Rockin In Red Square

International educators can take the high road towards rigorous investment in the ideals of true cultural exchange or continue down the low road to customer satisfaction and design programs that reduce or eliminate challenges. International education structured according to the latter principle is little more than just another product in the global marketplace. In spite of the process of "globalization" and partly because of it, international education faces a major crisis. This volume, with contributors from Austria, Chile, France, Germany, The Netherlands, and the United States, sets forth a timely and provocative critique of international education and assesses its future under radically different conditions than those in place twenty years ago. Walter Grnzweig is professor of American literature and culture at Universitt Dortmund. He holds adjunct professorships at the University of Pennsylvania, University of New York at Binghamton and Canisius College. Nana Rinehart is associate director of the International Student Exchange Program.

In our rapidly globalizing world students are able to access learning through mobility, through computer mediated experiences, and through the diverse perspectives of their peers and teachers. All of these components impact on the ways in which universities and their staff prepare and present courses for their students. This book presents an edited selection of chapters compiled under the theme of ‘new international pedagogies’. The objective is to document current pedagogical frameworks and practices in the teaching and learning context of international education. It showcases innovative teaching and learning methods, methodological frameworks and novel pedagogies that contribute to improving the effectiveness of teaching and learning in international settings and diverse student groups. The collection of seventeen chapters offers new debate on applied critical educational thought, innovation in teaching and learning, and culturally sensitive and inclusive curriculum practices across a broad disciplinary spectrum. Of central interest is the production of teaching and learning examples that provide evidence for implementing progress and advancement in the field. The book aims to stimulate further debate, research and application in the field of international pedagogies.

Read the true story of Universal Music Russia’s first CEO and his quest to bring Western popular music to post-Soviet Russia in an account that Publishers Weekly calls "an exciting and colorful look at a dynamic period in Russia’s cultural history" and Library Journal calls an "absorbing illustration of the mutuality of music and politics." When the Soviet Union collapsed in 1991, Russia opened its borders, and Russian audiences were hungry for Western popular music and the values it espoused. David Junk was one of the first idealistic, young Americans to seize this opportunity. Rockin’ the Kremlin is the thrilling true story of how David became the first CEO of Universal Music Russia and built impactful cultural bridges with music—but also how that would all shatter with the rise of Vladimir Putin and invasions of Ukraine. There was no proper music industry in the USSR, and creating a modern music industry in Russia would be far more challenging than anyone had anticipated. David assembled a team of young and talented Russians, and they navigated a terrain filled with political chaos, organized crime, powerful oligarchs, bombings, and violence—with cultural clashes tinting many aspects. They captivated millions by bringing superstar acts to Russia for the first time ever, including Metallica, Mariah Carey, Sting, Eminem, and Enrique Iglesias, while developing local talent such as Alsou and t.A.T.u.—Russia’s greatest selling pop act of all time. Eventually, David would even build a music industry in Ukraine and other countries in Eastern Europe. While Russia’s descent into authoritarianism and two invasions of Ukraine have tarnished this, the industry that David shepherded has birthed a newer generation of Russian musicians who are speaking out against the war and Putin. Filled with unique insights as well as gripping—and sometimes humorous—stories, this book reveals how it all happened.

Most readers of this book will have had at most a fleeting acquaintancewith the music of some of the groups described in this book. Groupssuch as Laibach (from Slovenia), Borghesia (Slovenia), Pankow (theGDR), and Gorky Park (USSR) have concentrated on the Western marketand have acquired followings in the United States and Western Europe.Other artists and groups, such as Boris Grebenshikov and Aquarium(USSR), Sergei Kuryokhin (USSR), Goran Bregovic and White Button(Yugoslavia), and Plastic People of the Universe (Czechoslovakia), havealso seen some Western exposure. But for the most part, the rock musicof that part of the world is terra incognita to Westerners. So too is thestory of their uneasy coexistence with communist authorities from thetime that rock first ~ppeared until the collapse of communism in 1989.This book aims to fill that vacuum.

A memoir by an American who almost single-handedly introduced Soviet rock to the free world, [...] Stingray, who wrote this memoir with her daughter, Madison, nicely captures her daring amid an atmosphere of liberation and fear, and she's a study in moxie and enthusiasm. --Kirkus Reviews As one of the first American musicians to break through the Soviet scene, and one of the few women to be seen as an equal amongst Leningrad's pantheon of rock superstars, Stingray's perspective on the development of late Soviet rock is probably the single most important source for those who want a birds-eye view of late Soviet youth culture, and Stingray's stories are as entertaining as they are relevant and illuminating. --Alexander Herbert, author of What About Tomorrow?: An Oral History of Russian Punk from the Soviet Era to Pussy Riot Wild and vivid -- a rollicking memoir of romance and rock 'n' roll in an era of upheaval and transition. From Los Angeles to Leningrad and back again, Joanna's story is borne along by her infectious, headlong enthusiasm. It's quite a ride. --Patrick Radden Keefe, creator of the Wind of Change podcast and author of Say Nothing: A True Story of Murder and Memory in Northern Ireland The history of Russian rock music could have been very different without Joanna Stingray. Joanna was friends with rock musicians, recorded songs with them, shot their videos and brought them clothes and instruments from the West. Her video footage, capturing young icons of Russian rock like Viktor Tsoi, Sergei Kuryokhin, Timur Novikov and Boris Grebenshchikov, is rare evidence of the golden era of the Soviet underground. --The Moscow Times Red Wave is a warm and conversational autobiography about a lost world, peopled with courageous artists risking their freedom for the ideas of expression, art, and rock 'n' roll. [...] We root for her and her friends to overcome bureaucracy, oppression, isolation, deprivation, and the heavy footsteps of the KGB. [...] In a readable and personable way, Red Wave helps shine some light into this remarkable corner of rock history. --Tim Sommer, Guernica Joanna Stingray's appearance in St. Petersburg in the early 1980s must have been God's response to our unconscious prayers. Her naive bravery, curiosity and generosity created a kind of a lifeline for us rockers: she brought in things we needed to play our music, and took out not only our recordings but the very message of our existence. Had it not been for her and her Red Wave, it would have taken Aquarium many more years to have official records on Melodiya and Kino to start touring Europe. This fearless maiden broke through the siege that looked hopelessly unbreakable. She threw a life-saver into our waters and she changed everything. No matter how many times we thank her -- it's never enough. --Boris Grebenshchikov (Aquarium), 2018