Clarice DuPont is a famous songstress from the east whose manager convinces her it’s time to go west. She does have second thoughts, however, which prompts him to find an escort/bodyguard for her. He decides to ask Clint Adams who finds the request different enough to consider. He comes to New York to meet the manager and Clarice and so begins an interesting trek east, beginning in Kansas City, Chicago, St. Louis, and across the Mississippi. Clint’s talents as both escort and bodyguard are tested and it soon becomes apparent that someone with bad intentions is following them.
A study of French film in the inter-war years focusing on women, particularly women singers, and the role they played in shaping a national, populist, Paris-oriented French cinema.
Clarice DuPont is a famous songstress from the east whose manager convinces her it's time to go west. She does have second thoughts, however, which prompts him to find an escort/bodyguard for her. He decides to ask Clint Adams who finds the request different enough to consider. He comes to New York to meet the manager and Clarice and so begins an interesting trek east, beginning in Kansas City, Chicago, St. Louis, and across the Mississippi. Clint's talents as both escort and bodyguard are tested and it soon becomes apparent that someone with bad intentions is following them.
Slats Conners is a reporter for the Pacific Coast Gazette, a gossip–oriented daily. He's covering Ann Sloan, the Chanteuse, who's trying to free a poetry–swilling con facing the death penalty for killing a cop. The new trial does free the convict, but unforeseen events cause the radical left community to turn against her. Slats becomes emotionally involved after falling head over heels for Rhea Simpson, the public relations specialist assigned to shepherd the Chanteuse through the crisis. The normally laid–back, happy–go–lucky reporter now comes across malevolent operatives out to destroy the Chanteuse for the Progressive cause. As the narrative spans the nation from Manhattan to Malibu and from Washington, DC, to the San Francisco Bay area, Slats runs into some of the same operatives involved in a clandestine war between an ob–gyn and a ruthless malpractice lawyer. The ob–gyn, Dr. Craig Beltran, has gone into hiding and vows revenge for malpractice suits that ruined his practice and family. William Mellon, the billionaire lawyer, also goes into hiding and employs hit men to get Beltran before Beltran gets him. Liberal activists and "sue at any pretext" trial lawyers generally support the attorney, while Conservatives, corporate lawyers, and industrialists finance and support the doctor. Suddenly involved in events beyond his capacities, a terrified Slats pictures being "whacked" by one of the hit men, while Tom Leary, his demanding editor, urges him to become part of the story. "We're looking at a Pulitzer, Slats, and not to worry, if you die in the process, we'll get you a splendid funeral."
In this pioneering study, Hisham Aidi—an expert on globalization and social movements—takes us into the musical subcultures that have emerged among Muslim youth worldwide over the last decade. He shows how music—primarily hip-hop, but also rock, reggae, Gnawa and Andalusian—has come to express a shared Muslim consciousness in face of War on Terror policies. This remarkable phenomenon extends from the banlieues of Paris to the favelas of Rio de Janeiro, from the park jams of the South Bronx to the Sufi rock bands of Pakistan. The United States and other Western governments have even tapped into these trends, using hip hop and Sufi music to de-radicalize Muslim youth abroad. Aidi situates these developments in a broader historical context, tracing longstanding connections between Islam and African-American music. Thoroughly researched, beautifully written, Rebel Music takes the pulse of a revolutionary soundtrack that spans the globe.
Winner of the 2015 Ruth A. Solie Award from the American Musicological Society The first volume of its kind, Dislocated Memories: Jews, Music, and Postwar German Culture draws together three significant areas of inquiry: Jewish music, German culture, and the legacy of the Holocaust. Jewish music-a highly debated topic-encompasses a multiplicity of musics and cultures, reflecting an inherent and evolving hybridity and transnationalism. German culture refers to an equally diverse concept that, in this volume, includes the various cultures of prewar Germany, occupied Germany, the divided and reunified Germany, and even "German (Jewish) memory," which is not necessarily physically bound to Germany. In the context of these perspectives, the volume makes powerful arguments about the impact of the Holocaust and its aftermath in changing contexts of musical performance and composition. In doing so, the essays in Dislocated Memories cover a wide spectrum of topics from the immediate postwar period with music in the Displaced Persons camps to the later twentieth century with compositions conceived in response to the Holocaust and the klezmer revival at the turn of this century. Dislocated Memories builds on a wide range of recent and critical scholarship in Cold War studies, cultural history, German studies, Holocaust studies, Jewish studies, and memory studies. What binds these distinct fields tightly together are the contributors' specific theoretical inquiries that reflect separate yet interrelated themes such as displacement and memory. While these concepts link the multi-faceted essays on a micro-level, they are also largely connected in their conceptual query by focus, on the macro-level, on the presence and the absence of Jewish music in Germany after 1945. Filled with original research by scholars at the forefront of music, history, and Jewish studies, Dislocated Memories will prove an essential text for scholars and students alike.
A pioneer of Chicano rock, Rubén Funkahuatl Guevara performed with Frank Zappa, Johnny Otis, Bo Diddley, Tina Turner, and Celia Cruz, though he is best known as the front man of the 1970s experimental rock band Ruben And The Jets. Here he recounts how his youthful experiences in the barrio La Veinte of Santa Monica in the 1940s prepared him for early success in music and how his triumphs and seductive brushes with stardom were met with tragedy and crushing disappointments. Brutally honest and open, Confessions of a Radical Chicano Doo-Wop Singer is an often hilarious and self-critical look inside the struggle of becoming an artist and a man. Recognizing racial identity as composite, contested, and complex, Guevara—an American artist of Mexican descent—embraces a Chicano identity of his own design, calling himself a Chicano “culture sculptor” who has worked to transform the aspirations, alienations, and indignities of the Mexican American people into an aesthetic experience that could point the way to liberation.
This book explores popular music in Eastern Europe during the period of state socialism, in countries such as Poland, Hungary, Yugoslavia, Romania, Czechoslovakia, the GDR, Estonia and Albania. It discusses the policy concerning music, the greatest Eastern European stars, such as Karel Gott, Czesław Niemen and Omega, as well as DJs and the music press. By conducting original research, including interviews and examining archival material, the authors take issue with certain assumptions prevailing in the existing studies on popular music in Eastern Europe, namely that it was largely based on imitation of western music and that this music had a distinctly anti-communist flavour. Instead, they argue that self-colonisation was accompanied with creating an original idiom, and that the state not only fought the artists, but also supported them. The collection also draws attention to the foreign successes of Eastern European stars, both within the socialist bloc and outside of it. v>
Performing Ethnomusicology is the first book to deal exclusively with creating, teaching, and contextualizing academic world music performing ensembles. Considering the formidable theoretical, ethical, and practical issues that confront ethnomusicologists who direct such ensembles, the sixteen essays in this volume discuss problems of public performance and the pragmatics of pedagogy and learning processes. Their perspectives, drawing upon expertise in Caribbean steelband, Indian, Balinese, Javanese, Philippine, Mexican, Central and West African, Japanese, Chinese, Middle Eastern, and Jewish klezmer ensembles, provide a uniquely informed and many-faceted view of this complicated and rapidly changing landscape. The authors examine the creative and pedagogical negotiations involved in intergenerational and intercultural transmission and explore topics such as reflexivity, representation, hegemony, and aesthetically determined interaction. Performing Ethnomusicology affords sophisticated insights into the structuring of ethnomusicologists' careers and methodologies. This book offers an unprecedented rich history and contemporary examination of academic world music performance in the West, especially in the United States. "Performing Ethnomusicology is an important book not only within the field of ethnomusicology itself, but for scholars in all disciplines engaged in aspects of performance—historical musicology, anthropology, folklore, and cultural studies. The individual articles offer a provocative and disparate array of threads and themes, which Solís skillfully weaves together in his introductory essay. A book of great importance and long overdue."—R. Anderson Sutton, author of Calling Back the Spirit Contributors: Gage Averill, Kelly Gross, David Harnish, Mantle Hood, David W. Hughes, Michelle Kisliuk, David Locke, Scott Marcus, Hankus Netsky, Ali Jihad Racy, Anne K. Rasmussen, Ted Solís, Hardja Susilo, Sumarsam, Ricardo D. Trimillos, Roger Vetter, J. Lawrence Witzleben
