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Popular Music and National Culture in Israel, by Motti Regev and Edwin Seroussi
Review Popular Music and National Culture in Israel, by Motti Regev and Edwin Seroussi. Berkeley–Los Angeles–London: University of California Press, 2004. Paperback, 308 pp., ISBN 0 520 23654 8 The study of popular music in Israel is a relatively new field. Although it has a history of more than a century, since the beginning of the Zionist establishment in Israel in the late nineteenth century, the bulk of this genre was created after the establishment of the State of Israel in 1948. The few studies of the popular music of Israel’s Jewish population that were carried out before the 1980s dealt mainly with the genre known as “Songs of the Land of Israel.”1 From the early ’80s until the beginning of the twenty-first century, the range of subjects covered by this research was expanded. “Songs of the Land of Israel” still played a central role,2 but other categories of Israeli popular music, such as “Oriental” or “Mediterranean” music,3 and Israeli rock,4 were also studied, as was the influence of foreign music on Israeli popular music.5 Another field of research developed in the early twenty-first century was the detailed analysis of the musical and linguistic characteristics of composers and poets whose work was set to music. This music, too, belongs to the category of “Songs of the Land of Israel.”6 The book reviewed here differs from previous studies in that it provides a broad, overall view of popular music in Israeli society. It is the first attempt to survey Israel’s popular music as a complete field of research. -
Resituating Culture
Resituating culture edited by Gavan Titley Directorate of Youth and Sport Council of Europe Publishing This publication is an edited collection of articles from the resituating culture seminar organised in the framework of the partnership agreement on youth research between the Directorate of Youth and Sport of the Council of Europe and the Directorate-General for Education and Culture, Directorate D, Unit 1, Youth, of the European Commission. The opinions expressed in this work are those of the authors and do not neces- sarily reflect the official position of the Council of Europe. All correspondence relating to this publication or the reproduction or translation of all or part of the document should be addressed to: Directorate of Youth and Sport European Youth Centre Council of Europe 30, rue Pierre de Coubertin F-67075 Strasbourg Cedex Tel: +33 (0) 3 88 41 23 00 Fax: +33 (0) 3 88 41 27 77 e-mail: [email protected] http://www.coe.int/youth All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic (CD-Rom, Internet, etc.) or mechanical, including photocopying, recording or any information storage or retrieval system, without the prior permission in writing from the Publishing Division, Communication and Research Directorate. Cover: Graphic Design Publicis Koufra Council of Europe F-67075 Strasbourg Cedex ISBN 92-871-5396-5 © Council of Europe, April 2004 Reprinted May 2005 Printed at the Council of Europe Contents Pags List of contributors ........................................................................................... 5 Resituating culture: an introduction Gavan Titley ...................................................................................................... 9 Part l. Connexity and self 1. -
When Mizrahi Artists Said ‘No’ to Israel’S Pioneer Culture
Riches To Rags To Virtual Riches: When Mizrahi Artists Said ‘No’ To Israel’s Pioneer Culture Shoshana Gabay. Ills. Joseph Sassoon Semah Upon their arrival in Israel, Mizrahi Jews found themselves under a regime that demanded obedience, even in cultural matters. All were required to conform to an idealized pioneer figure who sang classical, militaristic ‘Hebrew’ songs. That is, before the ‘Kasetot’ era propelled Mizrahi artists into the spotlight, paving the way for today’s musical stars. Part two of a musical journey beginning in Israel’s Mizrahi neighborhoods of the 1950s and leading up to Palestinian singer Mohammed Assaf. Read part one here. Our early encounter with Zionist music takes place in kindergarten, then later in schools and the youth movements, usually with an accordionist in tow playing songs worn and weathered by the dry desert winds. Music teachers at school never bothered with classical music, neither Western nor Arabian, and traditional Ashkenazi liturgies – let alone Sephardic – were not even taken into account. The early pioneer music was hard to stomach, and not only because it didn’t belong to our generation and wasn’t part of our heritage. More specifically, we were gagging on something shoved obsessively down our throat by political authority. Our “founding fathers” and their children never spared us any candid detail regarding the bodily reaction they experience when hearing the music brought here by our fathers, and the music we created here. But not much was said regarding the thoughts and feelings of Mizrahi immigrants (nor about their children who were born into it) who came here and heard what passed as Israeli music, nor about their children who were born into it. -
Starr-Waterman American Popular Music Chapter 11: the 1970S: Rock Music, Disco, and the Popular Mainstream Key People Allman
Starr-Waterman American Popular Music Chapter 11: The 1970s: Rock Music, Disco, and the Popular Mainstream Key People Allman Brothers Band: Most important southern rock band of the late 1960s and early 1970s who reconnected the generative power of the blues to the mainstream of rock music. Barry White (1944‒2004): Multitalented African American singer, songwriter, arranger, conductor, and producer who achieved success as an artist in the 1970s with his Love Unlimited Orchestra; perhaps best known for his full, deep voice. Carlos Santana (b. 1947): Mexican-born rock guitarist who combined rock, jazz, and Afro-Latin elements on influential albums like Abraxas. Carole King (b. 1942): Singer-songwriter who recorded influential songs in New York’s Brill Building and later recorded the influential album Tapestry in 1971. Charlie Rich (b. 1932): Country performer known as the “Silver Fox” who won the Country Music Association’s Entertainer of the Year award in 1974 for his song “The Most Beautiful Girl.” Chic: Disco group who recorded the hit “Good Times.” Chicago: Most long-lived and popular jazz rock band of the 1970s, known today for anthemic love songs such as “If You Leave Me Now” (1976), “Hard to Say I’m Sorry” (1982), and “Look Away” (1988). David Bowie (1947‒2016): Glam rock pioneer who recorded the influential album The Rise and Fall of Ziggy Stardust and the Spiders from Mars in 1972. Dolly Parton (b. 1946): Country music star whose flexible soprano voice, songwriting ability, and carefully crafted image as a cheerful sex symbol combined to gain her a loyal following among country fans. -
THE BRILL BUILDING, 1619 Broadway (Aka 1613-23 Broadway, 207-213 West 49Th Street), Manhattan Built 1930-31; Architect, Victor A
Landmarks Preservation Commission March 23, 2010, Designation List 427 LP-2387 THE BRILL BUILDING, 1619 Broadway (aka 1613-23 Broadway, 207-213 West 49th Street), Manhattan Built 1930-31; architect, Victor A. Bark, Jr. Landmark Site: Borough of Manhattan Tax Map Block 1021, Lot 19 On October 27, 2009 the Landmarks Preservation Commission held a public hearing on the proposed designation of the Brill Building and the proposed designation of the related Landmark site. The hearing had been duly advertised in accordance with provisions of law. Three people spoke in support of designation, including representatives of the owner, New York State Assembly Member Richard N. Gottfried, and the Historic Districts Council. There were no speakers in opposition to designation.1 Summary Since its construction in 1930-31, the 11-story Brill Building has been synonymous with American music – from the last days of Tin Pan Alley to the emergence of rock and roll. Occupying the northwest corner of Broadway and West 49th Street, it was commissioned by real estate developer Abraham Lefcourt who briefly planned to erect the world’s tallest structure on the site, which was leased from the Brill Brothers, owners of a men’s clothing store. When Lefcourt failed to meet the terms of their agreement, the Brills foreclosed on the property and the name of the nearly-complete structure was changed from the Alan E. Lefcourt Building to the, arguably more melodious sounding, Brill Building. Designed in the Art Deco style by architect Victor A. Bark, Jr., the white brick elevations feature handsome terra-cotta reliefs, as well as two niches that prominently display stone and brass portrait busts that most likely portray the developer’s son, Alan, who died as the building was being planned. -
Hergé and Tintin
Hergé and Tintin PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Fri, 20 Jan 2012 15:32:26 UTC Contents Articles Hergé 1 Hergé 1 The Adventures of Tintin 11 The Adventures of Tintin 11 Tintin in the Land of the Soviets 30 Tintin in the Congo 37 Tintin in America 44 Cigars of the Pharaoh 47 The Blue Lotus 53 The Broken Ear 58 The Black Island 63 King Ottokar's Sceptre 68 The Crab with the Golden Claws 73 The Shooting Star 76 The Secret of the Unicorn 80 Red Rackham's Treasure 85 The Seven Crystal Balls 90 Prisoners of the Sun 94 Land of Black Gold 97 Destination Moon 102 Explorers on the Moon 105 The Calculus Affair 110 The Red Sea Sharks 114 Tintin in Tibet 118 The Castafiore Emerald 124 Flight 714 126 Tintin and the Picaros 129 Tintin and Alph-Art 132 Publications of Tintin 137 Le Petit Vingtième 137 Le Soir 140 Tintin magazine 141 Casterman 146 Methuen Publishing 147 Tintin characters 150 List of characters 150 Captain Haddock 170 Professor Calculus 173 Thomson and Thompson 177 Rastapopoulos 180 Bianca Castafiore 182 Chang Chong-Chen 184 Nestor 187 Locations in Tintin 188 Settings in The Adventures of Tintin 188 Borduria 192 Bordurian 194 Marlinspike Hall 196 San Theodoros 198 Syldavia 202 Syldavian 207 Tintin in other media 212 Tintin books, films, and media 212 Tintin on postage stamps 216 Tintin coins 217 Books featuring Tintin 218 Tintin's Travel Diaries 218 Tintin television series 219 Hergé's Adventures of Tintin 219 The Adventures of Tintin 222 Tintin films -
Final Version
This research has been supported as part of the Popular Music Heritage, Cultural Memory and Cultural Identity (POPID) project by the HERA Joint Research Program (www.heranet.info) which is co-funded by AHRC, AKA, DASTI, ETF, FNR, FWF, HAZU, IRCHSS, MHEST, NWO, RANNIS, RCN, VR and The European Community FP7 2007–2013, under ‘the Socio-economic Sciences and Humanities program’. ISBN: 978-90-76665-26-9 Publisher: ERMeCC, Erasmus Research Center for Media, Communication and Culture Printing: Ipskamp Drukkers Cover design: Martijn Koster © 2014 Arno van der Hoeven Popular Music Memories Places and Practices of Popular Music Heritage, Memory and Cultural Identity *** Popmuziekherinneringen Plaatsen en praktijken van popmuziekerfgoed, cultureel geheugen en identiteit Thesis to obtain the degree of Doctor from the Erasmus University Rotterdam by command of the rector magnificus Prof.dr. H.A.P Pols and in accordance with the decision of the Doctorate Board The public defense shall be held on Thursday 27 November 2014 at 15.30 hours by Arno Johan Christiaan van der Hoeven born in Ede Doctoral Committee: Promotor: Prof.dr. M.S.S.E. Janssen Other members: Prof.dr. J.F.T.M. van Dijck Prof.dr. S.L. Reijnders Dr. H.J.C.J. Hitters Contents Acknowledgements 1 1. Introduction 3 2. Studying popular music memories 7 2.1 Popular music and identity 7 2.2 Popular music, cultural memory and cultural heritage 11 2.3 The places of popular music and heritage 18 2.4 Research questions, methodological considerations and structure of the dissertation 20 3. The popular music heritage of the Dutch pirates 27 3.1 Introduction 27 3.2 The emergence of pirate radio in the Netherlands 28 3.3 Theory: the narrative constitution of musicalized identities 29 3.4 Background to the study 30 3.5 The dominant narrative of the pirates: playing disregarded genres 31 3.6 Place and identity 35 3.7 The personal and cultural meanings of illegal radio 37 3.8 Memory practices: sharing stories 39 3.9 Conclusions and discussion 42 4. -
Why Am I Doing This?
LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS ..................................................................................................................................... -
Joni Mitchell," 1966-74
"All Pink and Clean and Full of Wonder?" Gendering "Joni Mitchell," 1966-74 Stuart Henderson Just before our love got lost you said: "I am as constant as a northern star." And I said: "Constantly in the darkness - Where 5 that at? Ifyou want me I'll be in the bar. " - "A Case of You," 1971 Joni Mitchell has always been difficult to categorize. A folksinger, a poet, a wife, a Canadian, a mother, a party girl, a rock star, a hermit, a jazz singer, a hippie, a painter: any or all of these descriptions could apply at any given time. Moreover, her musicianship, at once reminiscent of jazz, folk, blues, rock 'n' roll, even torch songs, has never lent itself to easy categorization. Through each successive stage of her career, her songwriting has grown ever more sincere and ever less predictable; she has, at every turn, re-figured her public persona, belied expectations, confounded those fans and critics who thought they knew who she was. And it has always been precisely here, between observers' expec- tations and her performance, that we find contested terrain. At stake in the late 1960s and early 1970s was the central concern for both the artist and her audience that "Joni Mitchell" was a stable identity which could be categorized, recognized, and understood. What came across as insta- bility to her fans and observers was born of Mitchell's view that the honest reflection of growth and transformation is the basic necessity of artistic expres- sion. As she explained in 1979: You have two options. -
Zhuk Outcover.Indd
The Carl Beck Papers in Russian & East European Studies Sergei I. Zhuk Number 1906 Popular Culture, Identity, and Soviet Youth in Dniepropetrovsk, 1959–84 The Carl Beck Papers in Russian & East European Studies Number 1906 Sergei I. Zhuk Popular Culture, Identity, and Soviet Youth in Dniepropetrovsk, 1959–84 Sergei I. Zhuk is Associate Professor of Russian and East European History at Ball State University. His paper is part of a new research project, “The West in the ‘Closed City’: Cultural Consumption, Identities, and Ideology of Late Socialism in Soviet Ukraine, 1964–84.” Formerly a Professor of American History at Dniepropetrovsk University in Ukraine, he completed his doctorate degree in Russian History at the Johns Hopkins University in 2002 and recently published Russia’s Lost Reformation: Peasants, Millennialism, and Radical Sects in Southern Russia and Ukraine, 1830–1917 (2004). No. 1906, June 2008 © 2008 by The Center for Russian and East European Studies, a program of the University Center for International Studies, University of Pittsburgh ISSN 0889-275X Image from cover: Rock performance by Dniepriane near the main building of Dniepropetrovsk University, August 31, 1980. Photograph taken by author. The Carl Beck Papers Editors: William Chase, Bob Donnorummo, Ronald H. Linden Managing Editor: Eileen O’Malley Editorial Assistant: Vera Dorosh Sebulsky Submissions to The Carl Beck Papers are welcome. Manuscripts must be in English, double-spaced throughout, and between 40 and 90 pages in length. Acceptance is based on anonymous review. Mail submissions to: Editor, The Carl Beck Papers, Center for Russian and East European Studies, 4400 Wesley W. Posvar Hall, University of Pittsburgh, Pittsburgh, PA 15260. -
Updates & Amendments to the Great R&B Files
Updates & Amendments to the Great R&B Files The R&B Pioneers Series edited by Claus Röhnisch from August 2019 – on with special thanks to Thomas Jarlvik The Great R&B Files - Updates & Amendments (page 1) John Lee Hooker Part II There are 12 books (plus a Part II-book on Hooker) in the R&B Pioneers Series. They are titled The Great R&B Files at http://www.rhythm-and- blues.info/ covering the history of Rhythm & Blues in its classic era (1940s, especially 1950s, and through to the 1960s). I myself have used the ”new covers” shown here for printouts on all volumes. If you prefer prints of the series, you only have to printout once, since the updates, amendments, corrections, and supplementary information, starting from August 2019, are published in this special extra volume, titled ”Updates & Amendments to the Great R&B Files” (book #13). The Great R&B Files - Updates & Amendments (page 2) The R&B Pioneer Series / CONTENTS / Updates & Amendments page 01 Top Rhythm & Blues Records – Hits from 30 Classic Years of R&B 6 02 The John Lee Hooker Session Discography 10 02B The World’s Greatest Blues Singer – John Lee Hooker 13 03 Those Hoodlum Friends – The Coasters 17 04 The Clown Princes of Rock and Roll: The Coasters 18 05 The Blues Giants of the 1950s – Twelve Great Legends 28 06 THE Top Ten Vocal Groups of the Golden ’50s – Rhythm & Blues Harmony 48 07 Ten Sepia Super Stars of Rock ’n’ Roll – Idols Making Music History 62 08 Transitions from Rhythm to Soul – Twelve Original Soul Icons 66 09 The True R&B Pioneers – Twelve Hit-Makers from the -
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5gerry:blankG5 copy 7/1/11 3:56 PM Page 208 5gerry:blankG5 copy 7/1/11 3:56 PM Page 209 TOM GERRY “I Sing My Sorrow and I Paint My Joy”: Joni Mitchell’s Songs and Images ONI MITCHELL is best known as a musician. She is a popular music superstar, and has been since the early 1970s. Surprisingly, considering Mitchell’s Jstatus in the music world, she has often said that for her, painting is primary, music and writing secondary. Regarding Mingus, her 1979 jazz album, she commented that with it she “was trying to become the Jackson Pollock of music.” In a 1998 interview Mitchell reflected, “I think of myself as a painter who writes music.”1 In our era, when many critics and philosophers view interarts relationships with suspicion, it is remarkable that Mitchell persists so vigorously in creating work that involves multiple arts. To consider Mitchell’s art as the productions of a multi-talented person does not get us far with the works themselves, since this approach immediately invokes the abstractions and speculations of psychology. On the other hand, postmodernism has taught us that there is no absolute, tran- scendent meaning available as content for various forms. In the face of such strong objections to coalescing arts, Mitchell insists through her works that her art is intrinsically multidisciplinary and needs to be understood as such. Interarts relationships have been studied at least since Aristotle decreed that the lexis, the words, takes precedence over the opsis, the spectacle, of drama. Although recognized as being distinct, the arts have also commonly been discussed as though they are analogous.