I am an SF Bay Area, music producer/educator, and musician with long experience working in Latin America and the United States. I was a part of the Nicaraguan Ministry of Culture and Asociacion Sandinista de Trabajadores de la Cultura in the 1980's for 9 years. I played guitar with Luis Enrique Mejia Godoy and worked closely with Carlos Mejia Godoy. I have taught for over 25 years at City College of San Francisco and UC Santa Cruz. As a producer, I have produced over 100 CDs, eight of them Grammy-nominated, including Susana Baca, Maldita Vecindad, Los Cojolites, Patato Valdes and Omar Sosa. My experience in academia and the hands-on work in music production have given me a unique perspective into popular music. I continue to teach and produce music for films and CD's and am active in the Recording Academy and local community organizations..
Address: Alameda, California, United States
Address: Alameda, California, United States
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Papers by Greg Landau
Moreover, this thesis proposes, revolutionary songs of the era provide anthropologists and historians with a unique source of testimony, a documentation source for understanding the political strategies and ideological foundations of the Sandinista movement. Because of its nature, music offers penetrating glimpses into the thinking and planning of a revolution, subjects often so nuanced that they elude other written texts. At times of active political confrontation the revolutionary songs used slogans and rally phrases to make simple and direct statements, while in other moments of clandestine activity they use heavily coded and nuanced forms of spreading political messages. And, finally, the revolutionary songs became a vehicle to narrate the details and lessons that reflect the moral codes and values systems of an emergent popular culture.
Moreover, this thesis proposes, revolutionary songs of the era provide anthropologists and historians with a unique source of testimony, a documentation source for understanding the political strategies and ideological foundations of the Sandinista movement. Because of its nature, music offers penetrating glimpses into the thinking and planning of a revolution, subjects often so nuanced that they elude other written texts. At times of active political confrontation the revolutionary songs used slogans and rally phrases to make simple and direct statements, while in other moments of clandestine activity they use heavily coded and nuanced forms of spreading political messages. And, finally, the revolutionary songs became a vehicle to narrate the details and lessons that reflect the moral codes and values systems of an emergent popular culture.