Cocinando!: Fifty Years of Latin Album Cover Art

Cocinando!: Fifty Years of Latin Album Cover Art

---

Free download. Book file PDF easily for everyone and every device. You can download and read online Cocinando!: Fifty Years of Latin Album Cover Art file PDF Book only if you are registered here. And also you can download or read online all Book PDF file that related with Cocinando!: Fifty Years of Latin Album Cover Art book. Happy reading Cocinando!: Fifty Years of Latin Album Cover Art Bookeveryone. Download file Free Book PDF Cocinando!: Fifty Years of Latin Album Cover Art at Complete PDF Library. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Here is The CompletePDF Book Library. It's free to register here to get Book file PDF Cocinando!: Fifty Years of Latin Album Cover Art Pocket Guide.

It is by no of the late s sparked a change in perceptions of means a definitive or comprehensive catalog of Latin Latino identity, and by association its manifestation in album covers. Indeed, there are many gaps and the music packaging.

Import It All - Big or Small We Import It All!

Deluxe is not malicious, only offensive. The exclusive poles of commercial and artistic impulse are string of covers Sanabria designed for Ray Barretto in constantly at play in album cover design. The for- offices of Latin N. Sanabria term when talking about a prevalent look of that period. The revamped Latin N. Masucci pride.

These leaders took social injustices and civil rights produced several feature-length films spotlighting Latin issues to the fore just as their African-American compa- music and culture. In , Larry Harlow and Jenaro triots had in the previous decade. Nuyorican authors, poets, playwrights, and visual cally engaged as their East Coast compatriots. Salsa went mainstream and schools like the Boys Harbor Performing Arts Center with massive concerts and increased radio and TV expo- contributed to an atmosphere of cultural support amidst sure.

Political awareness and protest also began in salsa romantica. Cesar Chavez, the music? There are many reasons for blame: the shrunken In some cases, these artists not only developed broad canvas that is the CD booklet; the immense pressures graphic programs, but also helped to position the music of crossover success; the insidious, lowest-common- intellectually by lending creative album titles, forging denominator aesthetics of mainstream marketing cam- identities for musicians, and stretching what was seen paigns; the ever decreasing bottom lines of bloated as acceptable for the representation of Latin culture.

And the Drawing a potential buyer in through cover ar t musicians themselves often participated in the process, alone has become a nearly impossible task. Last ditch sowing the seeds of an idea given by a fan or in an echo efforts include, as design historian Christopher Dunn from a song. Some labels especially in the to present an over tly ar tistic message sometimes UK and Japan endeavor to produce quality cover art that spiritual, occasionally political, often satirical or retains the standards set by the pioneering artists of the humorous that represented the music on the inside, s and s.

Although united in their oppo- the U.

ISBN 13: 9781568984605

Latin market but differs in several significant sition to the regime, members of the political left and the ways. The basic roots of Brazilian culture are similar to cosmopolitan artistic vanguard fought bitterly among those of Spanish-speaking New World cultures particu- themselves, leading to an increasingly radicalized opposi- larly in the Caribbean in that they feature the dynamic tion between experimentalism and political engagement, intermingling of Iberian, African, and indigenous strains participation and alienation, nationalism and internation- tempered by the lingering effects of colonialism.

The alism. Hendrix and the Beatles, concrete poetry, found sounds Over the past century, Brazilian artistic expression has and electronics, and Brazilian music of all genres. Strategies for addressing postmodern way. In By many young Brazilian ar tists had been response to the worsening situation and influenced by aggressively compromised, silenced, or forced under- similar movements around the globe, Brazilian intellectu- ground by the regime through censorship, intimidation, 12 arrest, incarceration, tor ture, or exile.

Everything was permitted as long as there their countercultural attitudes and rigorous aesthetic was not an attempt against the revolution.

Cocinando!: Fifty Years of Latin Album Cover Art

Since the revo- vision did reverberate, reaching American fans in the lution was not immaculate, and had its abuses and con- s thanks in par t to dedicated American musi- tradictions, this message became a straight jacket. The aesthetics of early Cuban covers share many of the traits that exemplified other Latin albums of the period: Corporate America has a way of mass-marketing the trap- low production values and plenty of racial stereotyping. Of ing Che Guevara t-shirts. Those kids, and others like course, there is one crucial difference: in Cuba, the them around the world, are drawn to the pop aspects of break with the past was sponsored by the state.

Leaving its nurturing Soviet teat. On the one hand, some bring el Otro into mainstream living rooms around the Eastern European influence was felt; on the other, an world. Ethnic parades, a pair of television networks, creative freedom.

As expatriate Cuban designer sciousness on a daily basis. The starkly affecting Pachanga con Puente shows percussionist extaordinaire Tito Puente heralding a would-be dance craze the pachanga with his futuristic echotone, the first fiberglass conga. During the s and s, independent labels that In the early days, Latin independents used an arse- catered specifically to Latino audiences tended to fea- nal of graphic often racist caricatures and nostalgic folk ture stiff por traits of musicians or color ful illustra- references to poke fun at Latinos in a naive yet visually tions that condescendingly harped on the perceived arresting way.

See the depiction of the blind Afro-Cuban primitive nature of the music. Though they may have composer Arsenio Rodriguez on his album Sabroso y cheapened the product, in retrospect we can be caliente. There were also plenty of cheesy deluxe pho- thankful for the window into the past these covers tos, such as the one used on the exploitative Charlie now provide.

Customer Reviews

Palmieri bootleg, Lo Ultimo. Havana, 3 a. On the cover of this 78 RPM record of the song, omizes this approach. Watermelon Man! The narrative, about a missing in the late s.

Another young and multi-talented designer followed convey the thoroughly modern mix within. Izzy Sanabria burst into this naive, patronizing, and soon after, helping to raise the stakes in Latin album tacky design world like a cleansing flood.

Data Protection Choices

His desire was aesthetics. Ely Besalel, originally from Colombia but to banish the generic spot illustration covers see the raised in Brooklyn, trained himself to draw figures on billboardlike Discoteca Latina and boxing-style dance the long subway rides to school, ultimately studying posters that were the norm. As a child, Sanabria was graphic design in college. One night I was hitching a ride designer Waler Velez.

After a stint in the army and as a and a station wagon comes by just filled with Latino professional dancer in barrio-area clubs, Sanabria worked guys and instruments. It was Joe Cuba. We drove in the advertising world, honing his skills as a packager. Other musicians fall ling Bronx label Alegre. Sanabria con- bered me! To this day, he wears that image made in gold, sensibility. They were more than just records, they were like cultural guides.

I made my fellow fifty-thousand copies, an unprecedented number for roommates at Yale listen to it in We mar- Latin jazz at the time.

Reset your password

The deluxe cover shot romanti- veled at ever ything, even the cover. In fact, over a ten and radically shaved head, this time bathed in a jazzy year stretch beginning in , Tjader had the most blue light percussionists seem to generate the most visually engaging string of albums of any Latin musi- dramatic cover art. Puente in Percussion aptly brings cian. Cuban blacks born in Africa. Though the stylized render- Moving into the s, Latin jazz covers mirrored ings for El jazz cubano and the Sanchez CD may seem the general trends in jazz fusion: a predilection for com- folksy, they were made by artists who know and appreci- plex narrative or surreal imagery, often fitting in with the ate the music intimately.

A conga and cigar logo coupled with a tobacco-leaf header, color-coded for each decade, helped tie the series together.

Nor does it Drums, has a futuristic look more in keeping with a mod- present Latin identities as fixed in a vacuum as part of a ern jazz LP than a traditional field recording. In the case of was actually a profoundly innovative modern hybrid. The ideas of authenticity and agency. Warren authentic examples of the genre available in the s. But there is where the album was intended for sale. First, Charlie Rosario provided a series of designs featuring a primordial figure playing a drum.

This set the tone for the album, though the image was rejected and Rosario dumped.

• Autophagy in Mammalian Systems, Part B
• Earning Income
• The Craftsman Builder
• Candide
• Metallurgical and Ceramic Protective Coatings