|
Showing 1 - 7 of
7 matches in All Departments
Beginning in the 1970s Chicana and Chicano organizers turned to
community radio broadcasting to educate, entertain, and uplift
Mexican American listeners across the United States. In rural
areas, radio emerged as the most effective medium for reaching
relatively isolated communities such as migrant farmworkers. And in
Washington's Yakima Valley, where the media landscape was dominated
by perspectives favorable to agribusiness, community radio for and
about farmworkers became a life-sustaining tool. Feminista
Frequencies unearths the remarkable history of one of the United
States' first full-time Spanish-language community radio stations,
Radio KDNA, which began broadcasting in the Yakima Valley in 1979.
Extensive interviews reveal the work of Chicana and Chicano
producers, on-air announcers, station managers, technical
directors, and listeners who contributed to the station's success.
Monica De La Torre weaves these oral histories together with a
range of visual and audio artifacts, including radio programs,
program guides, and photographs to situate KDNA within the larger
network of Chicano community-based broadcasting and social movement
activism. Feminista Frequencies highlights the development of a
public broadcasting model that centered Chicana radio producers and
documents the central role of women in developing this
infrastructure in the Yakima Valley. De La Torre shows how KDNA
revolutionized community radio programming, adding new depth to the
history of the Chicano movement, women's activism, and media
histories.
Beginning in the 1970s Chicana and Chicano organizers turned to
community radio broadcasting to educate, entertain, and uplift
Mexican American listeners across the United States. In rural
areas, radio emerged as the most effective medium for reaching
relatively isolated communities such as migrant farmworkers. And in
Washington's Yakima Valley, where the media landscape was dominated
by perspectives favorable to agribusiness, community radio for and
about farmworkers became a life-sustaining tool. Feminista
Frequencies unearths the remarkable history of one of the United
States' first full-time Spanish-language community radio stations,
Radio KDNA, which began broadcasting in the Yakima Valley in 1979.
Extensive interviews reveal the work of Chicana and Chicano
producers, on-air announcers, station managers, technical
directors, and listeners who contributed to the station's success.
Monica De La Torre weaves these oral histories together with a
range of visual and audio artifacts, including radio programs,
program guides, and photographs to situate KDNA within the larger
network of Chicano community-based broadcasting and social movement
activism. Feminista Frequencies highlights the development of a
public broadcasting model that centered Chicana radio producers and
documents the central role of women in developing this
infrastructure in the Yakima Valley. De La Torre shows how KDNA
revolutionized community radio programming, adding new depth to the
history of the Chicano movement, women's activism, and media
histories.
This book places poetry by Ashbery (1927-2017), gathered from his
later collections, in conversation with a selection of
contemporaneous art writing. In addition, as Ashbery loved music
and listened to it while writing, the "playlists" here offer
representative samplings of music from these same years, culled
from Ashbery's own library of recordings. Ashbery's poetry is
frequently described as ekphrastic, though, rather than writing a
poem "based on'' or "inspired" by the content of an artwork of or
piece of music, he engages with how the experience of seeing it and
the artistic strategies employed offer ways of thinking about it
and through it. Many of the observations from Ashbery's art writing
also offer keys to how we might read his poetry. Many of the
recordings he listened to feature contemporary classical works that
emphasize complex textures, disparate sounds, and disjunct phrases.
Ashbery's poetry similarly plays with a diversity of poetic
textures and sudden turns such that a reader might construct
multiple narratives or pathways of meaning. He rarely offers linear
stories or focuses on evocative descriptions of a scene or object.
In exploring this ekphrastic book project, the reader is invited to
discover how, for Ashbery, these three forms might illuminate and
inform one another.
At the heart of Repetition Nineteen are twenty-five unreliable
translations of a poem in Monica de la Torre's first book, written
in Spanish. She embarked on this new genre-defying project after
realizing she had been living in New York for as long as she had
lived in Mexico City, where she was born. The works here focus on
translation as displacement, mediation, and a form of
code-switching. In the latter half of the book, "Replay," we get a
glimpse of de la Torre's translation practice in action as she
invites passers-by to participate in series of translation
experiments during an artist residency in Madison Square Park.
Given the nativism of our current climate, both halves of
Repetition Nineteen celebrate translation's possibilities and
political relevancy.
|
|