Luis Alfonso Manuel Machín (born in Rosario, Santa Fe Province, on 10 April 1968) is an Argentine theater, film and television actor. He has appeared in several Argentine films, such as Felicidades (2000) and Un oso rojo (2002), but his work has mainly been on television, notably in the series Son amores, Padre Coraje (2004), and Montecristo (2007). ^{[1] [2] [3] [4] [5] [6]}

References[link]

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v t e Cinema of Argentina Actors Awards Composers Directors Editors Films A–Z Cinematographers Festivals Producers Screenwriters Mar del Plata Film Festival Films by year: 1897–1929 1930s 1940 1941 1942 1943 1944 1945 1946 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012

For the volcano in Colombia see Cerro Machín.

Antonio Machín (born Antonio Abad Lugo Machín, Sagua la Grande, Cuba 11 February 1903 – 4 August 1977, Madrid) was a Cuban singer and musician. His version of El Manisero, recorded in New York, 1930, with Don Azpiazú's orchestra, was the first million record seller for a Cuban artist.^[1][2] Although this was labelled a rumba, it was in reality a son pregón, namely, a song based on a street-sellers' cry.

Machín was the son of a black Cuban woman, Leoncia Machín, and a white Cuban father, Antonio (Benítez de) Lugo. Machín, a dark mulatto, was one of sixteen children. His early years were difficult: he was forced to work at the age of eight to help pay some of his father's numerous debts. One day, he was in the street by his house singing quietly. A priest that walked by heard him and immediately encouraged him to sing at a party. He sang Ave María by Schubert. From that day on Machin was determined to become a singer. Machín's ambition was to sing opera, but this was difficult for a poor coloured Cuban at the beginning of the 20th century. Thus, he focused on singing popular music. At the age of twenty he had become the idol of the young women in his neighbourhood. Machín would sing them serenades under the moonlight. He worked as a mason, also travelling across Cuba as a singer. In 1926 he moved to Havana where he met a Spaniard who helped him get a contract to sing at a small café in Havana.

In Havana, Machín was exposed to many kinds of music. He joined several trios, quartets and sextets. In 1924 Machín formed a duo with the trovador Miguel Zaballa. Later he joined the Trío Luna, with Enrique Peláez and Manuel Luna. In 1926 he was brought into Don Azpiazú's orchestra, the house band at the Havana Casino.^[3] In 1930 he went to New York with Don Azpiazú's band, where El manisero (The Peanut Vendor, written by Moises Simons) was recorded. It became the first Cuban song to become a hit in the U.S., presaging the rumba explosion of the 1930s. Machín did not return to Cuba after this tour, settling in New York for the time.

In New York, Machín recorded approximately 200 numbers, and formed the Cuarteto Machín in 1932. The other members were the Puerto Ricans Plácido Acevedo (trumpet), Cándido Vicenty (tres) and Daniel Sánchez (second voice and guitar). Machín himself was first voice. Various other musicians substituted as needed, and eventually this became the Sexteto Machín, with the great Cuban trumpeter Remberto Lara, for whom Mario Bauzá substituted on some recordings. Machín sang with other groups such as José Escarpenter y su Orquesta, Orquesta Antillana de Rafael Hernández, Julio Roque y su Orquesta, and Armando Valldespí y su Orquesta, in addition to performing with Orquesta Machín and Cuarteto Machín.

In 1935 he moved to Europe, living in London and Paris before settling in Madrid in the late 1930s, where he would remain until his death. In Paris, he formed Antonio Machín y su Orquesta, with Simons on piano, and continued to record in the city (where Cuban music had been popular since the late twenties). After moving to Madrid he married María de los Ángeles Rodríguez, from Seville, in 1943. As the Cuarteto Machín, he made over 60 recordings in Spain, often recording the works of composers Oswaldo Farrés and Consuelo Velázquez. He also had an extensive recording career singing with various Spanish bands; the total of recordings in Europe may be as many as four hundred,^[4] giving him a lifetime total of about 600 numbers recorded. If that is approximately right, he would be one of the most recorded Cuban singers of the 20th century, but behind Celia Cruz.

He died in Madrid in 1977 and was interred in the San Fernando Cemetery in the city of Seville. He is best known for singing El Manisero, Dos gardenias, Madrecita, and Angelitos negros.

References[link]

Cuba portal

• Antonio Machín at Allmusic.com
• Cuando salí de La Habana; 1898-1997: Cien años de múúsica cubana por el mundo by Cristobal Diaz Ayala, (Fundación Musicalia. San Juan, Puerto Rico, 1998). (Spanish)
• Machin, toda una vida by Eduardo Jover. (La Esfera de los Libros. Madrid, 2002). (Spanish)
• Calle Antonio Machin. El recuadro by Antonio Burgos, (El Mundo de Andalucía. 2001). (Spanish)

Carla L. Peterson (born September 9, 1944^[1]) is a Professor of English at the University of Maryland, College Park. Her expertise includes nineteenth-century African American women writers and speakers in the northern US, African American novelists in the post-Reconstruction era, and gender and culture in historical literature.

Career[link]

Education[link]

Peterson completed her Ph.D. at Yale University in 1976. Subsequently, she won a National Research Council Postdoctoral Fellowship for Minorities from 1981–1982 and a fellowship at the Center for Advanced Study in the Behavioral Sciences (at Stanford) from 1987-1988. In the 1990s, she won awards from the American Council of Learned Societies (1991–1992) and from the American Association of University Women (1991–1992).

Research and teaching activities[link]

In the American Studies Association, Peterson served as co-chair of the ASA 2003 Annual Meeting Program Committee, and was a member of the John Hope Franklin Prize Committee in 1993-94. She also sat on the American Quarterly Board of Managing Editors and was on the Board of Advisory Editors. Peterson has participated in the TV documentaries, “Ticket to Freedom” and “Remembering Slavery.” Peterson has held curriculum development workshops for public school teachers and served as a USIA academic specialist in American Studies at institutions such as Quisqueya University, Port-au-Prince, Haiti. She has also taught summer seminars in Rio de Janeiro and Mexico City.

Current activities[link]

Peterson is currently a member of the Maryland Humanities Council Speakers Bureau. Peterson also serves as an affiliate faculty member of the American Studies, African-American Studies, and Women’s Studies Departments. Her current research interests include a range of issues including race, ethnicity, African American isses, gender and feminism, family/children/child development, history, and literature.

Peterson is currently working on a book, tentatively titled Black Gotham: African American Family and Community in Nineteenth-Century New York. This book is about nineteenth-century black New Yorkers, viewed from the perspective of family histories.

Works[link]

• African-American Women Orators in the Antebellum North
• Antebellum Slave Narrators: Frederick Douglass and Harriet Jacobs
• African Americans and the New York Draft Riots of 1863: Contested Spaces of Black Community and City Neighborhoods
• Family, Memory, History: Reconstituting Black Elite Culture in Nineteenth-Century New York
• Black Cosmopolitanism and the Reshaping of African American Local and National Identities (1830-1910)
• Articles: seven articles in journals such as American Quarterly and American Literary History, and collections such as Critical Essays on Frederick Douglass and Criticism and the Color Line: Race and Revisionism in American Literary History.

References[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2012)

"The Man" is a slang phrase that may refer to the government or to some other authority in a position of power. In addition to this derogatory connotation, it may also serve as a term of respect and praise.

The phrase "the Man is keeping me down" is commonly used to describe oppression. The phrase "stick it to the Man" encourages resistance to authority, and essentially means "fight back" or "resist", either openly or via sabotage.^[1]

History[link]

The earliest recorded use^{[citation needed]} of the term "the Man" in the American sense dates back to a letter written by a young Alexander Hamilton in September 1772, when he was 15. In a letter to his father James Hamilton, published in the Royal Dutch-American Gazette, he described the response of the Dutch governor of St. Croix to a hurricane that raked that island on August 31, 1772. "Our General has issued several very salutary and humane regulations and both in his publick and private measures, has shewn himself the Man." ^{[2][dubious – discuss]} In the Southern U.S. states, the phrase came to be applied to any man or any group in a position of authority, or to authority in the abstract. From about the 1950s the phrase was also an underworld code word for police, the warden of a prison or other law enforcement or penal authorities.

It was also used as a term for a drug dealer in the 1950s and 1960s and can be seen in such media as Curtis Mayfield's "No Thing On Me", William Burroughs's novel Naked Lunch, and in the Velvet Underground song "I'm Waiting for the Man", in which Lou Reed sings about going to Uptown Manhattan, specifically Lexington Avenue and 125th Street, to buy heroin.

The use of this term was expanded to counterculture groups and their battles against authority, such as the Yippies, which, according to a May 19, 1969 article in U.S. News and World Report, had the "avowed aim ... to destroy 'The Man', their term for the present system of government". The term eventually found its way into humorous usage, such as in a December 1979 motorcycle ad from the magazine Easyriders which featured the tagline, "California residents: Add 6% sales tax for The Man."

In present day, the phrase has been popularized in commercials and cinema, featuring particularly prominently as a recurring motif in the 2003 film School of Rock.^[3][4][5][6]

Use as praise[link]

The term has also been used as an approbation or form of praise. This may refer to the recipient's status as the leader or authority within a particular context, or it might be assumed to be a shortened form of a phrase like "He is the man (who is in charge)." One example of this usage dates to 1879 when Otto von Bismarck commented, referring to Benjamin Disraeli's pre-eminent position at the Congress of Berlin, "The old Jew, he is the man."^{[7][dubious – discuss]}

In more modern usage, it can be a superlative compliment ("you da man!") indicating that the subject is currently standing out amongst his peers even though they have no special designation or rank, such as a basketball player who is performing better than the other players on the court. It can also be used as a genuine compliment with an implied, slightly exaggerated or sarcastic tone, usually indicating that the person has indeed impressed the speaker but by doing something relatively trivial.

See also[link]

• Absentee landlord
• Big Brother (Nineteen Eighty-Four)
• New World Order (conspiracy theory)
• Ruling class
• The Establishment
• Power elite
• Corrections officer
• YTMND

Notes[link]

References[link]

• Lighter, J.E. (Ed.). (1997). Random House Dictionary of American Slang. New York: Random House.