In Musicians in Transit Matthew B. Karush examines the transnational careers of seven of the most influential Argentine musicians of the twentieth century: Afro-Argentine swing guitarist Oscar Aleman, jazz saxophonist Gato Barbieri, composer Lalo Schifrin, tango innovator Astor Piazzolla, balada singer Sandro, folksinger Mercedes Sosa, and rock musician Gustavo Santaolalla. As active participants in the globalized music business, these artists interacted with musicians and audiences in the United States, Europe, and Latin America and contended with genre distinctions, marketing conventions, and ethnic stereotypes. By responding creatively to these constraints, they made innovative music that provided Argentines with new ways of understanding their nation's place in the world. Eventually, these musicians produced expressions of Latin identity that reverberated beyond Argentina, including a novel form of pop ballad; an anti-imperialist, revolutionary folk genre; and a style of rock built on a pastiche of Latin American and global genres. A website with links to recordings by each musician accompanies the book.

In Musicians in Transit Matthew B. Karush examines the transnational careers of seven of the most influential Argentine musicians of the twentieth century: Afro-Argentine swing guitarist Oscar Aleman, jazz saxophonist Gato Barbieri, composer Lalo Schifrin, tango innovator Astor Piazzolla, balada singer Sandro, folksinger Mercedes Sosa, and rock musician Gustavo Santaolalla. As active participants in the globalized music business, these artists interacted with musicians and audiences in the United States, Europe, and Latin America and contended with genre distinctions, marketing conventions, and ethnic stereotypes. By responding creatively to these constraints, they made innovative music that provided Argentines with new ways of understanding their nation's place in the world. Eventually, these musicians produced expressions of Latin identity that reverberated beyond Argentina, including a novel form of pop ballad; an anti-imperialist, revolutionary folk genre; and a style of rock built on a pastiche of Latin American and global genres. A website with links to recordings by each musician accompanies the book.

In an innovative cultural history of Argentine movies and radio in the decades before Peronism, Matthew B. Karush demonstrates that competition with jazz and Hollywood cinema shaped Argentina's domestic cultural production in crucial ways, as Argentine producers tried to elevate their offerings to appeal to consumers seduced by North American modernity. At the same time, the transnational marketplace encouraged these producers to compete by marketing "authentic" Argentine culture. Domestic filmmakers, radio and recording entrepreneurs, lyricists, musicians, actors, and screenwriters borrowed heavily from a rich tradition of popular melodrama. Although the resulting mass culture trafficked in conformism and consumerist titillation, it also disseminated versions of national identity that celebrated the virtue and dignity of the poor, while denigrating the wealthy as greedy and mean-spirited. This anti-elitism has been overlooked by historians, who have depicted radio and cinema as instruments of social cohesion and middle-class formation. Analyzing tango and folk songs, film comedies and dramas, radio soap operas, and other genres, Karush argues that the Argentine culture industries generated polarizing images and narratives that provided much of the discursive raw material from which Juan and Eva Perón built their mass movement.

In nearly every account of modern Argentine history, the first Peronist regime (1946-55) emerges as the critical juncture. Appealing to growing masses of industrial workers, Juan Peron built a powerful populist movement that transformed economic and political structures, promulgated new conceptions and representations of the nation, and deeply polarized the Argentine populace. Yet until now, most scholarship on Peronism has been constrained by a narrow, top-down perspective. Inspired by the pioneering work of the historian Daniel James and new approaches to Latin American cultural history, scholars have recently begun to rewrite the history of mid-twentieth-century Argentina. "The New Cultural History of Peronism "brings together the best of this important new scholarship.

Situating Peronism within the broad arc of twentieth-century Argentine cultural change, the contributors focus on the interplay of cultural traditions, official policies, commercial imperatives, and popular perceptions. They describe how the Peron regime's rhetoric and representations helped to produce new ideas of national and collective identity. At the same time, they show how Argentines pursued their interests through their engagement with the Peronist project, and, in so doing, pushed the regime in new directions. While the volume's emphasis is on the first Peron presidency, one contributor explores the origins of the regime and two others consider Peronism's transformations in subsequent years. The essays address topics including mass culture and melodrama, folk music, pageants, social respectability, architecture, and the intense emotional investment inspired by Peronism. They examine the experiences of women, indigenous groups, middle-class anti-Peronists, internal migrants, academics, and workers. By illuminating the connections between the state and popular consciousness, "The New Cultural History of Peronism" exposes the contradictions and ambivalences that have characterized Argentine populism.

"Contributors" Anahi Ballent, Oscar Chamosa, Maria Damilakou, Eduardo Elena, Matthew B. Karush, Diana Lenton, Mirta Zaida Lobato, Natalia Milanesio, Mariano Ben Plotkin, Cesar Seveso, Lizel Tornay

In an innovative cultural history of Argentine movies and radio in the decades before Peronism, Matthew B. Karush demonstrates that competition with jazz and Hollywood cinema shaped Argentina's domestic cultural production in crucial ways, as Argentine producers tried to elevate their offerings to appeal to consumers seduced by North American modernity. At the same time, the transnational marketplace encouraged these producers to compete by marketing "authentic" Argentine culture. Domestic filmmakers, radio and recording entrepreneurs, lyricists, musicians, actors, and screenwriters borrowed heavily from a rich tradition of popular melodrama. Although the resulting mass culture trafficked in conformism and consumerist titillation, it also disseminated versions of national identity that celebrated the virtue and dignity of the poor, while denigrating the wealthy as greedy and mean-spirited. This anti-elitism has been overlooked by historians, who have depicted radio and cinema as instruments of social cohesion and middle-class formation. Analyzing tango and folk songs, film comedies and dramas, radio soap operas, and other genres, Karush argues that the Argentine culture industries generated polarizing images and narratives that provided much of the discursive raw material from which Juan and Eva Peron built their mass movement.