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. Contents: Foreword (Gayle Wald); Introduction (Josh Kun); qCohen Owes Me Ninety-Seven Dollars, and other Tales from the Jewish Sheet-Music Tradeq (Jody Rosen); a'Dances Partake of the Racial Characteristics of the People Who Dance Them': Nordicism, Antisemitism, and Henry Fordas Old Time Music and Dance Revivalq (Peter La Chapelle); aOvoutie Slanguage is Absolutely Kosher: Yiddish in Scat-Singing, Jazz Jargon, and Black Musica (Jonathan Z. S. Pollack); q'If I Embarrass You, Tell Your Friends': Belle Barth, Pearl Williams, and the Space of the RisquAcq (Josh Kun); q'Hereas a foreign song I learned in Utah': The Anxiety of Jewish Influence in the Music of Bob Dylanq (David Kaufman); qJazz Liturgy, Yiddishe Blues, Cantorial Death Metal, and Free Klez: Musical Hybridity in Radical Jewish Cultureq (Jeff Janeczco).And two weeks before Ford invited Lovett to teach dance in Detroit, the Independenta#39;s aMr. Forda#39;s Pagea editorial made ... month before the official advance release of the Good Morning dance manual (aEditorials: The Return of the Dancea 10).30 A ... In fact, starting in January 1926, the Independent continued to advertise the four volume International Jew book series ... We couldna#39;t get along without them.
|Title||:||The Song is Not the Same|
|Author||:||Bruce Zuckerman, Josh Kun, Lisa Ansell|
|Publisher||:||Purdue University Press - 2011|