Tin Pan Alley: An Encyclopedia of the Golden Age of American Song2004105David A. Jasen. Tin Pan Alley: An Encyclopedia of the Golden Age of American Song. New York, NY and London: Routledge 2003. xvi + 475 pp., ISBN: 0 415 93877 5 £65/$95

2004 ◽  
Vol 18 (2) ◽  
pp. 56-57
Author(s):  
David Harrison
Keyword(s):  
New York ◽  
Author(s):  
Craig Allen

Period: 1976–1986. The most radiant period in Spanish- language television ensues when SIN’s satellite links provide the U.S. vast international programming. SIN is chief affiliate of Azcárraga Milmo’s multinational network he names “Univision.” Ignoring Fouce’s lawsuit, Anselmo consolidates control. Without competition, turning profits, and freed of Azcárraga’s grip, he pushes numerous initiatives, many unorthodox. His hunger strike in New York obtains a prized World Trade Center transmitting site. Using names of fictitious characters, his letters to the FCC win needed satellite relays. He launches the first Spanish-language network news. Headed by Gustavo Godoy, the newscast excels until Televisa, and its head Jacobo Zabludovsky, attempt its takeover. In the largest-ever mutiny in a U.S. newsroom, Godoy and dozens of news personnel resign. They force Televisa’s retreat. However, a ten-year “golden age” ends with the removal of Anselmo, Azcárraga, and others, and the demise of Spanish International.


2012 ◽  
Vol 6 (4) ◽  
pp. 405-431
Author(s):  
JOSHUA S. WALDEN

AbstractJascha Heifetz (1901–87) promoted a modern brand of musical eclecticism, recording, performing, and editing adaptations of folk and popular songs while remaining dedicated to the standard violin repertoire and the compositions of his contemporaries. This essay examines the complex influences of his displacement from Eastern Europe and assimilation to the culture of the United States on both the hybridity of his repertoire and the critical reception he received in his new home. It takes as its case study Heifetz's composition of the virtuosic showpiece “Hora Staccato,” based on a Romany violin performance he heard in Bucharest, and his later adaptation of the music into an American swing hit he titled “Hora Swing-cato.” Finally, the essay turns to the field of popular song to consider how two of the works Heifetz performed most frequently were adapted for New York Yiddish radio as Tin Pan Alley–style songs whose lyrics narrate the early twentieth-century immigrant experience. The performance and arrangement history of many of Heifetz's miniatures reveals the multivalent ways in which works in his repertoire, and for some listeners Heifetz himself, were reinterpreted, adapted, and assimilated into American culture.


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