Search

How is Latin American music heard, by whom, and why? Many in the United States believe Latin American musicians make “Latin music”—which carries with it a whole host of assumptions, definitions, and contradictions. In their own countries, these expatriate musicians might generate immense national pride or trigger suspicions of “national betrayals.” The making, sounding, and hearing of “Latin music” brings into being the complex array of concepts that constitute “Latin Americanism”—its fissures and paradoxes, but also its universal aspirations. Taking as its center musicians from or with declared roots in Latin America, Jairo Moreno presents us with an innovative analysis of how and why music emerges as a necessary but insufficient shorthand for defining and understanding Latin American, Latinx, and American experiences of modernity. This close look at the growth of music-making by Latin American and Spanish-speaking musicians in the United States at the turn of the twenty-first century reveals diverging understandings of music's social and political possibilities for participation and belonging. Through the stories of musicians—Rubén Blades, Shakira, Arturo O'Farrill and the Afro-Latin Jazz Orchestra, and Miguel Zenón—Sounding Latin Music, Hearing the Americas traces how artists use music to produce worlds and senses of the world at the ever-transforming conjunction of Latin America and the United States.

De la movida sonidera mexicana a la cumbia villera argentina, de la psicodélica chicha peruana al sonido ancestral colombiano, la cumbia es un bien cultural que une e identifica a Latinoamérica. Este libro, producto del trabajo colaborativo con la Red de Periodistas Musicales de Iberoamérica, propone un repaso por las historias de músicos y bandas icónicas, desde los inicios de este género musical hasta las vanguardias más recientes. Cumbia somos recupera las peculiaridades geográficas y sociales que inciden en cada una de las aproximaciones y apropiaciones de ese lenguaje tropical expansivo y honra la multiplicidad de sonidos emanados del género: de artistas, como Totó La Mamposina, Los Ángeles Azules, Los Mirlos, Los Palmeras, Celso Piña, Yeison Landero, Gilda o Polibio Mayorga, de sellos emblemáticos, como Discos Fuentes, Codiscos y de colectivos, como Zizek, Los Pirañas y Sonido Gallo Negro. La cumbia es una banda sonora transgeneracional y multicultural, un patrimonio musical y bailable de la humanidad. ¡Que viva la cumbia y se baile por siempre!

This book explores an important aspect of hip-hop that is rarely considered: its deep entanglement with spiritual life. The world of hip-hop is saturated with religion, but rarely is that element given serious consideration. In Street Scriptures, Alejandro Nava focuses our attention on this aspect of the music and culture in a fresh way, combining his profound love of hip-hop, his passion for racial and social justice, and his deep theological knowledge. Street Scriptures offers a refreshingly earnest and beautifully written journey through hip-hop's deep entanglement with the sacred. Nava reveals a largely unheard religious heartbeat in hip-hop, exploring crosscurrents of the sacred and profane in rap, reggaeton, and Latinx hip-hop today. Ranging from Kendrick Lamar, Chance the Rapper, Lauryn Hill, Cardi B, and Bad Bunny to St. Augustine and William James, Nava examines the ethical-political, mystical-prophetic, and theological qualities in hip-hop, probing the pure sonic and aesthetic signatures of music, while also diving deep into the voices that invoke the spirit of protest. The result is nothing short of a new liberation theology for our time, what Nava calls a “street theology.”

A behind the scenes look at the music that is currently the soundtrack of the globe, reported on and written by Leila Cobo, Billboard's VP of Latin Music and the world's ultimate authority on popular Latin music.Decoding'Despacito'tracks the stories behind the biggest Latin hits of the past fifty years. From the salsa born and bred in the streets of New York City, to Puerto Rican reggaetón and bilingual chart-toppers, this rich oral history is a veritable treasure trove of never-before heard anecdotes and insight from a who's who of Latin music artists, executives, observers, and players. Their stories, told in their own words, take you inside the hits, to the inner sanctum of the creative minds behind the tracks that have defined eras and become hallmarks of history.FEATURING THE STORIES BEHIND SONGS BY:José Feliciano • Los Tigres Del Norte • Julio Iglesias • Gloria Estefan and Miami Sound Machine • Willie Colón • Juan Luis Guerra • Selena • Los Del Río • Carlos Vives • Elvis Crespo • Ricky Martin • Santana • Shakira • Daddy Yankee • Marc Anthony • Enrique Iglesias with Descemer Bueno and Gente De Zona • Luis Fonsi with Daddy Yankee • J Balvin with Willy William • Rosalía

Just as people are shaped by the time and place they come from, so is music. Readers are invited to explore music that was born from Latin America and to trace its rise to a position of global popularity. They learn about the different instruments used in music styles such as Cuban and Caribbean and how this music influences the music of other cultures. Also featured is an extensive list of recommended Latin music albums, vibrant photographs of Latin music stars such as Gloria Estefan and Daddy Yankee, and annotated quotes from writers and musicians.

O melodrama apresenta-se como matriz cultural atuante em narrativas do cinema, da literatura e da canção, mais propriamente nas chamadas canções românticas, que falam do amor, da paixão, do encontro, da felicidade na realização amorosa, do ser amado e também dos percalços do sentimento amoroso, como a sua impossibilidade, a desilusão, o ciúme, a traição, o sofrimento. As matrizes culturais expressam universalidades, tradições, memórias e resgatam seletivamente na Modernidade traços de um passado e de um tempo aparentemente perdidos, sendo capazes de ativar mecanismos coletivos de identificações e apropriações. Por serem dinâmicas, elas se mesclam e se adaptam no transcorrer histórico destituindo elementos e incorporando outros. Desta forma é que percebemos a presença desta matriz cultural melodramática em boleros e sambas-canções dos anos 1940-50, como também em versões mais recentes do samba romântico, ou na transnacional balada. Perceber a complexidade histórica e social de matriz melodramática na composição daquilo que neste livro estamos chamando de canções românticas na América Latina implica pensar e se utilizar de uma noção de cultura desprendida de um viés elitista, abstrato ou hierárquico. (Simone L. Pereira)

Made in Latin America serves as a comprehensive introduction to the history, sociology, and musicology of contemporary Latin American popular music. Each essay, written by a leading scholar of Latin American music, covers the major figures, styles, and social contexts of popular music in Latin America and provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book first presents a general description of the history and background of popular music, followed by essays organized into thematic sections: Theoretical Issues; Transnational Scenes; Local and National Scenes; Class, Identity, and Politics; and Gendered Scenes.

Latin America in the 1960s and 1970s underwent a profound and often violent process of social change. From the Cuban Revolution to the massive guerrilla movements in Argentina, Uruguay, Peru, Colombia, and most of Central America, to the democratic socialist experiment of Allende in Chile, to the increased popularity of socialist-oriented parties in Uruguay, or para-socialist movements, such as the Juventud Peronista in Argentina, the idea of social change was in the air. Although this topic has been explored from a political and social point of view, there is an aspect that has remained fairly unexplored. The cultural—and especially musical—dimension of this movement, so vital in order to comprehend the extent of its emotional appeal, has not been fully documented. Without an account of how music was pervasively used in the construction of the emotional components that always accompany political action, any explanation of what occurred in Latin America during that period will be always partial. This bookis an initial attempt to overcome this deficit. In this collection of essays, we examine the history of the militant song movement in Chile, Uruguay, and Argentina at the peak of its popularity (from the mid-1960s to the coup d'états in the mid-1970s), considering their different political stances and musical deportments. Throughout the book, the contribution of the most important musicians of the movement (Violeta Parra, Víctor Jara, Patricio Manns, Quilapayún, Inti-Illimani, etc., in Chile; Daniel Viglietti, Alfredo Zitarrosa, Los Olimareños, etc., in Uruguay; Atahualpa Yupanqui, Horacio Guarany, Mercedes Sosa, Marian Farías Gómez, Armando Tejada Gómez, César Isella, Víctor Heredia, Los Trovadores, etc., in Argentina) are highlighted; and some of the most important conceptual extended oeuvres of the period (called “cantatas”) are analyzed (such as “La Cantata Popular Santa María de Iquique” in the Chilean case and “Montoneros” in the Argentine case). The contributors to the collection deal with the complex relationship that the aesthetic of the movement established between the political content of the lyrics and the musical and performative aspects of the most popular songs of the period.

The Bloomsbury Encyclopedia of Popular Music Volume 9 is one of six volumes within the'Genre'strand of the series. This volume discusses the genres of the Caribbean and Latin America relation to their cultural, historical and geographic origins; technical musical characteristics; instrumentation and use of voice; lyrics and language; typical features of performance and presentation; historical development and paths and modes of dissemination; influence of technology, the music industry and political and economic circumstances; changing stylistic features; notable and influential performers; and relationships to other genres and sub-genres. This volume features over 300 in-depth essays on genres ranging from Afro-Cuban Jazz to Alcatraz, from Carnaval to Charanga, and from Dancehall to Dub.

Arsenio Rodríguez was one of the most important Cuban musicians of the twentieth century. In this first scholarly study, ethnomusicologist David F. García examines Rodríguez's life, including the conjunto musical combo he led and the highly influential son montuno style of music he created in the 1940s. García recounts Rodríguez's battle for recognition at the height of'mambo mania'in New York City and the significance of his music in the development of salsa. With firsthand accounts from relatives and fellow musicians, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music follows Rodríguez's fortunes on several continents, speculating on why he never enjoyed wide commercial success despite the importance of his music. García focuses on the roles that race, identity, and politics played in shaping Rodríguez's music and the trajectory of his musical career. His transnational perspective has important implications for Latin American and popular music studies.

MAMBO MANIA...................... 14 CUBOP............................ 42 60 ORIZA............................ 82 VIVA SOUL......................... ÉCHALE SALSITA.................... 112 Contents OYE COMO VA....................... 150 OH, MEU BRASIL.................... 170 BARRIO NUEVO..................... 200 DISCOGRAPHY....................... 230 BIBLIOGRAPHY....................... 237 ACKNOWLEDGMENTS.................. 238 CREDITS.......................... 239 commercial art created for Latin music is being docu- Foreword mented for its visual as well as sociological contribution to our music and culture. Pablo covers a lot of ground in IZZY SANABRIA this book both before and after my heyday, as well as the work of Brazilian artists. Just as the great works of One evening about a year ago I received a phone call art reflect social, religious, and political views at diff- from a young graphic designer and DJ named Pablo ent periods of history, these covers reflect fifty years of Yglesias, who told me he was working on a history of Latin cultural history through the lens of our music. The Latin music album covers and that I was to be a big covers created in New York during the 1960s and part of the book. I was flattered, but I{u2019}d heard it all 1970s, for example, helped define Nuyorican culture before. I thought to myself,?Just another well-meaning before it came to the attention of television, film, and fan with big ideas.? But Pablo was so enthusiastic and print media. This book should not only be pleasing to persistent that I agreed to meet him in person.