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Song Is Not the Same , livre ebook

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183 pages

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Extrait

Description

There has been a long-standing relationship between Jewish Americans and the world of American popular music. The essays in this volume blend surveys of music making as a whole with profiles of single artists. This is volume 8 of the annual publication, The Jewish Role in American Life (ISSN 1934-7529), produced by the Casden Institute for the Study of the Jewish Role in American Life at the University of Southern California.
FOREWORD

Dreaming of Michael Jackson: Notes on Jewish Listening, by Gayle Wald

“Cohen Owes Me Ninety-Seven Dollars”: Images of Jews from the Jewish Sheet-Music Trade, by Jody Rosen

“Dances Partake of the Racial Characteristics of the People Who Dance Them”: Nordicism, Antisemitism, and Henry Ford’s Old-Time Music and Dance Revival, by Peter La Chapelle

“Ovoutie Slanguage is Absolutely Kosher”: Yiddish in Scat-Singing, Jazz Jargon, and Black Music, by Jonathan Z. S. Pollack

“If I Embarrass You, Tell Your Friends”: The Musical Comedy of Bell Barth and Pearl Williams, by Josh Kun

“Here’s a Foreign Song I Learned in Utah”: The Anxiety of Jewish Influence in the Music of Bob Dylan, by David Kaufman

Negotiating Boundaries: Musical Hybridity in Tzadik’s Radical Jewish Culture Series, by Jeff Janeczko

ABOUT THE CONTRIBUTORS

ABOUT THE USC CASDEN INSTITUTE

Sujets

Jewish

Religious

Music

Informations

Publié par	Purdue University Press
Date de parution	15 décembre 2010
Nombre de lectures	0
EAN13	9781612496757
Langue	English
Poids de l'ouvrage	6 Mo

Informations légales : prix de location à la page 0,0005€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

The Song is Not the Same: Jews and American Popular Music

The Jewish Role in American Life

An Annual Review

The Song is Not the Same: Jews and AmericanPopular Music

The Jewish Role in American Life

Pubîsed by te Purdue Unîversîty Press or te USC Casden Instîtute or te Study o te Jewîs Roe în Amerîcan îe

An Annual Review

Volume 8

Bruce Zuckerman,Edîor Jos Kun,Gues Edîor îsa Anse,Assocîae Edîor

Producîon Edîor, Marîyn undberg

Cover poo: Song seet: “Wen Mose wît îs Nose eads te Band.” Poo by Buyenarge. Couresy o Gey Images.

ISBN 978-1-55753-586-3 ISBN 1-5573-586-8 ISSN 1934-7529

Pubîsed by Purdue Unîversîty Press West aayette, Indîana www.tepress.purdue.edu pupress@purdue.edu

Prînted în te Unîted States o Amerîca.

or subscrîptîon înormatîon, ca 1-800-247-6553

FOREWORD

Gayle Wald Dreamîng o Mîcae Jackson: Notes on Jewîs îstenîng

Jody Rosen“Coen Owes Me Nînety-Seven Doars”: Images o Jews rom te Jewîs Seet-Musîc Trade

Peter La Chapelle “Dances Partake o te Racîa Caracterîstîcs o te Peope Wo Dance hem”: Nordîcîsm, Antîsemîtîsm, and Henry ord’s Od-Tîme Musîc and Dance Revîva

Jonathan Z. S. Pollack “Ovoutîe Sanguage îs Absoutey Koser”: Yîddîs în Scat-Sîngîng, Jazz Jargon, and Back Musîc

Josh Kun “I I Embarrass You, Te Your rîends”: he Musîca Comedy o Be Bart and Pear Wîîams

David KauFman “Here’s a oreîgn Song I earned în Uta”: he Anxîety o Jewîs InLuence în te Musîc o Bob Dyan

Jef Janeczko Negotîatîng Boundarîes: Musîca Hybrîdîty în Tzadîk’s Radîca Jewîs Cuture Serîes

ABOUT THE CONTRIBUTORS

ABOUT THE USC CASDEN INSTITUTE

Contents

Vii

115

137

169

171

ore

ord

hîs voume contînues a practîce tat as proven îgy successu în produc-îng te two prevîousAnnua Revîews, namey, învîtîng an outstandîng cutura crîtîc and scoar to guest-edît a coectîon o essays tat ocuses on îs/er area o expertîse. In partîcuar, we ave used tese voumes to expore aspects o te Jewîs roe în Amerîcan îe tat at irst gance may seem a too amîîar ut wîc we ave trîed to îumînate rom a perspectîve tat trows suc we-known topîcs înto a dîferent kînd o reîe. In tîs înstance, te topîc îs once agaîn ostensîy we-traveed ground: Jews and teîr reatîonsîp to Amerîcan popuar musîc. But we knew we coud count on our guest edîtor or Voume 8, Jos Kun, Assocîate Proessor o Communîcatîon în te Annenerg Scoo o Communîcatîon & Journaîsm at te Unîversîty o Soutern Caîornîa, to ook at tîs topîc wît a dîferent sort o attîtude tan we mîgt conventîonay expect. Kun as uît a career out o ookîng at te cutura aspects o te Jewîs roe în Amerîcan musîc în an obeat asîon, especîay în îs roe as one o te ounders o te Ideson Socîety or Musîca Preservatîon, an organîzatîon tat as ed te way în indîng and savîng rom oscurîty essentîa and uttery ascînatîng musîca voîces o note tat ave a Jewîs dîmensîon. He sîgnas îs întentîons or tîsAnnua Revîewrom te outset wît te tîte e as cosen or ît: “he Song îs not te Same.” hîs tîte, at east or me, îmmedîatey trîg-gers a kînd o musîca counter-memory tat starts to pay în my mînd and I am tîme-warped ack to te 60s were I îmagîne I can see ead sînger Levî Stus rockîng ack and ort, wîe eîng acked y te oter tree Four Tops, as e croons te “ook” rom a cassîc Motown odîe: “It’s te same od song, ut wît a dîferent meanîng sînce you’ve een gone.” hîs song, o course, evokes te endurîng memory o a ost ove, trîg-gered every tîme te sînger recas ow a “meody keeps auntîng me, remînd-îng me ow în ove we used to e.” Tîmes may ave canged, overs may ave parted—terey endowîng te meody and yrîcs wît a dîferent, sady sen-tîmenta meanîng—ut te song îs stî te same: ît’s just everytîng ese tat as canged. So îkewîse we seem to ee aout Jews and teîr contrîutîons to Amerîcan popuar musîc, as ît arose and lourîsed în te twentîet century.

vii

viii

he Jewîs Roe în Amerîcan Lîe

We reca Berîn, te Gerswîns, and te oter îcons o Tîn Pan Aey wît aFectîon, rememberîng te same od songs, eard în recordîngs and seen în ims tat stî lîcker across our TV and computer screens rom a tîme gone y. Granted, tîmes may ave canged, as our ears ave ecome attuned to dîferent and ever proîeratîng genres o musîc, ut somewere ack tere we know we can stî ind an endurîng ody o popuar meodîes and yrîcs tat Jews ave contrîuted to te Amerîcan songook. We know tese songs; tey are our songs, te same ones we’ve aways known. Or are tey? Kun’s aîm as edîtor o tîsAnnua Revîewîs to pay a con-trapunta teme agaînst our musîca expectatîons. You tînk ack and eîeve you ear te same od song? Lîsten agaîn. he song îs not te same. here îs a ar greater compexîty to tose armonîes tat sape our memorîes. Wen you tune your ear to take în te sutetîes, you ind a muc more enrîced and enrîcîng texture to te Jewîs roe în Amerîcan popuar musîc. Wîe one can ardy ope to encompass a aspects o tîs concern în a sînge voume, Kun as rougt togeter ere an ecectîc group o essays tat run te gamut o Jewîs popuar musîc ut wîc a speak to a common teme, ow muc more tere îs to earn aout a suject we tougt was a so amîîar—ow muc te song îs not te same as we tougt ît was or tînk ît ougt to e. One aspect o partîcuar note empasîzed ereîn speaks to tîs atter poînt—sometîmes peope want te song to e te same—especîay wen tey are conronted y a new sound tat tey ee îs sîmpy too srî. hus Peter LaCapee consîders ow none oter tan Henry Ford reacted to jazz and te Jazz Age, notîng ow te perceîved treat o tîs “aîen” musîc ed îs antî-Semîtîsm wîe osterîng îs desîre to maîntaîn and promote more tradîtîona genres rom te prevîous century troug wat was termed “od-tîme musîc.” hîs teme aso îs a ocus o Jef Janeczko’s consîderatîon o an avant-garde ex-tensîon o kezmer musîc ot în terms o tose wo wîsed to reak out and yrîdîze tîs genre o musîc-makîng wît oter genres, tose wo ceerated tîs înnovatîon and tose wo resîsted suc post-kezmer musîc as înîmîca to taste and tradîtîon. Oter essays în tîs coectîon ook at aspects o Jewîs-Amerîcan popu-ar musîc tat surprîse us, în partîcuar, Jonatan Poack’s exporatîon o te way Jewîs/Yîddîs cooquîaîsms ound teîr way înto scat and oter orms o jazz sîngîng done y ack perormers. Jody Rosen’s survey o “Jewace” îmages on songseets o te eary twentîet century (one o wîc serves as te cover îmage or tîsAnnua Revîew) seem amost sockîng în te casua asîon tey project Jewîs stereotypes tat coud e just as easîy at ome în

Foreword

te most vîruent, Nazî antî-Jewîs propaganda. Jos Kun ceebrates te raw umor o suc sîngîng comedîennes as Bee Bart and Pear Wîîams, wo în teîr ate-nîgt cabaret sows staked out a dîstîncty Jewîs terrîtory o raunc and tereby paved te way or bot emae and mae umorîsts, wo contînue to pus beyond te edges o wat îs conventîonay caed good taste. înay two essays ocus on partîcuar personaîtîes and te împact o teîr musîc rom a Jewîs perspectîve. hus, Davîd Kauman takes a cose ook at te rea and îmagîned Jewîs aspects o Bob Dyan’s songs wîe Gaye Wad remînîsces on ow Mîcae Jackson saped an împressîonabe tween-gîr’s îmage o a pop-îcon în a dîstîncty Jewîs manner. Sînce tîs voume îs a about musîc, ît ony makes sense tat we gîve our readers an opportunîty to ear and see aspects o tîs subject matter tat are ess easîy paced în prînt. So, as îs sîgnaed by edîtorîa notes în tîs voume, we ave estabîsed a websîte were our readers can go to îsten to reevant musîca cîps eatured în Janeczko’s survey o post-kezmer musîc and ave aso paced u coor versîons o te cover seets eatured în Rosen’s study o Jew-ace îmages. As was sîmîary te case or ast year’s voume o teAnnua Revîew, tîs voume deveoped out o a grant rom te Casden Instîtute gîven to Jos Kun so e coud expore în a more systematîc manner te ways în wîc Jewîs sang and jargon ound teîr way înto te musîc sung and perormed by back musî-cîans prîmarîy durîng te Jazz Age. hîs înîtîa researc proved so rewardîng tat ît seemed a natura extensîon o tîs project to expand te ream o înquîry so tat ît evoved înto tîs wîde-rangîng study o Jews and Amerîcan popuar musîc tat constîtute tîs coectîon o essays. One o te partîcuar peasures o my roe as Myron and Marîon Dîrector o te Casden Instîtute îs te oppor-tunîty tîs as aForded me to work wît a serîes o creatîve guest-edîtors over an extended perîod o tîme. Workîng wît Jos Kun on Voume 8 o teAnnua Revîewas proven to be no exceptîon, and I want to take tîs occasîon to tank îm or te ine jo e as done în makîng tîs voume possîe. Lîsa Anse, Assocîate Dîrector o te Casden Instîtute as ad quîte a usy year—especîay ecause se as een occupîed y te rîngîng o er son, Garîe Hayîm Scneîder, înto te word. Fîrst-tîme moters are sup-posed to e overwemed y a te added cores and responsîîîtîes, ut Lîsa must e some kînd o super-mom, sînce se as stî managed to keep te Casden Instîtute on a steady course and done te essentîa edîtorîa work se needed to do as Assocîate Edîtor o tîs voume. hîs as aso een a dî-icut and demandîng year or my coeague Dr. Marîyn J. Lunderg wo as