At the second International Song Festival in 1967, Milton Nascimento had three songs accepted for competition. He had no intention of performing them--he hated the idea of intense competition. In fact, Nascimento might never have appeared at all if Eumir Deodato hadn't threatened not to write the arrangements for his songs if he didn't perform at least two of them. Nascimento went on to win the festival's best performer award, all three of his songs were included soon afterward on his first album, and the rest is history. This is only one anecdote from The Brazilian Sound, an encyclopedic survey of Brazilian popular music that ranges over samba, bossa nova, MPB, jazz and instrumental music and tropical rock, as well as the music of the Northeast. The authors have interviewed a wide variety of performers like Nascimento, Gilberto Gil, Carlinhos Brown, and Airto Moreira, U.S. fans, like Lyle Mays, George Duke, and Paul Winter, executive André Midani; and music historian Zuza Homem de Mello, just to name a few. First published in 1991, The Brazilian Sound received enthusiastic attention both in the United States and abroad. For this new edition, the authors have expanded their examination of the historical roots of Brazilian music, added new photographs, amplified their discussion of social issues like racism, updated the maps, and added a new final chapter highlighting the most recent trends in Brazilian music. The authors have expanded their coverage of the axé music movement and included profiles of significant emerging artists like Marisa Monte, Chico Cesar, and Daniela Mercury. Clearly written and lavishly illustrated with 167 photographs, The Brazilian Sound is packed with facts, explanations, and fascinating stories. For the Latin music aficionado or the novice who wants to learn more, the book also provides a glossary, a bibliography, and an extensive discography containing 1,000 entries. Author note: Chris McGowan was a contributing writer and columnist for Billboard from 1984 to 1996 and pioneered that publication's coverage of Brazilian and world music in the mid-1980s. He has written about the arts and other subjects for Musician, The Beat, the Hollywood Reporter, the Los Angeles Times, L. A Weekly, and the Los Angeles Reader. He is the author of Entertainment in the Cyber Zone: Exploring the Interactive Universe of Multimedia (1995) and was a contributor to The Encyclopedia of Latin American History and Culture (1996). Ricardo Pessanha has worked as a teacher, writer, editor, and management executive for CCAA, one of Brazil's leading institutes of English-language education. He has served as a consultant to foreign journalists and scholars on numerous cultural projects relating to Brazil. He has contributed articles about Brazilian music to The Beat and other publications.

In this revised second edition, Roberts updates the history of Latin American influences on the American music scene over the last 20 years. 50 halftones.

There is no doubt that Yolanda Saldivar pulled the trigger and killed the beloved Tejano superstar Selena Quintanilla Perez. But does any of us know what really happened in Room 158 of the Days Inn, moments before Yolanda fired the gun that took Selena's life? Maria Celeste Arraras has many answers - and her unrivaled coverage of the murder, the trial, and the aftermath have made her an expert on the Selena case.

This entertaining history of Cuba and its music begins with the collision of Spain and Africa and continues through the era of Miguelito Valdes, Arsenio Rodriguez, Benny More, and Perez Prado. It offers a behind-the-scenes examination of music from a Cuban point of view, unearthing surprising, provocative connections and making the case that Cuba was fundamental to the evolution of music in the New World. The ways in which the music of black slaves transformed 16th-century Europe, how the "claves" appeared, and how Cuban music influenced ragtime, jazz, and rhythm and blues are revealed. Music lovers will follow this journey from Andalucia, the Congo, the Calabar, Dahomey, and Yorubaland via Cuba to Mexico, Puerto Rico, Saint-Domingue, New Orleans, New York, and Miami. The music is placed in a historical context that considers the complexities of the slave trade; Cuba's relationship to the United States; its revolutionary political traditions; the music of Santeria, Palo, Abakua, and Vodu; and much more.

The classic introduction to the Caribbean's popular music brought up to date.

"Readers interested not only in music, but also in ethnic studies and popular culture, will appreciate the broad spectrum covered in Tejano Proud: Tex-Mex Music in the Twentieth Century."--BOOK JACKET.

Salsa is one of the most popular types of music listened to and danced to in the United States. Until now, the single comprehensive history of the music — and the industry that grew up around it, including musicians, performances, styles, movements, and production — was available only in Spanish. This lively translation provides for English-reading and music-loving fans the chance to enjoy César Miguel Rondón’s celebrated El libro de la salsa. Rondón tells the engaging story of salsa’s roots in Puerto Rico, Cuba, Colombia, the Dominican Republic, and Venezuela, and of its emergence and development in the 1960s as a distinct musical movement in New York. Rondón presents salsa as a truly pan-Caribbean phenomenon, emerging in the migrations and interactions, the celebrations and conflicts that marked the region. Although salsa is rooted in urban culture, Rondón explains, it is also a commercial product produced and shaped by professional musicians, record producers, and the music industry. For this first English-language edition, Rondón has added a new chapter to bring the story of salsa up to the present.

"First published in 2000 by Pluto Press, London, England"--T.p. verso.

The Garland Handbook of Latin American Music is comprised of essays from The Garland Encyclopedia of World Music: Volume 2, South America, Mexico, Central America, and the Carribean, (1998). Revised and updated, the essays offer detailed, regional studies of the different musical cultures of Latin America and examine the ways in which music helps to define the identity of this particular area. Part One provides an in-depth introduction to the area of Latin America and describes the history, geography, demography, and cultural settings of the regions that comprise Latin America. It also explores the many ways to research Latin American music, including archaeology, iconography, mythology, history, ethnography, and practice. Part Two focuses on issues and processes, such as history, politics, geography, and immigration, which are responsible for the similarities and the differences of each region’s uniqueness and individuality. Part Three focuses on the different regions, countries, and cultures of Caribbean Latin America, Middle Latin America, and South America with selected regional case studies. The second edition has been expanded to cover Haiti, Panama, several more Amerindian musical cultures, and Afro-Peru. Questions for Critical Thinking at the end of each major section guide focus attention on what musical and cultural issues arise when one studies the music of Latin America -- issues that might not occur in the study of other musics of the world. Two audio compact discs offer musical examples of some of the music of Latin America.

This is a book about the music of the Caribbean - from calypso and ska through to Reggae and Caribbean club culture.