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 book is 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'etats 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, Victor Jara, Patricio Manns, Quilapayun, Inti-Illimani, etc., in Chile; Daniel Viglietti, Alfredo Zitarrosa, Los Olimarenos, etc., in Uruguay; Atahualpa Yupanqui, Horacio Guarany, Mercedes Sosa, Marian Farias Gomez, Armando Tejada Gomez, Cesar Isella, Victor 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 Maria 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.

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 book is 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'etats 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, Victor Jara, Patricio Manns, Quilapayun, Inti-Illimani, etc., in Chile; Daniel Viglietti, Alfredo Zitarrosa, Los Olimarenos, etc., in Uruguay; Atahualpa Yupanqui, Horacio Guarany, Mercedes Sosa, Marian Farias Gomez, Armando Tejada Gomez, Cesar Isella, Victor 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 Maria 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.

Media and Globalization shows why the state matters to media and telecommunications industries in a globalizing world: governments control and regulate these industries in important ways and states remain central arenas for policymaking and international agreements. Using case studies drawn from around the world, this book sheds light on the extent of state power in the face of transnational pressures and explores policy, economics, and culture as they factor into media globalization. Visit our website for sample chapters

This book uses historical and interview data to trace the development of Puerto Rican identity in the 20th century. It analyzes how and why Puerto Ricans have maintained a clear sense of distinctiveness in the face of direct and indirect pressures on their identity. After gaining sovereignty over Puerto Rico from Spain in 1898, the United States undertook a sustained campaign to Americanize the island. Despite 50 years of active Americanization and another 40 years of continued United States sovereignty over the island, Puerto Ricans retain a sense of themselves as distinctly and proudly Puerto Rican. This study examines the symbols of Puerto Rican identity, and their use in the complex politics of the island. It shows that identity is dynamic, it is experienced differently by individuals across Puerto Rican society, and that the key symbols of Puerto Rican identity have not remained static over time. Through the study of Puerto Rico, the book investigates and challenges the widely-heard argument that the inevitable result of the export of U.S. mass media and consumer culture throughout the world is the weakening of cultural identities in receiving societies. The book develops the idea that external pressure on collective identity may strengthen that identity rather than, as is often assumed, diminish it.

Tracing musicology in Latin American during the twentieth century, this book presents case studies to illustrate how Latin American music has interacted with social and global processes. The book addresses such topics as popular music, post-colonialism, women in Latin American music, tradition and modernity, musical counterculture, globalization, and identity construction through music. It contributes to the development of paradigms of cultural analysis that originated outside of Latin America by testing them in the Latin American musical context, while also exploring how specifically Latin American models can contribute to broader cultural analysis.

This book uses historical and interview data to trace the development of Puerto Rican identity in the 20th century. It analyzes how and why Puerto Ricans have maintained a clear sense of distinctiveness in the face of direct and indirect pressures on their identity. After gaining sovereignty over Puerto Rico from Spain in 1898, the United States undertook a sustained campaign to "Americanize" the island. Despite 50 years of active Americanization and another 40 years of continued United States sovereignty over the island, Puerto Ricans retain a sense of themselves as distinctly and proudly Puerto Rican. This study examines the symbols of Puerto Rican identity, and their use in the complex politics of the island. It shows that identity is dynamic, it is experienced differently by individuals across Puerto Rican society, and that the key symbols of Puerto Rican identity have not remained static over time. Through the study of Puerto Rico, the book investigates and challenges the widely-heard argument that the inevitable result of the export of U.S. mass media and consumer culture throughout the world is the weakening of cultural identities in receiving societies. The book develops the idea that external pressure on collective identity may strengthen that identity rather than, as is often assumed, diminish it.