George de Stefano is a New York-based writer specializing in culture, politics and sexuality. He is the author of An Offer We Can’t Refuse: The Mafia in the Mind of America (Farrar, Straus, Giroux) and a contributor to many other books, websites and print publications.
Tuesday, April 8 2014
With their new project, the boundary-breaching klezmer band revives and extends the Jewish-Latin musical connection.
Wednesday, August 31 2011
The story of the pizzica revival is one of how a music associated with a healing ritual of poor, oppressed peasants was transformed into a proud assertion of cultural heritage and identity.
Tuesday, October 12 2010
If your idea of Italian music is “O Sole Mio”, opera, and the operatic pop schlock of Andrea Bocelli, you’ve never heard Roy Paci and Aretuska.You're in for a treat.
Wednesday, April 1 2015
From the vaults come 14 unreleased tracks by the beloved Cuban ensemble.
Tuesday, March 10 2015
1965 places that year's astonishing surge of innovative pop music in a larger context of social, cultural, and political change.
Tuesday, February 17 2015
Terraplane pays homage to the Texas blues, with mixed results.
Monday, February 9 2015
Everything works on Tomorrow Is My Turn, an album that heralds the arrival of a major American artist.
Tuesday, January 13 2015
Cairo's youth find meaning and identity in a genre that can't get any respect.
Friday, March 13 2015
The Italian singer-songwriter captured the national mood in her breakout single. With a new album and US tour dates, she's about to go international.
Thursday, June 5 2014
A dozen jams from great Crescent City keyboardists, past and present, and something extra.
Tuesday, February 25 2014
The video for “Glacier” telescopes nearly a century of gay history into its 7:57 running time.
Wednesday, January 29 2014
Ipercussonici, a band from Sicily, takes to the streets to honor anti-Mafia heroes
Monday, May 23 2011
In this final installment of the Between the Grooves series dedicated to Howlin’ Wolf’s Rocking Chair album, George de Stefano states that Wolf's music is so compelling because it seems such a direct, unmediated expression of his singular personality.