Youth Identity And Re Fashioning Popular Music In Israel

The book Youth, Identity, and Re-Fashioning of Popular Music in Israel. 1950s-1980s aims to refresh the understanding of the relationship between social power relations, youth culture, and popular music in Israel. The authors discuss various perspectives regarding the axis of youth, popular culture, and music and present additional options for the discourse on these topics in Israel. Among its many new findings, the study discusses new insights relating to the increasing openness of Israeli culture to globalization, the decline of the collective culture of the Sabra, the rise of individual culture, liberalism and neoliberalism, the decay of Israeli consensus, and the melting pot idea and practices. In addition, the authors examine various perspectives on how Israeli culture and music have changed over the years and reacted to historical alterations. It reviews the tensions between modernism and postmodernism, localism and globalism, teenagers and their parents' culture, ethnicity and class, hegemonic negotiations, and marginal subcultures. This book uses historical methodology combined with the assistance of cultural theories, historical surveys, and first-hand documents.

The book Youth, Identity, and Re-Fashioning Popular Music in Israel. 1950s–1980s aims to refresh the understanding of the relationship between social power relations, youth culture, and popular music in Israel. The authors discuss various perspectives regarding the axis of youth, popular culture, and music and present additional options for the discourse on these topics in Israel. Among its many new findings, the study discusses new insights relating to the increasing openness of Israeli culture to globalization, the decline of the collective culture of the Sabra, the rise of individual culture, liberalism and neoliberalism, the decay of Israeli consensus, and the melting pot idea and practices. In addition, the authors examine various perspectives on how Israeli culture and music have changed over the years and reacted to historical alterations. It reviews the tensions between modernism and postmodernism, localism and globalism, teenagers and their parents’ culture, ethnicity and class, hegemonic negotiations, and marginal subcultures. This book uses historical methodology combined with the assistance of cultural theories, historical surveys, and first-hand documents.

A unique Israeli national culture—indeed, the very nature of "Israeliness"—remains a matter of debate, a struggle to blend vying memories and backgrounds, ideologies and wills. Identifying popular music as an important site in this wider cultural endeavor, this book focuses on the three major popular music cultures that are proving instrumental in attempts to invent Israeliness: the invented folk song repertoire known as Shirei Eretz Israel; the contemporary, global-cosmopolitan Israeli rock; and the ethnic-oriental musica mizrahit. The result is the first ever comprehensive study of popular music in Israel. Motti Regev, a sociologist, and Edwin Seroussi, an ethnomusicologist, approach their subject from alternative perspectives, producing a truly interdisciplinary, sociocultural account of music as a feature and a force in the shaping of Israeliness. A major ethnographic undertaking, describing and analyzing the particular history, characteristics, and practices of each music culture, Popular Music and National Culture in Israel maps not only the complex field of Israeli popular music but also Israeli culture in general.

Israelis with a Russian accent have been part of Israel's social, cultural and economic landscape for over 20 years. They are found in all walks of life: as controversial politicians, senior physicians and scientists, kibbutz members and religious settlers. Despite lacking personal assets and below-average income, many of them managed to enter Israeli middle class, and some even became part of local elites – an achievement not to be taken for granted for the first-generation immigrants. This collection offers a multi-faceted portrait of the 'Great Russian Aliyah' of the 1990s with the emphasis on socio-political and cultural aspects of its insertion in Israel – based on social research conducted by the scholars most of whom are former-Soviet immigrants themselves. The issues covered include the exploration of Israel as an extension of the post-soviet space; the evolving political culture of Russian Israelis; the prospects for the ethnic media and Russian language continuity; visual tokens of 'domestication' of a major Israeli city by its 'Russian' residents, and mutual influences between Israeli and Russian cinematic traditions. Written in a lively and non-technical manner, most contributions will spark interest among both social scientists and broad readership interested in modern-day Israel and post-Soviet societies. This book was originally published as a special issue of Israel Affairs.

Occupied by Memory explores the memories of the first Palestinian intifada. Based on extensive interviews with members of the "intifada generation," those who were between 10 and 18 years old when the intifada began in 1987, the book provides a detailed look at the intifada memories of ordinary Palestinians. These personal stories are presented as part of a complex and politically charged discursive field through which young Palestinians are invested with meaning by scholars, politicians, journalists, and other observers. What emerges from their memories is a sense of a generation caught between a past that is simultaneously traumatic, empowering, and exciting—and a future that is perpetually uncertain. In this sense, Collins argues that understanding the stories and the struggles of the intifada generation is a key to understanding the ongoing state of emergency for the Palestinian people. The book will be of interest not only to scholars of the Middle East but also to those interested in nationalism, discourse analysis, social movements, and oral history.

This volume of the Casden Institute's The Jewish Role in American Life annual series introduces new scholarship on the long-standing relationship between Jewish-Americans and the worlds of American popular music. Edited by scholar and critic Josh Kun, the essays in the volume blend single-artist investigations with looks at the industry of music making as a whole. They range from Jewish sheet music to the risqué musical comedy of Belle Barth and Pearl Williams, from the role of music in the shaping of Henry Ford's anti-Semitism to Bob Dylan's Jewishness, from the hybridity of the contemporary "Radical Jewish Culture" scene to the Yiddish experiments of 1930s African-American artists. Contents: Foreword (Gayle Wald); Introduction (Josh Kun); "Cohen Owes Me Ninety-Seven Dollars, and other Tales from the Jewish Sheet- Music Trade" (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" (Peter La Chapelle); "Ovoutie Slanguage is Absolutely Kosher: Yiddish in Scat- Singing, Jazz Jargon, and Black Music" (Jonathan Z. S. Pollack); "'If I Embarrass You, Tell Your Friends' : Belle Barth, Pearl Williams, and the Space of the Risque" (Josh Kun); "'Here's a foreign song I learned in Utah' : The Anxiety of Jewish Influence in the Music of Bob Dylan" (David Kaufman); "Jazz Liturgy, Yiddishe Blues, Cantorial Death Metal, and Free Klez: Musical Hybridity in Radical Jewish Culture" (Jeff Janeczco).