Novedades

When Paul McCartney closed Live Aid in July of 1985, we thought he was rock's Grand Old Man. He was forty-three years old. As the forty years since have shown, he—and many others of his generation—were just getting started. This was the time when live performance took over from records. The big names of the '60s and '70s exploited the Age of Spectacle that Live Aid had ushered in to enjoy the longest lap of honor in the history of humanity, continuing to go strong long after everyone else in the business had retired.

Let the Music Play: How R&B Fell in Love with 80s Synths is the overlooked story of how R&B, disco, and funk were transformed by the explosion of music tech in the era of ghetto blasters and Ronald Reagan. It traces how pioneers like Stevie Wonder and Herbie Hancock inspired a new generation of black musicians and producers to reinvent music with a whole new set of rules.

The Story Of Electric Ladyland is an autobiography of the early life of Lew White and his friend from childhood, Bob Nord. It is only a fragmentary glimpse at the musical experiences and external factors that impacted them, because there was far more going on other than music. Lew and his friend Bob Nord formed their first garage band before anyone knew what a garage band was, and went on to play all around the area of Louisville, Kentucky during the early to mid 1960's. After returning from military service, Lew completed college, and opened a small record shop with his old friend in 1978....

The human body is the primary instrument of war, yet those waging war often confront soldiers' bodies in a detached or merely intellectual way. In The Tenderness of Silent Minds, Martha C. Nussbaum, a leading thinker on emotion, morality, and justice, conducts a pioneering study of Benjamin Britten's musical representations of the tender male body amidst the brutality of war, and their ability to transform consciousness by evoking potent, non-personal emotions.

En estas páginas, la exploración de la música latinoamericana conduce hacia la historia más amplia de la conceptualización de la región. Tal como sostiene Palomino: "La música proporciona así un modelo para comprender ahora los mecanismos nacionales y transnacionales que siguen produciendo el lugar de América Latina en el marco de la cultura global conflictiva y fascinante que habitamos".