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                <text>Note per salvare il pianeta</text>
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                <text>Musica rock, ecologia</text>
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                <text>In Note per salvare il pianeta, l’autore racconta il rapporto tra la canzone di protesta, il mondo della musica e il movimento ambientalista. Nel 2008 sull’argomento aveva già scritto Green Rock. Musica ed ecologia negli Stati Uniti da Bob Dylan a Bruce Springsteen a uso di un corso universitario.Per realizzare questo lavoro ha coinvolto amici, conoscenti e colleghi giornalisti chiedendo di inviar- gli delle domande sul tema. Il libro così si sviluppa in forma di dialogo a distanza che ripercorre più di settant’anni di relazioni tra musicisti e attivisti nel mondo, dal secondo dopoguerra fino alle più recenti battaglie di Extinction Rebellion.Una storia di artisti che dal 1947 hanno trasformato in musica la loro sensibilità nei confronti dell’ambiente..</text>
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                <text>INV. 344</text>
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                <text>La storia dell’Italia contemporanea nella popular music</text>
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                <text>&lt;p&gt;Dai primi successi ottocenteschi alia diffusione della canzone italiana in Europa orientale, dai teddy boys a Mina, dalle tammurriate napoletane ai punk, dai festival musicali abruzzesi a quelli della rivista «Re Nudo». E poi, ancora, i Beatles in Italia nel 1965, I'influenza dei mito americano, la canzone colta e i riflessi letterari, per arrivare agli intrecci fra musica e società dei consumi e fra musica e politica, con la canzone militante di destra e di sinistra e quella di ispirazione cattolica. II libro getta luce su questa complessa realtà, fin qul assai poco studiata, e offre nuove e interessanti chiavi di Iettura di alcune pagine della storia italiana contemporanea attraverso la cartina di tornasole della popular music. Una musica che, sfuggendo all'evento dell'esecuzione per strutturarsi in un prodotto materiale, incide in maniera significativa sui processi collettivi di elaborazione simbolica e svolge un ruolo centrale nella costruzione dell'immaginario giovanile.&lt;/p&gt;
&lt;p&gt;Paolo Carusi è professore associato di Storia contemporanea presso il Dipartimento di Studi Umanistici dell'Università Roma Tre, dove insegna Storia dei movimenti e dei partiti politici e Public History.&lt;/p&gt;
&lt;p&gt;Manfredi Merluzzi è professore ordinario di Storia moderna e direttore dei Dipartimento di Studi Umanistici dell'Università Roma Tre, dove insegna Metodologia e fonti della ricerca storica e Narrazione storica e narrazione cinematografica.&lt;/p&gt;</text>
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                <text>INV. 195</text>
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                <text>1.Be Like You   04:13&#13;
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                <text>Negli anni novanta, l'onda del rap si propaga da oltreoceano e arriva in Italia generando un sottobosco di esperienze artistiche e musicali che, sebbene inizialmente fossero conosciute solo dagli estimatori del genere, arrivano ben presto al grande pubblico. Nel 1994 esce SxM dei Sangue Misto, l'album che più di tutti segnerà quel periodo. Fino al 1999 è un fiorire di gruppi e artisti sotto la luce dei riflettori di tutti i media. Poi, progressivamente, il buio. Già nel 2002 inizia un'altra fase del rap. Alcuni protagonisti di spicco del decennio precedente abbandonano la scena, altri resistono fino a diventare, nel presente, artisti di riferimento per due generazioni di pubblico. "Numero Zero" racconta la golden age dell'Hip Hop italiano attraverso la voce dei suoi protagonisti: una lezione impressa nella storia di questa musica e una riflessione sul presente, grazie al coinvolgimento di un narratore d'eccezione: Ensi</text>
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                <text>Sommario&lt;br /&gt;L’importanza di una solidarietà organizzata (pag. 3)&lt;br /&gt;Sulla “sanità” carceraria (pag. 8) &lt;br /&gt;Lotte popolari e industrializzazione in Sardegna (pag. 12) &lt;br /&gt;Razzista o no...(pag.24) &lt;br /&gt;Resistenze contro la barbarie (pag. 28) &lt;br /&gt;Sas craes (pag. 33) &lt;br /&gt;Non sputare nel piatto in cui mangi (pag. 37) &lt;br /&gt;C’era una volta una nazione (pag. 42) &lt;br /&gt;Anzitutto (pag. 52) &lt;br /&gt;Su votu (pag. 55) &lt;br /&gt;Sa cadena est'ora ‘e la segare (pag. 56)</text>
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