| Summary: | This volume of the Casden Institute's The Jewish Role in American Life annual series introducesnew scholarship on the long-standing relationship between Jewish-Americans and the worlds ofAmerican popular music. Edited by scholar and critic Josh Kun, the essays in the volume blendsingle-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 Yiddishexperiments 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 DanceRevival" (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, TellYour Friends' : Belle Barth, Pearl Williams, and the Space of the Risque" (Josh Kun); "'Here's aforeign 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: MusicalHybridity in Radical Jewish Culture" (Jeff Janeczco).
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