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OverviewFull Product DetailsAuthor: Amalia Ran , Moshe MoradPublisher: Brill Imprint: Brill Volume: 7 Dimensions: Width: 15.50cm , Height: 2.00cm , Length: 23.50cm Weight: 0.555kg ISBN: 9789004184473ISBN 10: 9004184473 Pages: 256 Publication Date: 21 January 2016 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: In stock We have confirmation that this item is in stock with the supplier. It will be ordered in for you and dispatched immediately. Table of ContentsList of Figures Acknowledgements List of Contributors Introduction, Amalia Ran & Moshe Morad 1. Is White Christmas a Piece of Jewish Music?, Ellen Koskoff 2. The Musical Worlds of Jewish Buenos Aires, 1910-1940, Pablo Palomino 3. Tristes Alegrias: The Jewish Presence in Argentina's Popular Music Arena, Amalia Ran 4. Jacob de Bandolim: A Jewish(-)Brazilian Composer, Thomas George Caracas Garcia 5. Walls of Sound: Lieber and Stoller, Phil Spector, the Black-Jewish Alliance, and the Enlarging of America, Ari Katorza 6. Singing from Difference: Jewish Singers-Songwriters in the 1960s and 1970s, Jon Stratton 7. !Toca maravilloso! Larry Harlow and the Jewish Connection to Latin Music, Benjamin Lapidus 8. Roberto Juan Rodriguez' Timba Talmud : Diasporic Cuban-Jewish Musical Convergences in New York, Nili Belkind 9. Yiddish Song in Twenty-First Century America: Paths to Creativity, Abigail Wood 10. Fight for Your Right to Partycipate: Jewish American Rappers, Uri Dorchin 11. Gypsy, Cumbia, Cuarteto, Surf, Blah Blah Blah: DJ Simja Dujov and Jewish Musical Eclecticism in Argentina, Lilian M. Wohl 12. Queer Jewish Divas: Jewishness and Queerness in the Life and Performance of Barbra Streisand, Bette Midler, and Olga Guillot, Moshe Morad 13. Third Diaspora Soundscapes: Music of the Jews of Islam in the Americas, Edwin Seroussi Closing Notes: The Soundstage of Jewish Life, North and South, Judah M. Cohen IndexReviewsBy placing chapters on Jews and popular music in the USA alongside chapters on their South American analogues, the context of these studies becomes subtly altered. This isn't just because the Argentinian and Brazilian artists discussed are often much less well known globally than American ones, but also because a `hemispheric' focus enables - potentially at least - a destabilisation of the sometimes inward-looking perspective that dominates discussions of Jews, popular music and the USA. As Cohen argues: `By adding Jewishness to [the] multidimensional North-South topography, existing histories of political upheaval, activism, population movement, and zealous diplomacy gain new veins of inquiry' (p. 241). Or, to put it another way, by considering North and South American Jewish popular music together, we might be able to re-position Jewish music in the Diaspora communities of the Americas into a more fluid notion of Diaspora. Keith Kahn-Harris, Popular Music, Volume 36 - Issue 1 - January 2017 By placing chapters on Jews and popular music in the USA alongside chapters on their South American analogues, the context of these studies becomes subtly altered. This isn't just because the Argentinian and Brazilian artists discussed are often much less well known globally than American ones, but also because a 'hemispheric' focus enables - potentially at least - a destabilisation of the sometimes inward-looking perspective that dominates discussions of Jews, popular music and the USA. As Cohen argues: 'By adding Jewishness to [the] multidimensional North-South topography, existing histories of political upheaval, activism, population movement, and zealous diplomacy gain new veins of inquiry' (p. 241). Or, to put it another way, by considering North and South American Jewish popular music together, we might be able to re-position Jewish music in the Diaspora communities of the Americas into a more fluid notion of Diaspora. Keith Kahn-Harris, Popular Music, Volume 36 - Issue 1 - January 2017 By placing chapters on Jews and popular music in the USA alongside chapters on their South American analogues, the context of these studies becomes subtly altered. This isn't just because the Argentinian and Brazilian artists discussed are often much less well known globally than American ones, but also because a 'hemispheric' focus enables - potentially at least - a destabilisation of the sometimes inward-looking perspective that dominates discussions of Jews, popular music and the USA. As Cohen argues: 'By adding Jewishness to [the] multidimensional North-South topography, existing histories of political upheaval, activism, population movement, and zealous diplomacy gain new veins of inquiry' (p. 241). Or, to put it another way, by considering North and South American Jewish popular music together, we might be able to re-position Jewish music in the Diaspora communities of the Americas into a more fluid notion of Diaspora. Keith Kahn-Harris, Popular Music, Volume 36 - Issue 1 - January 2017 Author InformationAmalia Ran, Ph. D. (2007), Tel Aviv University, is a researcher of Latin American studies. Her publications include: Made of Shores: Judeo Argentinean Fiction Revisited (Lehigh UP, 2011) and the edited volume, Returning to Babel: Jewish Latin American Experiences and Representations (Brill, 2011). Moshe Morad, Ph. D. (2013), is lecturer at Tel Aviv University and Ono Academic College, broadcaster and director of two music radio stations. His publications include articles, book chapters, and the monograph, Fiesta de diez pesos: Music and Gay Identity in Special Period Cuba (Ashgate, 2014). Tab Content 6Author Website:Countries AvailableAll regions |