DOCSLIB.ORG

Uhm Phd 9205877 R.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Uhm Phd 9205877 R.Pdf · INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewri~er face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikeiy event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact liMI directly to order. U-M-I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, M148106-1346 USA 313/761-4700 800/521-0600 Order Number 9205811 Political economy of passion: Tango, exoticism, and decolonization Savigliano, Marta Elena, Ph.D. University of Hawaii, 1991 Copyright @1991 by Savigliano, Marta Elena. All rights reserved. U·M·I 300 N. Zeeb Rd. Ann Arbor, MI 48106 POLITICAL ECONOMY OF PASSION: TANGO, EXOTICISM, AND DECOLONIZATION A DISSERTATION SUBMITIED TO THE GRADUATE DMSION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN POLITICAL SCIENCE AUGUST 1991 By Marta E. Savigliano Dissertation Committee: Farideh Farhi, Chairperson Sankaran Krishna Kathy E. Ferguson Robert B. Stauffer Steven J. Goldberg iii © Copyright 1991 by Marta E. Savigliano iv a mis abuelas Angelica Martin de Savigliano y Etelvina Alvarez de Ahumada v ABSTRACT My purpose is to contribute to the historical account of Capitalism by adding a new dimension to the marxist and neomarxist depictions of its development. A political economy of Passion has been occurring, juxtaposed to and intertwined with the economies usually described on materialist and ideological grounds. Paralleling the extraction of material goods and labor from the Third World-periphery, and paralleling the imposition of colonial bureaucratic state apparatuses and ideological devices, the core countries of the capitalist world system have systematically appropriated emotional and affective practices. This emotional capital has been accumulated, recoded, and consumed in the form of Exotic culture. The Exotic is not an exclusive item for the delight of the Imperial West; it is in turn exported, in its new colonized-westernized package to the Rest (including the very colonies from which the "raw" emotionality was extracted in the first place). When exported to the (neo) colonies of origin, practices of auto-exoticism develop conflictively as a means of both adjusting to and resisting (neo) colonialism. Through complex practices of auto-exoticization carried out in the periphery's internal political settings, the exotic/exoticized representations become symbols of national identity. The scandalous tour of the Tango in the early twentieth century from Argentina to Paris, London, New York, and its final rage in Japan surrounding World War II is an example of the complex practices involved in the world economy of Passion. However, Tango is not a mere vi mirror image ofmore relevant or decisive economic and political realities nor a reflection of necessary social functions. Tango has resisted the incorporation into the world political economy of passion as an exotic raw material and has simultaneously promoted its co-option by conforming to various tastes regarding music and dance. These episodes, at different times and places, have situated the Tango within an intricate process of the construction of the argentina national identity. Gender, class, and racial issues have been at stake in shaping the desire for and resistance to the inclusion within the parameters of identity established by an imperial world political economy, systematically giving contradictory results. vii TABLE OF CONTENTS ABS1RA.CT ... .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. v LIST OF FIGURES ix PREFACE .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. xii IN1RODUCTION ...................................... .. 1 (on the micro-politics of introducing) ....... .. 1 Introduction .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .... 2 (on the micro-politics ofre-introduCing) ..... .. 5 Re-Introductions 6 CHAPTER ONE: TANGO, METHOD AND THEORY 16 Tango, My Tango 16 Tango as Decolonization ............... .. 18 El Tango del Che 24 Argentina and "Decolonization" .......... .. 28 Argentina and Colonialism ... .......... .. 33 CHAPTER TWO: TANGO AS SPECTACLE OF SEX, RACE, AND CUSS .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .... 45 Tango and the "Maclw" Cult .. .......... .. 45 Docile Bodies in Rebellion .............. .. 51 The Tango Embrace 54 Rioplatense Roots .................... .. 57 Positions for the Lady ................. .. 63 Positions for the Gentleman 79 CHAPTER THREE: TANGO AND THE COLONIZING GAZE 90 The Erotic and the Exotic Steps 90 Manufacturing Exoticism 101 Dance Masters and Spectacle Entrepreneurs .. 118 Montmarte,Fm-d~S~c~ 124 Plumette's Diary 132 Tango in the World's Capital of Pleasure ..... 136 Tango, World Scandal, and Fascination 141 CHAPTER FOUR: SCANDALIZING NATIONAL IDENTI'lY 163 Tango Back Home 163 Local Scandals and Fascinations 167 OrtgmatingTango 188 Tango and National Identity 194 Viii Identifying the Colonized 198 CHAPTER FIVE: EXOTIC ENCOUNTERS 204 Redistributing the Exotic 204 Exotic Reciprocities 205 Tango "a lo Megatct' and the "Shako Dansu" Masters 220 Tango Argentino in Japan 232 The Erotic Incompatibilities of Some Exotics .. 238 Tango's Travels 253 CHAPTER SIX: DECOLONIZATION AS INTELLECTUAL "UNLEARNING" 258 (on the micropolitics of concluding) 258 First Steps in Tango .•.................. 258 Latest Steps in Tango: Postmodem Uses of Passion 265 Female Intellectual Cannibals 274 Feminist Uses ofThird World Women 283 Female Intellectual Invaders .............. 286 ENDNOlES 297 GLOSSAR.Y 312 SOURCES CONSULTED 316 ix LIST OF FIGURES 2.1: "EI Tango," 1882 58 2.2: "Candombe Lunatico" by Fernando Guibert 59 2.3: Portrait of Carlos Gardel 85 2.4: Gardel and Margarita in "EI Dia Que Me Quieras," 1935 .... .. 85 2.5: Carlos Gardel in gaucho costume ..................... .. 87 3.1: The Rivarolas performing the sentada figure ............. .. 94 3.2: The sentada figure depicted by Sabat .................. .. 95 3.3: Cover ofAstor PiazzoUa's ''Take Me Dancing" 96 3.4: Enrique "Muiiio and partner performing the sentada figure 97 3.5: Gloria and Eduardo ............................... .. 98 3.6: Flamenco dancers 107 3.7: IIExcelsior," 1881 114 3.8: Virginia Zucchi in a Manzotti production 115 3.9: Moulin Rouge summer garden. 1890 118 3.10: High-class (a), low-class (b), and no class (c) styles 124 3.11: Can-can in a Parisian cafe-concert, late nineteenth century .. 127 3.12: French can-can dancer 128 3.13: Apache· ........................................ 139 3.14: Dance demonstrators 146 3.15: Vernon and Irene Castle, New York, 1914 147 3.16: Dance demonstrators 148 3.17: Mistinguett perfOrming the Tango in a Parisian revue, 1911 ." 149 3.18: Bernabe Simarra and Ideal Gloria teaching in Paris, 1913 ... 150 3.19: Tango choreography according to Andre de Fouquieres, 1913 . 151 x 3.20: Gladys Beattie Crozier's Tango manual, London, 1913 152 3.21: Franco Giovannini's Tango manual. Milano, 1914 153 3.22: The Tango skirt by Bakst. executed by Paquin. 1912 154 3.23: The Tango slipper 156 3.24: Tango-tea in London. 1913 157 3.25: Mistinguett in 'Vals Challoupee" 159 3.26: Valentino dancing Tango 160 3.27: Ruth St. Denis and Ted Shawn performing exotic dances 161 4.1: Men dancing Tango in the streets of Buenos Aires 177 4.2: Ball at "Centro Patriotico 25 de Mayo." 1906 178 4.3: Dancing at a popularfiesta, 1908 178 4.4: Professor Carlos Herrera teaching Tango de salOn. 1913 ... .. 180 4.5: Cover of "Alma Portefia" music-sheet. 1923 181 4.6: Casimiro Ain and Edith Peggy. 1913 183 4.7: Jose O. Bianquet and Carmen Calderon, 1934 184 4.8: Arturo de Nava in "EI Maco." 1903 185 5.1: Winners of the first Tango competition held in Japan, 1930s .. 207 5.2: The first Tango contest in Tokyo. December 16. 1934 208 5.3: Juan Canaro's orchestra at dinner in Japan. 1954 212 5.4: Juan Canaro' orchestra on stage in Japan, 1954 213 5.5: Ikeda Mitsuo's Orquesta Tipica San Telmo. 1950 214 5.6: Orientalist Tangos 'I •••••••••••••• 215 5.7: Cover ofRanko Fujisawa's record "Tango in Kimono" 216 5.8: Exotics in Tango 217 5.9: A shako dansu lesson 223 5.10: A shako dansumanual 224 xi 5.11: A Japanese shako dansucouple 225 5.12: npassionate Tango" 227 5.13: Basic positions for the Tango
Load more

Recommended publications
  • Dionysiac and Pyrrhic Roots and Survivals in the Zeybek Dance, Music, Costume and Rituals of Aegean Turkey
    GEPHYRA 14, 2017, 213-239 Dionysiac and Pyrrhic Roots and Survivals in the Zeybek Dance, Music, Costume and Rituals of Aegean Turkey Recep MERİÇ In Memory of my Teacher in Epigraphy and the History of Asia Minor Reinhold Merkelbach Zeybek is a particular name in Aegean Turkey for both a type of dance music and a group of com- panions performing it wearing a particular decorative costume and with a typical headdress (Fig. 1). The term Zeybek also designates a man who is brave, a tough and courageous man. Zeybeks are gen- erally considered to be irregular military gangs or bands with a hierarchic order. A Zeybek band has a leader called efe; the inexperienced young men were called kızans. The term efe is presumably the survivor of the Greek word ephebos. Usually Zeybek is preceded by a word which points to a special type of this dance or the place, where it is performed, e.g. Aydın Zeybeği, Abdal Zeybeği. Both the appellation and the dance itself are also known in Greece, where they were called Zeibekiko and Abdaliko. They were brought to Athens after 1922 by Anatolian Greek refugees1. Below I would like to explain and attempt to show, whether the Zeybek dances in the Aegean provinces of western Turkey have any possible links with Dionysiac and Pyrrhic dances, which were very popular in ancient Anatolia2. Social status and origin of Zeybek Recently E. Uyanık3 and A. Özçelik defined Zeybeks in a quite appropriate way: “The banditry activ- ities of Zeybeks did not have any certain political aim, any systematic ideology or any organized re- ligious sect beliefs.
    [Show full text]
  • Session 3 - the Difference Jesus Makes
    Session 3 - The difference Jesus makes Session 3 - The difference Jesus makes Aims and outcomes You will need: Take time to think about and pray over each member l Fabric and other props to create the Easter story of the group, holding them before God and praying that scene their needs are met. Think about how well the group is l Name and locations for the Good Friday story gelling, and whether people are sticking to the ground scene (see pp. 17-18) rules (Compass, p. 5). Are any gentle reminders needed? l Cross (to include in the Good Friday story scene) Is there someone needing extra attention? Perhaps a l Candle (and matches) mentor to talk to? l Three or four copies of newspapers from this week Remind people briefly of the last session, when they l Chalice and paten (plate), bread and wine looked at the life of Jesus. Invite them to think about l Words describing difference Jesus makes on the their reflections at the end of the last session on what Cross (see pp. 19-21). it means to be transformed (Compass, p. 27). What are l Scissors to cut the words and names out (If you their questions at this point? have time they could be backed and made to stand up. But laying them on the scene works just This session will help participants reflect on different as well.) ways we try to understand the meaning of Jesus’ death. l Pens We can only get so far in looking for rational reasons l Bowl for the meaning of Jesus’ death.
    [Show full text]
  • Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA.
    [Show full text]
  • Rock Bottom Junior Script by Craig Hawes
    Rock Bottom Junior Script by Craig Hawes Speaking Roles 41 Minimum Cast Size 25 Duration (minutes) 80 2/270618/28 ISBN: 978 1 84237 158 9 Published by Musicline Publications P.O. Box 15632 Tamworth Staffordshire B78 2DP 01827 281 431 www.musiclinedirect.com Licences are always required when published musicals are performed. Licences for musicals are only available from the publishers of those musicals. There is no other source. All our Performing, Copying & Video Licences are valid for one year from the date of issue. If you are recycling a previously performed musical, NEW LICENCES MUST BE PURCHASED to comply with Copyright law required by mandatory contractual obligations to the composer. Prices of Licences and Order Form can be found on our website: www.musiclinedirect.com Rock Bottom – Script 1 CONTENTS Cast List .............................................................................................................................. 5 Speaking Roles By Number Of Lines................................................................................ 6 Suggested Cast List For 28 (And 25) Actors .................................................................... 8 Characters In Each Scene ................................................................................................ 10 List Of Properties ............................................................................................................. 11 Production Notes .............................................................................................................
    [Show full text]
  • Experiencing Tango in Istanbul: an Assessment from a Gender Perspective
    TR YILDIZ TECHNICAL UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES DEPARTMENT OF HUMANITIES AND SOCIAL SCIENCES HUMANITIES AND SOCIAL SCIENCES M.A. PROGRAMME M.A. THESIS EXPERIENCING TANGO IN ISTANBUL: AN ASSESSMENT FROM A GENDER PERSPECTIVE MELİS MERİH KILIÇ 10728003 THESIS SUPERVISOR ASST. PROF. DR. KEREM KARAOSMANOĞLU ISTANBUL 2013.. TR YILDIZ TECHNICAL UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES DEPARTMENT OF HUMANITIES AND SOCIAL SCIENCES HUMANITIES AND SOCIAL SCIENCES M.A. PROGRAMME M.A. THESIS EXPERIENCING TANGO IN ISTANBUL: AN ASSESSMENT FROM A GENDER PERSPECTIVE MELİS MERİH KILIÇ 10728003 THESIS SUPERVISOR ASST. PROF. DR. KEREM KARAOSMANOĞLU ISTANBUL 2013.. ÖZ İSTANBUL’DA TANGO DENEYİMİ: TOPLUMSAL CİNSİYET PERSPEKTİFİNDEN BİR DEĞERLENDİRME Melis Merih Kılıç Ağustos, 2013 Bu tez İstanbul’daki tango dansçılarının ‘toplumsal cinsiyet’ kavramı algılarını ortaya çıkarmayı amaçlamaktadır. Özellikle, dansçıların tangodaki ‘kadın’ ve ‘erkek’ rollerine nasıl büründükleri, bu rolleri nasıl yorumladıkları ve bu role geçiş için onları ne tür faktörlerin motive ettiği araştırılmıştır. Tangoda, kadınların normalde kaçındıkları erkeğin boyunduruğu altına girme; erkeklerin ise maço olarak anılmak istemedikleri için kendilerini vazgeçmeye mecbur hissettikleri kadınlara hükmetme rollerine büründükleri varsayımıyla hareket edilmiştir. Bu varsayımı değerlendirmek için katılımcı gözlem ve sezgisel araştırma yöntemleri kullanılmıştır. Dansçıların duygu ve düşüncelerinin derinine inmek için derinlemesine mülakat yönteminden yararlanılmıştır. Elde
    [Show full text]
  • Teaching English Through Body Movement a Pa
    AMERICAN UNIVERSITY OF ARMENIA College of Humanities and Social Sciences Dancing – Teaching English through Body Movement A paper is submitted in partial fulfillment of the requirements for the degree Master of Arts in Teaching English as a Foreign Language By Ninel Gasparyan Adviser: Raichle Farrelly Reader: Rubina Gasparyan Yerevan, Armenia May 7, 2014 We hereby approve that this design project By Ninel Gasparyan Entitled Dancing – Teaching English through Body Movement Be accepted in partial fulfillment for the requirements of the degree Master of Arts in Teaching English as a Foreign Language Committee on the MA Design Project ………..………………………… Raichle Farrelly ………..………………………… Rubina Gasparyan ………..………………………… Dr. Irshat Madyarov MA TEFL Program Chair Yerevan, Armenia May 7, 2014 ii TABLE OF CONTENTS Abstract ….....….………………………………………..………………………… v Chapter One: Introduction …………...….………………………………………… 1 Chapter Two: Literature Review ……..…………………………………………… 3 2.1. Content-Based Instruction Models ……..……………..……………………… 5 2.1.1. The use of Dance in an EFL Classroom ………...…..……………………… 11 Chapter Three: Proposed Plan and Deliverables…………………..……………… 15 3.1. Course Description ..………………………………………………………….. 15 3.1.1. Needs and Environment Analysis ……………………..…………………… 15 3.1.2. Goals and Objectives ……………………………………………….………. 16 3.1.3. Assessment Plan …………………………………………………….…….... 17 3.1.4. Learning Plan ……..…………………………………………….…..……… 19 3.1.5. Deliverables …………………………………………………………....…… 24 Chapter Four: Reflection and Recommendations ……………………..……...…… 27 4.1. Reflection
    [Show full text]
  • Love & Wedding
    651 LOVE & WEDDING THE O’NEILL PLANNING RODGERS BROTHERS – THE MUSIC & ROMANCE A DAY TO REMEMBER FOR YOUR WEDDING 35 songs, including: All at PIANO MUSIC FOR Book/CD Pack Once You Love Her • Do YOUR WEDDING DAY Cherry Lane Music I Love You Because You’re Book/CD Pack The difference between a Beautiful? • Hello, Young Minnesota brothers Tim & good wedding and a great Lovers • If I Loved You • Ryan O’Neill have made a wedding is the music. With Isn’t It Romantic? • My Funny name for themselves playing this informative book and Valentine • My Romance • together on two pianos. accompanying CD, you can People Will Say We’re in Love They’ve sold nearly a million copies of their 16 CDs, confidently select classical music for your wedding • We Kiss in a Shadow • With a Song in My Heart • performed for President Bush and provided music ceremony regardless of your musical background. Younger Than Springtime • and more. for the NBC, ESPN and HBO networks. This superb The book includes piano solo arrangements of each ______00313089 P/V/G...............................$16.99 songbook/CD pack features their original recordings piece, as well as great tips and tricks for planning the of 16 preludes, processionals, recessionals and music for your entire wedding day. The CD includes ROMANCE: ceremony and reception songs, plus intermediate to complete performances of each piece, so even if BOLEROS advanced piano solo arrangements for each. Includes: you’re not familiar with the titles, you can recognize FAVORITOS Air on the G String • Ave Maria • Canon in D • Jesu, your favorites with just one listen! The book is 48 songs in Spanish, Joy of Man’s Desiring • Ode to Joy • The Way You divided into selections for preludes, processionals, including: Adoro • Always Look Tonight • The Wedding Song • and more, with interludes, recessionals and postludes, and contains in My Heart • Bésame bios and photos of the O’Neill Brothers.
    [Show full text]
  • Sachs, Curt: World History of the Dance
    EUROPE SINCE ANTIQUITY Sachs, Curt: World history of the dance. New York, Norton, p. 237-245 7. Europe Since Antiquity THE CLASSICAL PERIOD Greece The scattered elements which must be gathered from all places and periods and laboriously formed into a coherent picture are found united in European antiquity in one magnificent organism. The dance customs of remote ancestors, commonly relegated by mature cultures to a dark hinterland, are here preserved in pristine strength with the same love and protective zeal as among primitive peoples, and all those which later millenniums have begotten and brought forth flourish freely side by side with them. The progression of dance forms has crystallized into a coexistence. We find the same people circling round the sacred objects in meditation as did their earliest ancestors, imitating the ways and actions of animals, losing themselves and be coming possessed in the mask, and obtaining the power of spirits and the attributes of gods through the frenzied ecstasy of the dance. The same people re-experience in dream transports the fate of their ancestors and expand it into popular drama, into world drama—with the recogni tion of its relation to society in the round dance and with the stamp of individualism in the solo dance, with meek submission and with genial wisdom, solemn and grotesque, in earnest and in jest, in a boundless survey of everything human and superhuman. The choral dance takes first place. Homer’s accounts of the heroic age describe the merry choral dance of the young men, alone or together with the maidens, at marriages, at vintage, or simply to give vent to their youthful exuberance—choreia, the Greeks ​ ​ think, must come from chara, “joy.” ​ ​ “Also did the glorious lame god devise a dancing-place like unto that which once in wide Knossos Daidalos wrought for Ariadne of the lovely tresses.
    [Show full text]
  • Most Requested Songs of 2015
    Top 200 Most Requested Songs Based on millions of requests made through the DJ Intelligence® music request system at weddings & parties in 2015 RANK ARTIST SONG 1 Ronson, Mark Feat. Bruno Mars Uptown Funk 2 Journey Don't Stop Believin' 3 Cupid Cupid Shuffle 4 Swift, Taylor Shake It Off 5 Walk The Moon Shut Up And Dance 6 Williams, Pharrell Happy 7 Black Eyed Peas I Gotta Feeling 8 Diamond, Neil Sweet Caroline (Good Times Never Seemed So Good) 9 Sheeran, Ed Thinking Out Loud 10 V.I.C. Wobble 11 Houston, Whitney I Wanna Dance With Somebody (Who Loves Me) 12 AC/DC You Shook Me All Night Long 13 Bon Jovi Livin' On A Prayer 14 DJ Casper Cha Cha Slide 15 Mars, Bruno Marry You 16 Maroon 5 Sugar 17 Morrison, Van Brown Eyed Girl 18 Usher Feat. Ludacris & Lil' Jon Yeah 19 Legend, John All Of Me 20 B-52's Love Shack 21 Isley Brothers Shout 22 DJ Snake Feat. Lil Jon Turn Down For What 23 Outkast Hey Ya! 24 Brooks, Garth Friends In Low Places 25 Beatles Twist And Shout 26 Pitbull Feat. Ke$Ha Timber 27 Def Leppard Pour Some Sugar On Me 28 Jackson, Michael Billie Jean 29 Sir Mix-A-Lot Baby Got Back 30 Trainor, Meghan All About That Bass 31 Beyonce Single Ladies (Put A Ring On It) 32 Loggins, Kenny Footloose 33 Rihanna Feat. Calvin Harris We Found Love 34 Lynyrd Skynyrd Sweet Home Alabama 35 Bryan, Luke Country Girl (Shake It For Me) 36 Sinatra, Frank The Way You Look Tonight 37 Lmfao Feat.
    [Show full text]
  • Llprefeired Stocw 1
    28 THE ST. PAUL GLOBE, SUNDAY, MAY 13, 1900. "KIDSAPPED IX XEW YORK." MISS ! FAY'S SUCCESS successful and thoroughly meritorious American plays, and will be seen at the I Melodrama the Bill at tlte Grand Lends to a Return Engagement the Grand in the very near future, with the Thin Work. author, Russ Whytal, in the principal Coming: Week. part. The attraction at the Grand this week, i METROPOLITAN j^Lg^ The management of the Metropolitan The story of the play is domestic, with commencing tonight, will be Howard theater a story background of the Civil Hall's "Kidnapped In New York," have been fortunate in securing war, but with Fay it is not a melodrama, and the comedy And Barney Gilmore, formerly of and Anna Eva for a return, commenc- is Tonight-Tomorrow Night TUESDAY Gilmore ing Tuesday so important that it is in of Leonard, as the star, and a strong sup- evening, for the balance of one those Two Performances Only. the week, and special Miss characters that Mr. Whytal appears. Tha MIGHT porting company. by request emotional ..... "wSSST work is in hands Jsh.n Brandon, the treasurer of the Fay will give two matinees this week, th>3 of such ; fl"v w-v « Matinees Wednesday and Saturday on Wednesday well-known people as Mable Knowles, j - Manhattan club, is falsely accused of and Saturday, for ladies Angeline robbing the club, and goes only. Crowded houses have greeted Miss Miss S. Pullia, Mr. C. H. Gel- ! the safe of dart, Dingeon, Melville, Ryley's 1 Jos.
    [Show full text]
  • Festejan Los 94 Años Del Gran Pianista Y Compositor Atilio Stampone - Télam - Agencia Nacional De Noticias
    29/6/2020 Festejan los 94 años del gran pianista y compositor Atilio Stampone - Télam - Agencia Nacional de Noticias ESPECTÁCULOS 28/06/2020 CUMPLEAÑOS Festejan los 94 años del gran pianista y compositor Atilio Stampone Será el próximo 1° de julio y para celebrarlo la Dirección Nacional de Organismos Estables realizó un video que puede verse en YouTube, donde sus colegas, compañeras y compañeros de la Orquesta Nacional de Música Argentina hacen un repaso sobre su trayectoria. https://www.telam.com.ar/notas/202006/482802-festejan-los-94-anos-del-gran-pianista-y-compositor-atilio-stampone.html 1/6 29/6/2020 Festejan los 94 años del gran pianista y compositor Atilio Stampone - Télam - Agencia Nacional de Noticias El pianista, compositor y director Atilio Stampone cumplirá 94 años el próximo 1° de julio y para celebrarlo la Dirección Nacional de Organismos Estables realizó un video que puede verse en YouTube, donde sus colegas, compañeras y compañeros de la Orquesta Nacional de Música Argentina hacen un repaso sobre su trayectoria. El audiovisual -https://youtu.be/cgBfPV0BS8o- hace eje en sus aportes a la música argentina y especialmente al tango, además de su trabajo como director de la mencionada orquesta y “su gran calidez como ser humano”, describió un comunicado de prensa. Atilio comenzó estudiando piano en su barrio, San Cristóbal. Más tarde, Carlos García lo llevó a su maestro, quien también lo era de Salgán, el profesor Pedro Rubione. https://www.telam.com.ar/notas/202006/482802-festejan-los-94-anos-del-gran-pianista-y-compositor-atilio-stampone.html 2/6 29/6/2020 Festejan los 94 años del gran pianista y compositor Atilio Stampone - Télam - Agencia Nacional de Noticias Formado en la música clásica, como pianista y arreglador, tuvo la inÙuencia de sus contemporáneos Horacio Salgán y, fundamentalmente, de Astor Piazzolla, con quien actuó como pianista en la orquesta de 1946.
    [Show full text]
  • TANGO… the Perfect Vehicle the Dialogues and Sociocultural Circumstances Informing the Emergence and Evolution of Tango Expressions in Paris Since the Late 1970S
    TANGO… The Perfect Vehicle The dialogues and sociocultural circumstances informing the emergence and evolution of tango expressions in Paris since the late 1970s. Alberto Munarriz A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO March 2015 © Alberto Munarriz, 2015 i Abstract This dissertation examines the various dialogues that have shaped the evolution of contemporary tango variants in Paris since the late 1970s. I focus primarily on the work of a number of Argentine composers who went into political exile in the late 1970s and who continue to live abroad. Drawing on the ideas of Russian linguist Mikhail Bakhtin (concepts of dialogic relationships and polyvocality), I explore the creative mechanisms that allowed these and other artists to engage with a multiplicity of seemingly irreconcilable idioms within the framing concept of tango in order to accommodate their own musical needs and inquietudes. In addition, based on fieldwork conducted in Basel, Berlin, Buenos Aires, Gerona, Paris, and Rotterdam, I examine the mechanism through which musicians (some experienced tango players with longstanding ties with the genre, others young performers who have only recently fully embraced tango) engage with these new forms in order to revisit, create or reconstruct a sense of personal or communal identity through their performances and compositions. I argue that these novel expressions are recognized as tango not because of their melodies, harmonies or rhythmic patterns, but because of the ways these features are “musicalized” by the performers. I also argue that it is due to both the musical heterogeneity that shaped early tango expressions in Argentina and the primacy of performance practices in shaping the genre’s sound that contemporary artists have been able to approach tango as a vehicle capable of accommodating the new musical identities resulting from their socially diverse and diasporic realities.
    [Show full text]