France's retro rock music (chanson néo-réaliste) of the 1990s and 2000s favors acoustic music and "old-fashioned" instruments such as the accordion in order to reject today's fascination with novelty and consumerism. In doing so, this music genre looks back to pre-war France and rehabilitates an all-white national culture that is problematically nostalgic, in a similar fashion to the film Amélie. This article explores the ways in which chanson néo-réaliste still manages to forge a sense of protest identity in contemporary France, while engaging in apparently reactionary tactics. The specificities of this music genre are explored through an analysis of the lyrics, music, iconography and performance of, primarily, the group Têtes Raides, while contrasting their nostalgia of "protest" with that of the more commercially successful genre of variétés.
René, Ginette, Louise et les autres
nostalgie et authenticité dans la chanson néo-réaliste
Licht aus–Spot an
How Schlager (ZDF 1969–1984) Beat Disco (ZDF 1971–1982)
At first sight, two of the most popular music shows in German television history could not be more different: The Deutsche Hitparade , moderated by the staid bespectacled former car salesman Dieter Thomas Heck (alias of Carl Dietrich
Troubling Territory: West Germany in the European Airwaves
Until recently, broadcasting in Europe has been seen by historians and broadcasters alike as intricately related to national territory. Starting immediately after the Second World War, when West German national territory was still uncertain, this article explores how the broadcasting space of the Federal Republic (FRG) shaped and was shaped by material, institutional, and discursive developments in European broadcasting spaces from the end of World War II until the early 1960s. In particular, it examines the border regimes defined by overlapping zones of circulation via broadcasting, including radio hardware, signals and cultural products such as music. It examines these spaces in part from the view of the European Broadcasting Union (EBU), the federation of (then) Western public service broadcasters in Europe. By reconstructing the history of broadcasting in the Federal Republic within the frame of attempts to regulate European broadcasting spaces, it aims to show how territorial spaces were transgressed, transformed, or reinforced by the emerging global conflict.
Marie Cartier, Tad Shull, and John Ireland
Marie Cartier La Dactylographie et l’expéditionnaire: Histoire des employés de bureau (1890-1930) by Dephine Gardey
Tad Shull Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde by Bernard Gendron
John Ireland La Naissance du phénomène Sartre: Raisons d’un success 1938-1945 by Ingrid Galster
Victoria Rios-Castano, Stefan Handler, and Helena Wulff
Cattell, M. and M. Schweitzer (2007) (eds), Women in Anthropology: Autobiographical Narratives and Social History (Oxford: Berg), 256 pp., Pb: £17.99, ISBN-13: 978-1-5987-4083-7.
Marranci, G. (2008), The Anthropology of Islam (Oxford: Berg), 224 pp., Pb.: £17.99, ISBN-13: 978-1-8452-0285-9.
Raykoff, I. and R. Tobin (2007) (eds), A Song for Europe: Popular Music and Politics in the Eurovision Song Contest (Aldershot: Ashgate), xxi+190 pp., Pb: £17.19, ISBN-13: 978-0-7546-5879-5.
Girls Negotiating Gender through Popular Music
This article is based on ethnographic fieldwork done with a group of 14 to 16 year-old girls in a medium sized Swedish town. The study aimed to investigate the relationship between everyday music use and gender, ethnicity and sexuality. The question posed here is: "What negotiations take place when the girls discuss their favorite music and artists?" Research in response to this question shows that the identity work of negotiating how to be a teenage girl often relates to popular culture. The sample focuses on girls from Swedish, Bosnian, Turkish and Syrian backgrounds. In this article I report on the local ideas about gender and ethnicity claimed by the girls to influence their discussion of music, dress and behavior, as well as the desires that I argue structure such discussion. This research supports contemporary findings that mainstream popular music has cultural and social significance in young girls' lives.
Poets and the Meaning of Poetry in Contemporary Uzbek Society
For centuries poetry was the most important arts genre in Central Asia. In order to be recognised as a member of the educated classes, it was obligatory to learn hundreds of poems. Even the Soviet regime (1922-1991) exploited the Uzbek people's love of poetry for its own political ends - the propagation of communist ideology. However, linked to the processes of globalisation, interest in poetry has diminished considerably in Uzbekistan over the past several years. People have become less attracted to the romance of poetry than to actual business, benefits and material values. To modern Uzbek society, poems come only in the form of lyrics for popular music. Globalisation has made poetry a minor genre among the Uzbek arts. To be a poet had been a respected profession for centuries. Now it has lost its prestige, as former poets turn to other occupations.
Knowledge, Agency and European Ethnology
Drawing examples from ethnic and popular music as well as from folk art, the paper explores the multivalence of expressive forms as local and European, even global aesthetic resources, whose territorial or ethno-national connection is - due to the power of aesthetic affect - but one among many possibilities of identification. It is argued first that the resource dimension of cultural expression has been furthered by the documentation and classification techniques of ethnological and folkloristic knowledge production, which in turn also facilitated circulation in multiple context. Second, the paper encourages that scholarship expand from recognising a political identification and instrumentalisation of aesthetic resources to understanding the economic appropriation of the production and consumption of such resources.
Stars without the money
Sakha ethnic music business, upward mobility and friendship
The Sakha have had their own popular music since the 1970s. During the Soviet era, music culture was controlled by the state. Starting in the 1990s, new pop-music institutions and venues emerged and new entrepreneurs entered the music business as club owners, managers, producers, DJs, etc. In this article, I examine multiple social relations in the music business. Music has become a possibility for village youth to leave their villages and gain fame as artists. The Sakha music world contains various networks where criminal structures, artists, businessmen and media are interlinked. Through this linkage, music is used to gain a community's support for semi-legal business activities. At the same time, both the artists and producers present themselves to the public as the custodians of Sakha 'national' culture. The article discusses ways in which the artists' popularity is connected to their position in the music business, and how ethnic symbols are used to gain success.
Popular Music in Postwar Germany at the Crossroads of the National and Transnational
Kirkland A. Fulk
in Germany. Indeed, since the end of World War II, popular music practices in Germany have been alternatively decried as drivers of Americanization and hailed as catalysts of technological development that prompt new ways of producing and consuming