Search results for ""vista""

In Buena Vista in the Club, Geoffrey Baker traces the trajectory of the Havana hip hop scene from the late 1980s to the present and analyzes its partial eclipse by reggaetón. While Cuban officials initially rejected rap as “the music of the enemy,” leading figures in the hip hop scene soon convinced certain cultural institutions to accept and then promote rap as part of Cuba’s national culture. Culminating in the creation of the state-run Cuban Rap Agency, this process of “nationalization” drew on the shared ideological roots of hip hop and the Cuban nation and the historical connections between Cubans and African Americans. At the same time, young Havana rappers used hip hop, the music of urban inequality par excellence, to critique the rapid changes occurring in Havana since the early 1990s, when the Soviet Union fell, its subsidy of Cuba ceased, and a tourism-based economy emerged. Baker considers the explosion of reggaetón in the early 2000s as a reflection of the “new materialism” that accompanied the influx of foreign consumer goods and cultural priorities into “sociocapitalist” Havana. Exploring the transnational dimensions of Cuba’s urban music, he examines how foreigners supported and documented Havana’s growing hip hop scene starting in the late 1990s and represented it in print and on film and CD. He argues that the discursive framing of Cuban rap played a crucial part in its success.

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In Buena Vista in the Club, Geoffrey Baker traces the trajectory of the Havana hip hop scene from the late 1980s to the present and analyzes its partial eclipse by reggaetón. While Cuban officials initially rejected rap as “the music of the enemy,” leading figures in the hip hop scene soon convinced certain cultural institutions to accept and then promote rap as part of Cuba’s national culture. Culminating in the creation of the state-run Cuban Rap Agency, this process of “nationalization” drew on the shared ideological roots of hip hop and the Cuban nation and the historical connections between Cubans and African Americans. At the same time, young Havana rappers used hip hop, the music of urban inequality par excellence, to critique the rapid changes occurring in Havana since the early 1990s, when the Soviet Union fell, its subsidy of Cuba ceased, and a tourism-based economy emerged. Baker considers the explosion of reggaetón in the early 2000s as a reflection of the “new materialism” that accompanied the influx of foreign consumer goods and cultural priorities into “sociocapitalist” Havana. Exploring the transnational dimensions of Cuba’s urban music, he examines how foreigners supported and documented Havana’s growing hip hop scene starting in the late 1990s and represented it in print and on film and CD. He argues that the discursive framing of Cuban rap played a crucial part in its success.

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These 200+ images show you the spectacular views from hundreds of New York City’s finest residences. Everyone loves an amazing view, and some pay millions for a property with views across Central Park, the East River, the Hudson River, or the Midtown skyline. In the jungle of glass, stone, and steel that is New York City, it is impossible to overstate the value of an incredible view. Tauber, a Manhattan-based independent photographer, shot these images over the last decade while shooting New York City’s finest properties for real estate firms, architects, interior designers, developers, and magazines. This collection reflects the shimmering pull of New York City views through the seasons, from morning light over Central Park to twilight over the Hudson.

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This is the definitive work on the 100-block Monte Vista National Historic District, which survives nearly intact from San Antonio’s Gilded Age. It is the finest neighborhood of the era remaining in Texas. Architects drawn to the burgeoning city from across the country designed homes both elaborate and modest in an unusual variety of styles, from Queen Anne to Prairie to Tudor to Spanish Colonial Revival, during the heady times when San Antonio was the largest city in the largest state. Landmark homes are described block by block, with numerous vintage and contemporary illustrations and a separate index of architects.

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From one of Brazil’s rising literary stars, an acclaimed novella about the violation of a woman and a city, based on true events. It is 2014. There is euphoria in Brazil, especially in Rio de Janeiro. The World Cup is about to take place and the Olympics are in sight. It is a time of hope and frenzied construction. Júlia is a partner with an architectural firm working on the future Olympic village. During a break from a meeting at the town hall, she goes for a run in the hillside neighbourhood of Alto da Boa Vista. There, a man puts a revolver to her head, takes her to a secluded spot, and rapes her. Left abandoned in the woods, she drags herself home, where her boyfriend and family members are waiting for her. Vista Chinesa brings light and shadow to a city whose stunning beauty cannot conceal the most serious human and political problems, and gives voice to a story that is tragically not uncommon.

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