The Cuban government officially doesn't like reggaeton. As some of you know, reggaeton is that mix of Jamaican dancehall music and Spanish hip hop that you hear blasted through car speakers all over Miami and in almost any club you go to in the city.
I would say reggaeton is an acquired taste, but the Cuban government was some pretty serious feelings about this.
Just two blocks west of Federal Highway in Fort Lauderdale, progressive metal band Neolythyc is rehearsing in a cramped, dark, converted garage. The rehearsal space is just a stone's-throw from Holiday Park, the last known address of jazz legend Jaco Pastorius.
The four members of Neolythyc are all 17 years old, born nearly a decade after Pastorius's death in 1987. But bass player Jerry Caceres refers to Jaco as "one of the old homies from down the block."
Forty-five-year-old Tammy Goss is sitting on a park bench in a small patch of green wedged between Dixie Highway and the FEC railroad tracks. Staring down from the southeast wall of the corner community center is a huge blue-toned mural of a man's face, his fingers curled around an electric bass guitar. She knows his name.
“Jaco Pastorius, I think,” says Goss.
But that's all she really knows about John Francis Pastorius III.
Kurt Vonnegut fans have a lot to look forward to over the next couple of weekends. First, a performance of a chamber music piece with a libretto by the iconoclastic author, and then a discussion of a new book of his letters at the Miami Book Fair International.
Las Cuatro Estaciones Porteñas/Primavera Porteñas; recorded at Festival Miami, October 5, 2005.
The bassoonist Luciano Magnanini has been a fixture of South Florida's classical music scene for the past four decades. He has played around the world and performed under the conductors Leonard Bertstein and Zubin Mehta. In 1972, after arriving from Italy via Peru and Mexico, Magnanini began a 40-year teaching career at the University of Miami. He’s retiring in May, and this Sunday he performs a chamber concert celebrating his career.
Under the Sun likes to feature some of the local talent that provide the soundtracks to our stories of life in South Florida. We worked with Radioboxer to use their songs, “Cat’s Meow,” and “While You Wait,” in an Under the Sun piece, “Loyalty Oath.” We also got to chat with Jota Dazza on everything from the band’s inception to how Miami influences thei
Music teacher Mario Ortiz has been teaching classic salsa tunes to elementary and middle school students for 14 years. Outside the classroom, Mario plays trumpet in a salsa group. He learned music from his father, who was also named Mario Ortiz.
The elder Ortiz was a well known salsa bandleader (for the Mario Ortiz All Star Band) in Puerto Rico in the 1960s. He died in 1999.
One of the aftereffects of the earthquake in Haiti is that local journalists have found new freedom. Many are now airing the kinds of political commentary and criticism that used to invite violence and censure– even death.
The shift comes across loud and clear on Haiti’s airwaves, where most people get their news.
Jennifer Maloney brings us the story of Haitian radio host and reporter Makenson Remy, known to listeners as “Four-by-Four” because of his rugged brand of go-anywhere reporting.
This hymn is the one you hear under our piece, “Faith in the Aftermath.” The original segment explores how parishioners at Notre Dame D’Haiti Catholic Church here in Miami leaned on their faith and on song after their country’s massive earthquake– to heal and to release their grief.