: CD and audiocassette player, overhead projector, VHS/DVD player, LCD projector. Due to logistics and the high cost of renting this equipment, we cannot accommodate AV changes once a proposal is accepted.
4. Proposer’s name, address, phone number(s), e-mail address, and institutional affiliation or city of residence
5. Specify whether you are a student (and therefore eligible for certain student grants or awards)

For Lecture-Performances please include the above-mentioned materials, plus:

1. Seven copies of a recording (CD and DVD preferred, but cassette or VHS tapes also accepted)
2. An addressed, stamped mailer if you would like the recordings returned
3. A list of special needs (e.g., piano, music stand, space for dance demonstration, choral risers)

All materials must be electronically date-stamped (online submission) or postmarked (mail submission) by 15 June 2009. Questions about the submission process may be sent to Michael Pisani at mipisani@vassar.edu. Postal submissions should be addressed to: Michael Pisani, SAM 2010 Program Committee Chair, Vassar College, Box 595, Poughkeepsie, New York, 12604-0595

Lanzamiento del libro: Discografía de la música puertorriqueña

San Juan-New York:

Discografía de la música

puertorriqueña

(1900-1942)

de

Cristóbal Díaz Ayala

Introducción por

Agustiné Vélez

Presentación por el autor

Miércoles 22 de abril de 2009

7:00 PM

Ateneo Puertorriqueño

San Juan

Para más información:

787-708-4025

fundmusicalia@caribe.net

Reggaeton, the edited volume is out.

The New York City book release is being hosted by the Center for Puerto Rican Studies on Thursday May 7th, 6:30 p.m., Hunter College, Faculty Dining Room, West Building, 8th Floor, New York, New York. For more information contact Centro events coordinator Ivelisse Rosario Natal: ivelisse.rosario-natal@hunter.cuny.edu.

Book Description:
A hybrid of reggae and rap, reggaeton is a music with Spanish-language lyrics and Caribbean aesthetics that has taken Latin America, the United States, and the world by storm. Superstars—including Daddy Yankee, Don Omar, and Ivy Queen—garner international attention, while aspiring performers use digital technologies to create and circulate their own tracks. Reggaetonbrings together critical assessments of this wildly popular genre. Journalists, scholars, and artists delve into reggaeton’s local roots and its transnational dissemination; they parse the genre’s aesthetics, particularly in relation to those of hip-hop; and they explore the debates about race, nation, gender, and sexuality generated by the music and its associated cultural practices, from dance to fashion.The collection opens with an in-depth exploration of the social and sonic currents that coalesced into reggaeton in Puerto Rico during the 1990s. Contributors consider reggaeton in relation to that island, Panama, Jamaica, and New York; Cuban society, Miami’s hip-hop scene, and Dominican identity; and other genres including reggae en español, underground, and dancehall reggae. The reggaeton artist Tego Calderón provides a powerful indictment of racism in Latin America, while the hip-hop artist Welmo Romero Joseph discusses the development of reggaeton in Puerto Rico and his refusal to embrace the upstart genre. The collection features interviews with the DJ/rapper El General and the reggae performer Renato, as well as a translation of “Chamaco’s Corner,” the poem that served as the introduction to Daddy Yankee’s debut album. Among the volume’s striking images are photographs from Miguel Luciano’s series Pure Plantainum, a meditation on identity politics in the bling-bling era, and photos taken by the reggaeton videographer Kacho López during the making of the documentary Bling’d: Blood, Diamonds, and Hip-Hop.Contributors:
Geoff Baker, Tego Calderón, Carolina Caycedo, Jose Davila, Jan Fairley, Juan Flores, Gallego (José Raúl González), Félix Jiménez, Kacho López, Miguel Luciano, Wayne Marshall, Frances Negrón-Muntaner, Alfredo Nieves Moreno, Ifeoma C. K. Nwankwo, Deborah Pacini Hernandez, Raquel Z. Rivera, Welmo Romero Joseph, Christoph Twickel, Alexandra T. Vazquez
Advance Praise:

“It’s about time academia dared to include reggaeton. This might mean that we’re finally understanding that all of us are los de atrás (the ones behind): our country, Puerto Rico, and the whole Caribbean. I hope people support this book so it can be translated into Spanish, and kids in Puerto Rico and Latin America can read it. Because we Caribbean people, even if we don’t want to, even if we don’t like it, even if it hurts, we come from behind, . . . and there’s a value to that. There’s a beauty to being los de atrás.”—Residente, frontman of the Grammy and Latin Grammy award-winning duo Calle 13

“This anthology opens a chapter in hip-hop history that brings it all back home, back to our transnational Afro-Spanish-speaking countries and diasporas and ’hoods where young people are going through their hip-hop ecstasies and traumas, but in their own language, and in their own unique and hitherto-unknown style.”—Juan Flores, author of From Bomba to Hip-Hop: Puerto Rican Culture and Latino Identity, from the foreword to Reggaeton

“The kinetic contributions inReggaeton melt false borders—ones wrapped like straitjackets around peoples, knowledges, and cultures—and move the crowd. More than an exciting, exhaustive treatment of this vital musical culture, this anthology is a fine blueprint for engaged cultural scholarship right now.”—Jeff Chang, author of Can’t Stop Won’t Stop: A History of the Hip-Hop Generation

“I cannot overstate how critically important this volume is. It captures the synergies of a musical and cultural movement that few have seriously grappled with, even as the sounds and styles of reggaeton have dominated the air space of so many urban locales.”—Mark Anthony Neal, author of Soul Babies: Black Popular Culture and the Post-Soul Aesthetic

Editors:
Raquel Z. Rivera is a Researcher at the Center for Puerto Rican Studies at Hunter College, City University of New York. She is the author of New York Ricans from the Hip Hop Zone and many articles for magazines and newspapers including Vibe, Urban Latino, El Diario/La Prensa, El Nuevo Día, and Claridad. She blogs at reggaetonica.blogspot.com.
Wayne Marshall is the Florence Levy Kay Fellow in Ethnomusicology at Brandeis University. He blogs at wayneandwax.com, from which a post on reggaeton was selected for the Da Capo Best Music Writing 2006 anthology.
Deborah Pacini Hernandez is Associate Professor of Anthropology at Tufts University. The author of Bachata: A Social History of a Dominican Popular Music and a co-editor of Rockin’ Las Americas: The Global Politics of Rock in Latin/o America, she has written many articles on Spanish Caribbean and U.S. Latino popular music.

The Great Issues Forum

presents

Cultural Power: Music

Vijay Iyer and DJ Rekha

moderated by Greg Tate

Acclaimed jazz pianist and composer Vijay Iyer is joined by music sensation DJ Rekha for a discussion about music, power, and art in this third cultural power conversation. Vijay Iyer's music draws from a range of Western and non-Western traditions, and his recordings include Reimagining (2005), and Tragicomic (2008), among many others. DJ Rekha's debut album DJ Rekha Presents Basement Bhangra features the same blend of South Asia's traditional Bhangra music and Hip-Hop that made her monthly dance party Basement Bhangra famous. Moderated by Greg Tate, art, music and culture critic and author of the forthcoming biography James Brown Body. Introduced by music critic Gary Giddins.

Monday, April 13th 2009, 7:00 pm

Elebash Recital Hall

The Graduate Center, CUNY

365 Fifth Ave (btwn 34^th & 35^th)

FREE AND OPEN TO THE PUBLIC

No registration. Please arrive early for a seat. 212-817-2005

www.greatissuesforum.org

City Lore www.citylore.org	April 1 , 2009
Painting by José Orbein City Lore in collaboration with Hostos Center for the Arts & Culture presents ¡EL TAMBOR LLAMA! TANBOU A RELE! (The Drum Calls) Sacred Drumming Traditions of Cuba, the Dominican Republic, Haiti and Puerto Rico Saturday, April 25, 2009 Hostos Community College/CUNY 450 Grand Concourse at 149 St. The Bronx This program will look at the connections between Afro-Cuban, Afro-Dominican, and Haitian sacred drumming traditions and some of the other cultural expressions connected to them. The day-long program would feature a keynote speaker, dance and music performances of the three traditions, panel discussions of scholars discussing the languages—poetic and ritual—of the three cultures, and the Congo heritage in the Caribbean, and an exhibit of the line drawings common to all traditions. PROGRAM 1:00pm, Keynote address "The Kongo Atlantic Visual Tradition" Dr. Robert Farris Thompson 2:00-3:45pm, Panel discussion "Voices of the Sacred: Abakuá, Lucumí and Vodoú" Dr. Oluseye Adesola, Dr. Ivor Miller, Dr. Lois Wilcken 4:00-5:45pm, Panel discussion "¿Qué palo es? What Congo tradition are you from?" Dr. Martha Ellen Davis, Alex LaSalle, Dr. Ivor Miller, Dr. Marta Moreno Vega Moderator: Dr. Roberta Singer 7:30-9:30pm, Concert Pa'lo Monte, La Troupe Makandal, Proyecto Enyenison Enkama Emcee: Ned Sublette All day long in the lobby there will be an exhibition of artwork related to these traditions by José Orbein, Kesler Pierre, and Osvaldo Sánchez, as well as books for sale. Admission for the concert: $15 (all other events are free) For tickets please call the Hostos Box Office at 718-518-4455 or go to Hostos events website. For more information please call City Lore at 212-529-1955 x306 or emartinez@citylore.org. Subway direction to Hostos Community College: #2, 4, 5 stop right there at 149th St. & Grand Concourse. Funding provided by National Endowment for the Arts, New York City Department of Cultural Affairs, The Sherman Foundation, New York State Council on the Arts and New York Council for the Humanities.
City Lore | www.citylore.org | 72 East 1st St. New York, NY 10003 t | 212.529.1955 f | 212.529.5062 e | info@citylore.org