Academic literature on the topic 'New York Dolls (Musical group)'

From 1947 to 1962, Broadway audiences enjoyed major works by Tennessee Williams and Arthur Miller as well as plays ranging from A Thousand Clowns to Who's Afraid of Virginia Woolf? and a string of durable musical comedies offering light and dark visions of the urban streets (Guys and Dolls and West Side Story), inspirational fables (The Music Man and The Sound of Music), and war in legend and in recent memory (Camelot and South Pacific). Meanwhile, Judith Malina and Julian Beck founded the Living Theatre, José Quintero and Theodore Mann established the Circle in the Square, Joe Papp offered his first free Shakespeare productions in New York City parks, and Joe Cino and Ellen Stewart led the development of Off-Off Broadway. This heterogeneous theatre scene comprised diverse and even competing representations of a complex but interconnected culture, and Bruce A. McConachie has undertaken the task of elucidating the workings of such art not in isolation but as cultural and social production.

This article addresses the construction of a singing culture at New York City Football Club (NYCFC) over the course of its inaugural season in Major League Soccer (MLS). Although being a supporter can provide many of the feelings associated with the term “community,” in order to capture the fluid reality of twenty-first-century group formation, this article rejects that label, preferring to understand NYCFC fandom as an emerging “social identity.” Such an approach enables us to recognize the many layers of identification that form people’s self-concepts. I argue that NYCFC fandom, and perhaps social identities more broadly, are realized through ritual interaction in the form of normative group behavior. In this case, song is the meeting point of the converging worlds of soccer fandom and New York City, negotiating a shared musical culture that gives meaning to a new social identity.

This case describes an example of a collective making process in the field of performing arts. In 2009, multiple string quartets (many considered world class) organized to perform a new musical composition by Sir John Tavener. The composition challenged four quartets at a time to perform as an integrated ensemble while sitting apart, in various configurations, and at spatial distances up to 70 feet. The process unfolded in three phases: pre-rehearsals of the first group of quartets in the United Kingdom (UK), a series of rehearsals leading to one premiere performance by the second group of quartets in New York, and a series of rehearsals integrated with additional performances in four distinct venues in the UK. Mid-way through the process, the musicians chose to integrate a simple coordinating technology into their process, to address the difficulties produced by distance. This telling of the case story describes what the musicians did to achieve these unprecedented performances, given the unusual circumstances, emphasizing how they made decisions and evaluated their work along the way. The case is based on comprehensive fieldwork, including observation, interviews, spatial measurement and diagramming, questionnaires, and analysis of videotape of the rehearsal process.

Black musical theatre artists in New York City share and theorize their experiences with industry expectations around racialized vocal performance. Musical director John Bronson, actor/singer Jamal James, composer/music director Dionne McClain-Freeney, composer/writer Khiyon Hursey, actor/singer Rheaume Crenshaw, actor/singer/voice teacher Elijah Caldwell, and actor/singer Zonya Love Johnson comprise the group. The artists grapple with the conundrum of sounding ‘Black enough’, how the demand for uniform Black vocalization confounds historical accuracy in period shows, and the fantasy of the generic, idealized ‘Black Broadway voice’. The group details unspoken, misguided industry assumptions that Black singers do not produce multiple kinds of belt sounds, do not use the vocal mix sound, and sing only in a heavy (power) sound virtuosically ornamented with riffs that evokes for (white) listeners a misleadingly monolithic idea of ‘the Black church’. As these artists point out, ‘We do not all go to the same church’; in fact, the ability to fluidly move between more classical (legit) and gospel vocal sounds may actually arise from a singer’s training in the church choir. Collectively these artists have worked on multiple Broadway and off-Broadway shows from The Color Purple to Hamilton and A Strange Loop, major tours and regional productions of shows such as Hair, Ain’t Misbehavin’, and Waitress, and hold songwriting credits from the prestigious BMI musical theatre writing workshop to Netflix. This conversation took place in October 2019.

The purpose of this ethnographic study was to better understand how participation in St. Lawrence University’s (New York, the United States) production of Spring Awakening served as a means of intimate and broader community building. This narrative ethnography investigated the director and a focus group of actors involved in the production of Spring Awakening. Analyses of the data revealed four themes: content, interconnectedness, emotion and vulnerability and magic. St. Lawrence University students welcomed and embraced the language, the music and the subject matter presented to them in the content of Spring Awakening. The willingness with which the students opened up to conversation and community continued to resonate with them in an interconnectedness that seemingly had more depth and more meaning than other productions they have worked on, including other musical theatre productions.

A Teoria dos Multiletramentos enfatiza que a sofisticação das mídias potencializa a variedade de recursos audiovisuais como discurso próprio da contemporaneidade. Em termos educacionais, a multimodalidade amplia o acesso do aluno a significados e, destaca a hibridização das linguagens na composição de textos. O objetivo deste artigo é apresentar os resultados de um projeto de extensão sobre os multiletramentos, com ênfase no uso pedagógico do videoclipe musical. Os resultados do projeto, realizado em uma universidade pública no Brasil indicaram; a necessidade de o professor definir critérios para a seleção de videoclipe musical, a definição de objetivos para o uso do videoclipe, a articulação do videoclipe a conteúdos para aprendizagem em Língua Inglesa. Em linhas gerais, concluímos a relevância do papel das narrativas audiovisuais na formação de leitores críticos e, sobretudo, na aprendizagem de Língua Inglesa.Recebido em: 16-12-2019Revisões requeridas em: 02-03-2020Aceito em: 13-03-2020REFERÊNCIAS:BAGULEY, Margaret; PULLEN, Darren L.; SHORT, Megan. Multiliteracies and the new world order. In: PULLEN, D.L.; COLE, D.R. Multiliteracies and technology enhanced education: social practice and the global classroom. Hershey: IGI Global, 2010. p. 01-17.BALADELI, Ana P.D. Cibercultura e ensino de línguas: um olhar sobre a Teoria dos Multiletramentos. In: COSTA, N. V. S. (org.). A Língua Inglesa e seus desdobramentos na ciência. Bonecker, 2019. p. 11-28.BARBOSA, Vânia S.; ARAÚJO, Antonia D. Multimodalidade e letramento visual: um estudo piloto de atividades de leitura disponíveis em sítio eletrônico. Revista da ANPOLL, Florianópolis, n.37, jul./dez.2014, p.17-36. Disponível em: https://revistadaanpoll.emnuvens.com.br/revista/article/view/824 acesso em 04 dez. 2019.BERK, Ronald A. Multimedia teaching with video clips: TV, Movies, YouTube, and motive in the college classroom. International Journal of Technology in Teaching and Learning, v. 5, n.1, 2009, p. 1-21.BOCHE, Benjamin. Multiliteracies in the classroom: emerging conceptions of first-year teachers. Journal of Language and Literacy Education, v.10, n.1, 2014.BRASIL. Base Nacional Comum Curricular: Ensino Médio. Brasília: MEC/Secretaria de Educação Básica, 2018.BULL, Geoff; ANSTEY, Michele. Elaborating multiliteracies through multimodal texts.London,New York: Routledge, 2019.COPE, Bill; KALANTZIS, Mary. A pedagogy of multiliteracies, learning by design.New York. Palgrave Macmilan, 2015.KRESS, Gunther; VAN LEEUWEN, Theo. Reading images. 2nd.London: Routledge, 2006.MARCHETTI, Lorena; CULLEN, Peter. A multimodal approach in the classroom for creative learning and teaching. Psychological and creative approaches, v.5, n.1, p. 39-51, 2016.McCLAIN, Jordan M. A framework for using popular music videos to teach media literacy. Dialogue: The interdisciplinary Journal of Popular Culture and Pedagogy, v.3, n.1, p.38-46, 2016. Disponível em: http://journaldialogue.org/issues/a-framework-for-using-popular-music-videos-to-teach-media-literacy/ acesso em 03 out. 2019.NEW LONDON GROUP. A pedagogy of multiliteracies: Designing social futures. Harvard Educational Review; 66, 1, Spring, 1996.NICOLESCU, Barasab. Um novo tipo de conhecimento: transdisciplinaridade. In: NICOLESCU, B. et al (org.). Educação e transdisciplinaridade. Brasília: UNESCO, 2000. p. 13-29.ROJO, Roxane; MOURA, Eduardo (orgs.). Multiletramentos na escola. São Paulo: Parábola, 2012.SERAFINI, Frank. Reading multimodal texts: perceptual, structural and ideological perspectives. Children’s Literature in Education, v. 42, 2010, p. 85-104.SERAFINI, Frank. Expanding perspectives for comprehending visual images in multimodal texts. Journal Adolescent and Adult Literacy, v. 54, n.5, p. 342-350, 2011.STREET, Brian V. Eventos de letramento e práticas de letramento: teoria e prática nos novos estudos do letramento. In: MAGALHÃES, I. (org.). Discursos e práticas de letramento. Campinas, SP: Mercado de Letras, 2012. p. 69-92.WARNER, Chantelle; DUPUY, Beatrice. Moving toward multiliteracies in foreign language teaching: past and present perspectives... and beyond. Foreign Language Annals, v. 51, 2017, p. 116-128. Disponível em: https://onlinelibrary.wiley.com/doi/full/10.1111/flan.12316 acesso em 15 nov. 2019.

e20505 Background: 68% of cancer patients live at least 5 years after diagnosis and many are cured. Cancer survivors continue to need support. Music is energising, affirming and therapeutic. More funds are needed for cancer research so that more patients become long-term survivors. In 2012 Galway University Hospital founded 'Something To Sing About' (STSA.ie), a not-for-profit organisation to support cancer survivors and cancer research. Methods: Local publicity brings small bands of cancer survivors together rehearsing the same music at the same time every week (Wednesday 7pm) in a local hall, hospital or hotel, each with its own local musical director. The music is selected by a representative music committee and music therapist. Musical instruction is disseminated by the chief musical director via website and social media. A plenary rehearsal takes place every 3 months. All profits from events and music sales are allocated to cancer research projects through an open peer-reviewed grant-application process. Results: In 6 months STSA has grown from concept to network of 20 centres with total membership of 251 cancer-survivors. Immediate feedback has been extremely positive as assessed by personal communication and facebook activity (currently 1,025 ‘likes'). Over 100 singing-survivors participated in the first plenary rehearsal. All commercial venues have donated their meeting rooms gratis. Internationally there is one participating centre in Brisbane, Australia, with others signalling their intention to join in 2013 including: Memorial Sloan Kettering Cancer Center, New York; 14 breast cancer support centres in UK; and one centre in the Czech Republic (updated at meeting). STSA members are particularly keen on establishing links with other cancer patients abroad. Professional musicians are pledging support and suggesting fund-raising collaborations. Conclusions: Cancer survivors continue to need ongoing support and find the music therapy and group therapy provided by STSA most beneficial. Cancer survivors are very interested in supporting cancer research. STSA has the potential to become a major international cancer support network and cancer research foundation.

Theoretical background. Depending on the choice of the original source underlying the work, all Broadway musicals can be divided into three main types – with the original libretto and plot (“Next to normal” by T. Kitt), based on (or even on the material) of the same name cartoons (E. John’s “The Lion King”, D. Stewart’s and G. Ballard’s “Ghost”) and operas (E. John’s “Aida” after G. Verdi’s opera of the same name, J. Larson’s “Rent” written after “La bohème” by G. Puccini). In the latter group there is a contrasting branching, which can be observed even on the example of the two named musicals. If E. John seeks to preserve the historical correspondence to the epoch depicted in the opera, as well as to embody the conditionally Egyptian oriental color with the help of exotic orchestration, then J. Larson makes a radical modernization of the plot. His radicalism lies not so much in the time distance over which he “transposes” events, as in the “reduction” to naturalistic brutality and nudity of forbidden, but very “painful” in the 90s of the twentieth century topics – drugs, AIDS, same-sex relationships. In comparison with the problems of the musical, G. Puccini’s opera is perceived as a romanticized fairy tale. The social acuity of the musical is closer to the verismo aesthetics than the opera by G. Puccini, and encourages a more thorough analysis of its relationship with the opera prototype. The objective of the article is to reveal the specifics of the metamorphosis of the plot and musical drama of Puccini’s “La bohème” in the musical “Rent” by J. Larson. In accordance with the goal, research methods such as structural and functional are used to identify the components of the composer’s text and their role in the drama of the whole, comparative method to consider selected works in terms of plot interpretation, libretto features, general developing of the drama and musical text. Results of the study. J. Larson’s musical “Rent” demonstrate a free interpretation of G. Puccini’s opera original, with which a number of metamorphoses take place. The first is related to the modernization of the plot, which is transposed from Paris in the mid-nineteenth century to the 90s of the twentieth century and the “lower classes” of New York. The plot is reduced due to the saturation of its topical issues, which reflected the American spirit of the 90’s – AIDS, drug addiction, same-sex relationships. At the same time, the lyricization of drama is carried out, because in the musical J. Larson shows the development of the love affair of three couples. Almost all of them end tragically: Angel dies, Mimi is also on the verge of death. In turn, Joan and Maureen constantly quarrel and reconcile only at the end of the musical. At the same time, the plot outline of the development of Roger and Mimi’s relationship duplicates a similar line of the opera, starting from the scene of their acquaintance and ending with a duet in the finale, where the characters once again confess their love for each other. The key scene is the manifesto of bohemian life, as in the opera, is the scene in a cafe (“La Vie Boheme”, № 23). Musical dramaturgy of “Rent”, in contrast to the plot, is far removed from the operatic original, due to the genre tradition of the musical, which is reflected in the two-act structure, the principle of dramatic “relaxation” in the second act, where the denouement of all plot lines comes, number structure, where musical numbers alternate with conversational dialogues. At the same time, J. Larson strives for the integrity of the musical’s dramaturgy, which is reflected in the “musicalization” of dialogues, which mostly sound with musical accompaniment and flexibly flow into duet-ensemble scenes. The solo numbers, which brings a stop to the action, is mostly replaced by duets that “promote” the action and reveal the development of the characters’ relationships (the key pair has four such duets). Conclusions. All mentioned qualities of the musical “Rent” significantly distinguish the composition of J. Larson from another example of the musical based after the opera – “Aida” by E. John, which allows us to talk about the presence of individual compositional and dramatic solutions, even when working with a similar source. This shows the significant potential of the Broadway musical as a musical-theatrical genre, as opposed to its accusations of commercialism and the assertion of the priority of entertainment, which makes it an interesting and perspective material for research.

Certainly it was the year to visit the USSR, as one rubbed shoulders with pre-Summit reporters awaiting Reagan/Gorbachev, and pilgrims celebrating the millennium of Christianity in Russia. Wandering up the Nevsky Prospekt, you saw musicians hurrying with instrument cases in hand; and whichever way you crossed the Neva or the canals, the babel of language sounded like a session at the United Nations. As Tikhon Khrennikov (still Chairman of the Composers Union 40 years after its notorious 1948 Congress) pointed out in his welcoming address at the opening concert, the Festival's purpose was ‘for building spiritual bridges between nations using music as the unique and indispensable means of communication’. Stylistic restrictions were withdrawn so that listeners would get an unusually broad idea of the ‘many-sided panorama of modern musical art’. Thus, not only ‘serious’ music but also pop, jazz, folk, and traditional musics were performed. Having attended the previous two Festivals, it was very interesting to observe the progressive attitude of the Third. Not only was there more of everything, but more variety: not only symphonic, chamber, and choral music events, but also organ recitals, modern violin music, opera, children's theatre, a song evening, and even one for light music. Not only did the best Soviet conductors and performers participate, but also the New York Philharmonic, the BBC Welsh Symphony Orchestra, jazz groups of the USSR and elsewhere, and the British avant-garde vocal group ‘Electric Phoenix’. Although the concerts were heavily weighted with Soviet works, still almost 40 countries were represented (from Cuba to Mongolia) with works by more than 150 living composers.

This paper sheds new light on the developments in Italian jazz in the two decades 1960-1980. It opens by touching on context and antecedents: the relationships with Italian musical traditions in early American jazz, the acceptance and refusal of jazz by Italian cultural institutions and movements before 1960, and the late '50s key developments both in jazz and arts/media. In the early '60s, Italian jazz was characterized by two small scenes with marked differences in Rome and Milan and with a few further relevant events. An active and well rooted specialist magazine (Musica Jazz) provides relatively good documentation on these beginnings, quite detached from other general movements in music. By the end of the decade several ideological, cultural, political ruptures will have changed this panorama, and while Italian jazz was active in these changes, its exponents also had to deal with the complex situation they created from the point of view of artistic challenges, working conditions, and relationships with the recording industry. In order to discuss these changes and the different strategies adopted by musicians, four case studies will be examined to gain a better understanding of the process. Nunzio Rotondo, while almost unknown outside of Italy, was one of the first Italian musicians to successfully perform internationally after the war. He subsequently worked within the Rome jazz scene, with limited exposure both live and on record. Giorgio Gaslini's ground-breaking work of the late 50s, his training in ‘classical' music, and his unflagging commitment to exploration made him a personality similar to Portal and Gulda. However, his artistic successes did not close the chasm between ‘serious' music and jazz in Italy. Enrico Rava took the opposite road to Rotondo, widely performing abroad and paying dues in Buenos Aires, New York, and Paris before gaining acceptance worldwide and in his own country. He has been instrumental in the creation of an international image of Italian jazz and even of an Italian sound, opening the doors to many others. Perigeo was a ‘jazz-rock' group of the early 70s. Their recordings are still extremely popular. The reaction to their music by the jazz establishment and then their curt dismissal by the industry led to their disbanding, after which the single members—Franco D'Andrea, Claudio Fasoli, Giovanni Tommaso—produced and still produce some of the most exciting Italian jazz.

This chapter focuses on an in-depth study of Elio Osácar a.k.a. Sonny Bravo, whose career as an arranger and performer began in the 1950s. It examines the rise, fall, and return of Típica 73, a pan-ethnic salsa group representative of the period 1973–80 that featured musicians from Panama, Dominican Republic, Cuba, Puerto Rico, and New Yorkers of Cuban, Puerto Rican, and Mexican descent. The chapter recounts the story of a group who covered contemporary Cuban songs and pushed the boundaries of tradition through their instrumentation and performance. It introduces some key band members such as Sonny Bravo and Johnny Rodríguez who represented important New York–based familial and musical lineages. Their success was a direct result of musical innovation and negotiation. The band came to an abrupt end after a career-defining trip to Cuba, where they recorded with Cuban counterparts. Upon their return to the United States, they were branded as communist sympathizers. Ultimately, the chapter presents musical transcriptions of Bravo's arrangements and solos and places his music and his family, via his own father's musical career, within the historical context of early-twentieth-century Cuban migration to Tampa, Miami, and New York.

This chapter discusses the immediate musical impact of the 1980 Mariel Boatlift by examining some of the dancers and musicians who arrived in New York City at that time: Orlando “Puntilla” Ríos, Manuel Martínez Olivera “El llanero solitario” (The Lone Ranger), Roberto Borrell, Rita Macías, Xiomara Rodríguez, Félix “Pupy” Insua, Pedro Domech, Daniel Ponce, Fernando Lavoy, Gerardo “Taboada” Fernández, Gabriel “Chinchilita” Machado, and many others. The chapter highlights the musical activities of these people and other musicians and its long-term effects on the folkloric and Latin popular dance music scenes in New York and the greater United States, not only in the performance realm but in many cases also as teachers for subsequent generations of Cuban and non-Cuban musicians, particularly Puerto Ricans in New York City. This group of artists who arrived during El Mariel would also serve as important points of connection for the next major wave of newly arriving musicians and dancers in the early 1990s, known as the balseros (raft people). Ultimately, the chapter provides an analysis of and insight into this overlooked era of Cuban musical history in New York and how it would impact Latin music in New York and elsewhere.

This chapter focuses on the emergence of the first fully identifiable punk style in New York and Boston in the early to mid-1970s. Bands such as the Ramones, Blondie, New York Dolls, Modern Lovers, and the Real Kids used musical materials from the late 1950s and early 1960s. This source material of doo-wop, early rock and roll, and rhythm and blues connected to the vernacular “common stock” schemes and patterns shared among white and Black blues and country musicians. This music harked back to early punk musicians’ baby boomer childhoods, underscoring the fact that—contrary to the general perception—most of the individuals in this scene around CBGB were not teenagers or kids, but rather adults in their late twenties and thirties performing music about being kids. Also, the diverse scene was heavily female and LGBTQ, in direct opposition to punk’s later associations with young white heterosexual males. The chapter contains the first in-depth analysis of the Ramones’ music, revealing the ways in which their compositions and performance styles set the stage for future punk innovations.

This chapter examines the various ways that the Disney Theatrical Group (DTG), a unit within the Walt Disney Company, engages with local musical theatre for elementary and middle school children. DTG’s involvement in the local musical theatre scene includes the creation of kid-friendly versions of shows with supplementary materials and, since 2011, an ambitious philanthropic program to support musical theatre production in underserved public elementary schools. After New York City, DTG established its first Disney Musicals in Schools Program in Nashville, Tennessee. This chapter visits schools and includes interviews with teachers and kids in Nashville, as well as the staff of the Tennessee Performing Arts Center, which oversees the program. Schools across a range of racial and socioeconomic communities produce Disney musicals like The Little Mermaid JR. and Aladdin JR. By loosening its famously tight grip on its product and allowing schools to produce their shows legally, Disney has at once increased revenue and become an instigator of social change and youth empowerment through musical theatre. DTG president Thomas Schumacher said that Disney’s music “is the new American songbook . . . We are this new era of Broadway.” Disney’s vision accommodates a populist agenda as they balance profit and corporate interests with philanthropy and grassroots artistic activism.

Cultural visibility was one of its most effective mechanisms of protest in the late 1960s via posters, slogans, songs and images that gave collective purpose to ideas and campaigns. This chapter looks at performance of protest, looking specifically at the way that protest was “staged” as musical and theatrical spectacle in 1968. It focuses on three case studies: the musical spectacle of the Los Angeles rock group The Doors and the folk singer Phil Ochs who performed at the Chicago Democratic National Convention in August 1968; the theatrical experimentation of The Living Theatre’s radical play Paradise Now which was honed in Paris and performed first in New Haven, Connecticut in September 1968; and the British filmmaker Peter Whitehead’s ambivalent take on New York City in his 1969 film The Fall, the third part of which focuses on the student sit-in at Columbia University in April 1968.

This chapter considers the British musical over the last thirty years. As pop operas continued to appear, Chess (1986), Tim Rice's collaboration with Benny Anderson and Björn Ulvaes (from the Swedish pop group ABBA), was considered a classy example, centered on a rivalry of chess champions. ABBA's catalogue in the jukebox show Mamma Mia! (1999) creates a line-up of point numbers fitted into an innocuous story. In comparison, Chess tells of globally dangerous affairs of state and is very precisely musicalized with just one incongruous number, “One Night In Bangkok,” which would seem to have been created solely to guarantee a big hit song. Claude-Michel Schönberg and Alain Boublil, understanding that the proper launching site for an international success was London or New York, gave the West End Miss Saigon (1989) and Martin Guerre (1996). With such serious musicals as Girl From the North Country (2017) and the pop-opera cycle commanding the scene, musical comedy as such started to become scarce, though Spamalot (Broadway 2005; West End 2006) showed the comedy musical is still capable of claiming smash hit status.