Monday, October 22, 2012

Royal Wedding in Luxembourg

Prince Guillaume and Princess Stephanie of Luxembourg.
 Published by The Associated Press.

Under a canopy of soldiers' drawn swords as church bells tolled, Prince Guillaume of Luxembourg and Belgian Countess Stephanie de Lannoy emerged smiling Saturday from the tiny duchy's Notre Dame Cathedral after wrapping up a two-day wedding gala with a religious ceremony.

Onlookers and well-wishers lined the super-scrubbed streets near the cathedral and roared with joy as the newlyweds looked down from a red velvet-covered palace balcony, and haltingly — but deeply — kissed for the crowd.

The church wedding of Prince Guillaume — the 30-year-old heir to the throne and Luxembourg's grand duke-to-be — and the Belgian countess drew a top-drawer guest list. It came a day after a civil ceremony at Luxembourg City Hall.

The bearded groom and his 28-year-old blonde bride were trailed by a procession of well-known royals, including Queen Beatrix of the Netherlands, Princess Victoria and Prince Daniel of Sweden, Prince Naruhito of Japan and Britain's Prince Edward — Queen Elizabeth's youngest child — and his wife, Sophie.

The Royal Family waves to the crowds.
* Note: Prince Guillaume is the son of Grand Duke Henri I and Grand Duchess María Teresa. The Grand Duchess was born in Marianao, Havana and was exiled along with her family following Castro's rise to power. She studied at the University of Geneva, where she met then-prince Henri. Upon ascending the throne, Prince Guillaume will become the first reigning monarch with Cuban roots in history.

Wednesday, October 17, 2012

In memoriam: María Rosa Menocal

María Rosa Menocal
Published in Yale News

María Rosa Menocal, a renowned scholar and historian of medieval culture and literature, passed away on Oct. 15 after a three-year battle with melanoma.

Menocal, Sterling Professor of the Humanities at Yale and former director of the Whitney Humanities Center, focused her research on the literary traditions of the Middle Ages and on the interaction of various religious and cultural groups in medieval Spain.

Her 2002 book, “The Ornament of the World: How Muslims, Jews and Christians Created a Culture of Tolerance in Medieval Spain,” describes the rich cross-fertilization that took place among those religious groups. The book placed the interactions of Jews, Christians and Muslims at the heart of the formation of a diverse and vibrant Western culture, and posed a vigorous challenge to the notion of inevitable polarization of Islam and the West in the popular imagination. It has been published in numerous languages, and received wide critical acclaim. A documentary for public television based on the book is under development.

Menocal once noted that she was inspired to write the book because "... the medieval period has been, and continues to be, so grossly misrepresented in almost all of our histories — from the fact that we have so little knowledge that medieval European culture included, centrally, the study of Greek philosophy as it was interpreted by hundreds of years of Muslim and Jewish commentaries to the fact that we still use the word medieval to mean 'dark' and 'unenlightened' when, in some respects, Europe has never been as enlightened … as it was then." Read the paper, a precursor to "The Ornament of the World," that Menocal presented at a Yale Law School seminar in 2000.

Among her other books is “Shards of Love: Exile and the Origins of the Lyric,” which finds in the idea of exile the origin of the lyric and the foundation of the genre of the love song. This acclaimed work embraces authors from Ibn ‘Arabi to Judah Halevi, from Dante to Eric Clapton. Her other books include “Writing in Dante's Cult of Truth: From Borges to Boccaccio,” and “The Arabic Role in Medieval Literary History: A Forgotten Heritage.” She is the co-editor (with Raymond Scheindlin and Michael Sells) of “The Cambridge History of Arabic Literature: Al-Andalus,” a volume that places the Arabic literature of Islamic Spain in the context of the other languages and cultures of the Iberian peninsula. Her latest book, “The Arts of Intimacy: Christians, Jews and Muslims in the Making of Castilian Culture,” extends these themes through a rich investigation of cross-cultural interactions in language, literature, architecture, and the decorative arts. This work, undertaken in collaboration with art historian Jerrilynn Dodds and Arabist and historian Abigail Krasner Balbale, was named a “Best Book of 2009” by the Times Literary Supplement.

As director of the Whitney Humanities Center from 2001 to 2012, Menocal dramatically expanded the number and intellectual range of fellows at the center, with the goal of representing as many different fields as possible to stimulate dialogue, foster intellectual community, and encourage collaboration in teaching and research. All told, she appointed 285 fellows during her 10-year tenure. These included individuals from the fields of economics, physics, chemistry, medicine, management, architecture, law, and library sciences, as well as all the humanities disciplines. She created new categories of fellowships, such as the Beinecke-Whitney Fellows, the Whitney-British Art Center Fellows, Writers-in-Residence, Mellon Postdoctoral Fellows in the Humanities, and Administrative Fellows. She also brought notable individuals from outside the University to serve as visiting fellows at the center.

Among the new programs Menocal introduced at the center are Films at the Whitney (Friday night screenings in 35mm format), a series of readings by major poets, and the Franke Lectures in the Humanities, which bring distinguished scholars and writers to campus for public talks and classroom seminars with students.

Concerning her work at the center, Menocal once said: “By providing a forum for Yale scholars, visiting fellows, and guest lecturers, and programs to enrich the cross-disciplinary education of Yale students, the Whitney not only maintains the humanities as a cornerstone of undergraduate education, it also becomes the University's center for conversations across the arts and sciences.”
Prior to her years as director of the Whitney, Menocal served as director of graduate studies and chair of the Department of Spanish and Portuguese, and served on numerous university committees.
“María Rosa Menocal was among the most brilliant, creative, and original of Yale’s extraordinary scholars in the humanities,” said Yale President Richard C. Levin. “She was a humanist in the broadest sense of the term. She was passionate about all forms of human expression from literature, the visual arts, and politics to cooking, professional hockey, and the music of troubadours from medieval Provence and al-Andalus to Bob Dylan. Her passions inspired and energized her students and colleagues, and shaped a vibrant community at the Whitney Humanities Center.”

A native of Havana, Cuba, Menocal earned a B.A. in medieval Romance languages, an M.A. in French and a Ph.D. in Romance philology, all at the University of Pennsylvania. She became an assistant professor of Romance languages there in 1980, and also served as acting director of its Center for Italian Studies. She came to Yale in 1986 as a visiting associate professor in the Department of Spanish and Portuguese, was named an associate professor the following year and was appointed a full professor in 1992. In 1993, she was named the R. Selden Rose Professor of Spanish and Portuguese, and in 2005 she became a Sterling Professor, the highest honor that Yale confers on members of its faculty.

An invited lecturer at universities and conferences throughout the nation and in Europe and the Middle East, Menocal was a visiting professor at Bryn Mawr College and held distinguished visiting professorships or lectureships at the University of California, Santa Cruz, the Institut du Monde Arabe in Paris, and the American University in Cairo, among others. The Medieval Academy of America named her a fellow in 2011.

Menocal is survived by her parents, Enrique and Rosa Menocal; her siblings, Lucia Pernot, Enrique Javier Menocal, and Elisa Menocal; her husband R. Crosby Kemper III ’74, director of the Kansas City Public Library; her ex-husband George Calhoun; her two children, George “Harry” Calhoun, a first lieutenant in the U.S. Army, and Margaux Calhoun ’12, who is currently employed at the U.S. Department of Justice; and one grandchild, George Bishara Calhoun, the son of Lt. Calhoun and his wife, Maya Calhoun.

Yale community members share their remembrances of María Rosa Menocal.

Cuban music legend Paquito Hechavarría dies

Pianist Paquito Hechavarria
Raul Rubiera / Miami Herald Staff

Read more here: http://www.miamiherald.com/2012/10/01/3029238/cuban-music-legend-paquito-hechavarria.html#storylink=cpy
Cuban pianist Paquito Hechavarría, who made music history with his “tumbao’’ rhythm for the Miami Sound Machine, died Thursday night in his Miami Beach apartment. He was 73.
 
“He was a great friend and a great musician. With him gone, a great part of the history of Cuban music is lost,” said music producer Emilio Estefan, who recalled that both “Conga” and “Oye Mi Canto,” as well as several more Gloria Estefan successes themes in which Hechavarría participated, won critical praise.
 
“Although many tried to imitate him, no one could do the ‘tumbao’ better than him,” Estefan said. “Paquito was Paquito, a man with a good heart whose main interest was music.”
Paquito Hechavarría was born Feb. 21, 1939. He studied in the Music Conservatory of La Habana.
While in Cuba, he performed with the Riverside Orchestra, Conjunto Casino and Los Armónicos of Felipe Dulzaides.
 
“We were friends since 1953, when we played with our small groups in Sunday programs at Radio Cadena Habana,” said percussionist Nelson “Flaco’’ Padrón. “And during the time of Los Armónicos, we alternated with La Lupe at La Red Club.”
 
After he arrived in Miami in 1962, the pianist played in the dance halls of the Fontainebleau Hotel’s Boom Boom Room and other clubs of the times. In 1964 he recorded a jazz album with Padrón and in 1965 he recorded American standards.
 
In the ’70s, he joined the Fly Out Band, playing the theme of the famous TV series “¿Qué pasa USA?”
 
“Paquito brought Cuba with him in his heart and in his hands,” said William Sánchez, conductor of the Sábado Gigante band. “With his death, one of the great legends of our music disappears.’’
Hechavarría also left his imprint in “Piano” (1995), a solo recording with singer Rey Ruiz.
“I had the pleasure of recording “Frankly” (2009), his last album, in which he was surrounded by great jazz legends like Phil Woods and Brian Lynch,” said filmmaker and music producer Nat Chediak, who considers Hechavarría a “giant” of the keyboard.
 
“Paquito was one of the piano giants of the Golden Era of the Cuban music,” said Chediak. “His contagious swing and his ‘tumbao’ were unique.”
 
Hechavarría is survived sons Félix and Franky, and daughter Jennifer.
 
Services were held.

Read more here: http://www.miamiherald.com/2012/10/01/3029238/cuban-music-legend-paquito-hechavarria.html#storylink=cpy

Tuesday, October 2, 2012

Latin jazz bandleader/promoter José Curbelo dies

 

Cuban-born band leader Jose Curbelo brought the cha-cha-cha to the United States in 1939, and later became a powerful Latin music manager. He died in Aventura on Thursday at 95. He is pictured in an old publicity still.
Cuban-born band leader Jose Curbelo brought the cha-cha-cha to the United States in 1939, and later became a powerful Latin music manager. He died in Aventura on Thursday at 95. He is pictured in an old publicity still.
 
José Curbelo, the Latin jazz bandleader, agent and promoter who helped popularize the cha-cha-cha in the United States, and made Tito Puente a star, died Friday of heart failure at Aventura Hospital. He was 95.Curbelo, of North Miami Beach, was born Feb. 18, 1917 in Havana, where his American-born father played violin with the Havana Philharmonic Orchestra.“He was the last of the pioneers of the Latin jazz band era,” said Freddy Montilla, whose father Fernando Montilla owned Montilla Records and was Curbelo’s friend.Curbelo began formal musical training at the age of 8, said son Rene Curbelo, a Miami web designer. By 16, he was playing with the orchestras of Los Hermanos Lebartard and flutist-composer Gilberto Valdés, and co-founded O rquesta Havana Riverside, his son said.He settled in New York in 1939 and formed a band that played around Manhattan, the Catskill resorts, Miami and Las Vegas. The Puerto Rico-born Puente, who became known as “The King of Latin Music,’’ got his start with Curbelo, said Rene. “He was one of the first ones educating American people on Latin and Cuban music,” Montilla said.Curbelo was beloved by musicians and disliked by club owners because he wouldn’t book a gig unless it paid Curbelo’s asking price, his son said.First to sign a three-year contract: the Charlie Palmieri Quintet. “Every music group of importance, including Tito Puente, Machito, Tito Rodríguez, La Playa Sextet, Pete Terrace, Orlando Marin, Ray Barretto, Noro Morales, Vicentico Valdés and Orquesta Broadway’’ followed, Rene Curbelo said.“I remember it was almost like my father was accused of having a monopoly. He changed the whole scenario’’ in favor of the artists — and took 15 percent off the top.“He affected the Latin music of today.’’A close friend of superstar Cuban songstress Celia Cruz, Jose Curbelo handled all of her Florida engagements “even though she had her own managers in New York,’’ Rene said.Various Latin jazz websites note that Curbelo made enemies by touting Puente, who died in 2000, as the greatest of all the genre’s musicians, and for insisting he get top dollar and top billing, second only to Cruz.Hansel Rodriguez, of the popular salsa duet Hansel y Raul, said Curbelo was known and admired by many in the music industry. Some of the biggest promoters in current Latin music learned from Curbelo, he said. “I learned that everybody has to pay in advance in this business,” said Rodriguez. Curbelo worked as a pianist with bands in New York, with the help of band leader Jose Morand, who’d later start the Fiesta record label.Curbelo once told an interviewer: “My first job was at La Martinique at 57th Street and Sixth Avenue. Months later in December I was at the union hall when I met a 16-year-old musician named Ernesto ‘Tito’ Puente. We were hired for the same gig and it was then I noticed what a great drummer he was.“That same week I was offered a job at Miami’s Book Club. I recommended Tito for the drummer’s spot; Tito accepted and we headed for Miami in my car. We roomed in a bungalow for $5 a week. Our septet played Latin, American pop, waltzes and fox trots. After three months we returned to New York.”He performed with Xavier Cugat, Juancito Sanabria and Oscar De La Hoya before organizing his own band in 1942.According to an online biography that Rene Curbelo cited, “the true Curbelo sound emerged when he cut loose with piano montunos. His arousing rumbas were mentioned by the columnists of New York dailies. His orchestra, along with Machito and the Afro Cubans, supplied music for La Conga Club’s diners and dancers. “A year at New York’s Havana Madrid (1943-44) was followed by stints at Zanzibar and then an upstate gig at Grossinger’s Resort in the Catskills. The next couple of years he spent in Miami at the Clover Club and the Latin Quarter...’’By 1946, “the Curbelo orchestra was among Latin music’s Top 10 orchestras and a pioneer of the then-developing Latin New York sound...Famous arrangers for the band included Rene Hernandez, Chico O’Farrill, Tito Puente and Al Cohn.’’ One of Curbelo’s most popular records was the 1947 RCA Victor release Managua Nicaragua.For Coda Records, he recorded Llora, Tu Come Pellejo, Canelina and Que No, featuring vocalist Tito Rodríguez . Jose Curbelo and his Orchestra, Live at the China Doll, in 1946 is considered a classic.In 1949, Tito Puente and vocalist Vicentico Valdés hit it big with the Curbelo-Bobby Escoto number Abaniquito. Curbelo’s Fiesta releases Cha Cha Cha In Blue, Que Se Funan and La Familia, became Latin jukebox standards.In 1971, Curbelo and his wife, Orchid Rosas, retired to Miami, where he booked bands for the Calle Ocho Festival. Rosas died in 2001. In a 1985 Miami Herald story about his collection of historic Cuban money, Curbelo said he had $20 to his name when he arrived in New York. He was especially proud of his rare Cuban gold coins.He said he once spent $2,100 on a 1915, 20-peso coin, and $1,450 for a 1915 4-peso coin.He sold much of his collection to a Texas publisher in 1969, but in 1985 he still had framed notes on the walls of his home and others in photo albums. “I learned more about Cuba’s history through my hobby than I ever learned in school as a boy,’’ he told The Herald.He referred to himself as “American to the bone.” In addition to his son, Curbelo is survived by a daughter, Marta Curbelo, of New York.A funeral will be held at 5 p.m Sunday at Bernardo Garcia Funeral Home, 8215 Bird Rd. A procession leaves from the funeral home at 10:30 a.m. Monday for Flagler Memorial Park, 5301 W. Flagler St., where Curbelo will be buried.Miami Herald staff writer Erick Lappin contributed to this report.




© 2012 Miami Herald Media Company. All Rights Reserved.
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Read more here: http://www.miamiherald.com/2012/09/21/v-print/3014678/latin-jazz-bandleaderpromoter.html#storylink=cpy

 

Read more here: http://www.miamiherald.com/2012/09/21/v-print/3014678/latin-jazz-bandleaderpromoter.html#storylink=cpy


Read more here: http://www.miamiherald.com/2012/09/21/v-print/3014678/latin-jazz-bandleaderpromoter.html#storylink=cpy