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Подписываем
Speaker: Standard English
Danny Barker: New Orleans/ New York accent
Kalamu Ya Salaam: Standard American
Philip Frazier: Black American
Bruce Raeburn: Standard American
♫ Music: “Do Watcha Wanna” by The Rebirth Bras Band.
BL. 1. What makes American places famous? What memories and associations do they bring? What are the merits and demerits that go together with their names? Match the American place names in A with the corresponding curiosities in B:
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A |
B |
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Las Vegas |
Al Capone; first skyscraper. |
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Chicago |
Entertainment; casino. |
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Washington |
French style city; the White House |
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New York |
Hollywood movie stars; fast cars. |
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California, LA Statue of Liberty; The City That Never Sleeps; The Big Apple. Answers: Las Vegas - Entertainment; casino. Chicago - Al Capone; first skyscraper. Washington- French style city; the White House New York - Statue of Liberty; The City That Never Sleeps; The Big Apple. California, LA - Hollywood movie stars; fast cars. |
BL. 2. Look at the cultural clues below. Are they true for New Orleans?
Yes. They all are true for New Orleans.
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-soulful saxophones; -swinging clarinets; -entertaining city; -permissive society; |
-birth of jazz; -spiritual yet sensual sound; -southern blacks; -sex and death |
BL. 3. This list of proper names (given in the order of appearance on the tape) will render you good service:
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David Duke Nazi Ku Klux Klan Mississippi Jelly Roll Morton Buddy Bolden Louis Armstrong Dixieland Louisiana |
Mardi Gras Rio Danny Baker French Quarter Armstrong Park Nick La Rocca Park New Orleans Rhythm Kings Nashville Wynton Marsa |
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Rebirth Brass band Philip Frazier Royal Sonesta Hotel Bourbon Street |
St. Patrick’s Day St. Joseph’s Day Grade Seven hurricane Storyville District |
L. 1. Listen to the story New Orleans. Go back to BL. 2. Provide some evidence for New Orleans’ cultural clues.
MODEL: 1.Music is still everywhere - soulful saxophones, swinging clarinets and Dixieland pianos play round the clock in the bars and cafes and on street corners.
2. No wonder that Louisiana city is considered one of the world’s best entertaining places. Especially next month joining among the ground when early carnival timing real comes closer sometimes of sheer revelry.
3. Why jazz developed here round in any world. It is not fully understood, but the permissiveness of its society’s helped.
4. … in New Orleans’ large black community. It was a missed community that jazz music was born.
5. This juxtaposition of the spiritual and the sensual is also apparent in the music. Gospel, for example, is church music with a strong sexual ribbon, blues in Alabama is sublimely sinful.
L. 2. Look at the list below. These are the markers of jazz community’s life. Explain what they mean (according to the story):
legends; saxophones; clarinets; Dixieland pianos; banjos; jazz fraternity; traditional jazz; brass band; a son of New Orleans; sub-teens; sophisticated jadedness; housing project; rougher neighbourhoods; fascinating ritual; the dualism of deterioration; crack epidemic; the visceral sensibilities; Afrocentric world; lip service.
The visceral sensibilities: Jazz is the music of soul.
Afrocentric world: New Orleans is the Afrocentric world, because it is the native land of Jazz (black music)
lip service
L. 3. Think over the following. Pick up the answers, which fit best:
-The population of New Orleans has always lived very close to death for that reason because …….
R. 1. Here is the patchwork of popular perceptions about New Orleans and its inhabitants. Do you support the ideas?
“These are relatively good times for jazz musicians… Interest in traditional jazz has mushroomed and many contemporary performers have reaped the rewards.”
We agree with this idea. Jazz music, like every type of art needs it’s audience. So Jazz music became popular at that time when a listener was ready to perceive it.
“Jazz is alive and well in new Orleans”.
It is really true. As it was born in New Orleans. And now all the people who live there know about this fact, so it is alive. And it is also very popular not only in New Orleans, but for all over the world.
Kalamu Ya Salaam, writer and head of Bright Moments, a music & P.R. company:
“No, I would say, it’s alive and kicking.”
Jazz is still popular and it has it’s listeners.
“For all New Orleans’ jollity, death is a recurrent theme. The city is one of the poorest and most violent in America.”
Bruce Raeburn, curator of the Tulane University Jazz Archive:
“It’s an old world city…”
“This sort of celebration of life, I think, is our way of dealing with the omnipresence of death and the potential for disaster at all time, which keeps changing. It is used to be natural, now it’s more social…”
“Most of us would probably prefer a Grade Seven hurricane to walking through one of these projects while a crack deal’s down, but the danger is part of allure, I think.”
“… what you might call the visceral sensibilities of New Orleans are always well-fed: it’s a bodily city, if you like, and yet there’s a spiritual aura, too.”
At first sight, the life in NO is full of jollity: a lot of fun, a lot of music, a lot of permissiveness… Despite the omnipresent jollity, the death is very close to NO, the danger is everywhere, that’s why the way of their living is a sort of celebration of life. And we think that the permissiveness “made” NO one of the poorest and most violent in America
“… that’s always been an element of what we do as a people, that the separation of the sacred and the secular is an artificial separation and most of our people, subconsciously and unconsciously, do not relate to that artificial separation.... because religion, the spiritual side of things… goes throughout everything, and, vice versa, the celebration of the physical goes throughout everything also. So it’s one or the other, I mean, jazz would not be jazz if it was one or the other and what makes the music so vital is it’s all of it. It’s all there.”
Jazz is music that was born in the poorest place in America. It is part of the down-and-outer’s history. But it became popular, interesting, sincere music for people of all the classes now. Moreover, these days jazz is a kind of “elite” music, it is music, that connects people of all ages and nationalities.
R. 2. Study the vocabulary notes below:
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soulful – |
sentimental; |
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round the clock - |
all hours; |
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sheer revelry - |
pure festivities; |
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to entice - |
to tempt; |
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to mushroom - |
to spread quickly; |
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to reap - |
to harvest; |
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alive and well - |
flourishing; |
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alive and kicking – |
in the prime of life; |
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jadedness - |
the state of being exhausted; |
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housing project - |
housing at moderate price; |
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rough neighborhood - |
slums; |
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crack deal - |
a deal involving drugs sales; |
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allure – |
fascination; |
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sinful - |
scandalous; |
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brothel – |
a house of prostitution; |
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gospel - |
a type of ardently religious jazz music, esp. songs, originating amongst the black population of the southern U.S.; |
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lip service - |
insincere praise or worship; |
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lyric – |
a verse; couplet |
R. 3. Make up another list of additional vocabulary to cover the story about New Orleans. Prepare a report (10 min). Dwell upon the points:
LANGUAGE CORNER
BLACK AMERICAN/ BLACK ENGLISH
In linguistic usage Black English refers to the entire range of varieties of English spoken by American Black people of any educational or social level. The reference to the nonstandard varieties of English spoken by lower-class black people in urban communities is made by African-American Vernacular English (AAVE), Black English Vernacular (BEV), Afro-American English, Black English and a variety of other labels with varying degrees of acceptability. Among its distinctive features are the lack of a final –s in the 3rd person singular present tense (e.g. she walk), no use of forms of be when used as a linking verb (e.g. They real fine), and the use of be to mark habitual meaning (e.g. Sometime they be walking round here). The linguistic origins of AAVE are controversial. According to one view, AAVE originates in the creole English used by the first blacks in America, now much influenced by contact with standard English. An alternative view argues that AAVE features can also be found in white dialects (esp. those in the south), suggesting an origin in white English. The variety then became distinctive when blacks moved north to the cities, and found their southern features perceived as a marker of ethnic identity.
GOSPEL MUSIC
Gospel is a form of black American music derived from church worship services and from spiritual and blues singing. Gospel music spread through song publishing, concerts, recordings, and radio and television broadcasts of religious services from the Great Depression days of the 1930s.
The immediate impetus for gospel music seems to have been the rise of Pentecostal churches at the end of the 19th century. Pentecostal shouting is related to speaking in tongues and to circle dances of African origin. Recordings of Pentecostal preachers’ sermons were immensely popular among American blacks in the 1920s, and recordings of them along with their choral and instrumental accompaniment and congregational participation persisted, so that ultimately gospel reached the white audience as well. The voice of the black gospel preacher was affected by black secular performers, and vice versa. Taking the scriptural direction "Let everything that breathes praise the Lord" (Psalms, 150), Pentecostal churches welcomed timbrels, pianos, organs, banjos, guitars, other stringed instruments, and some brass into their services. Choirs often featured the extremes of female vocal range in antiphonal counterpoint with the preacher’s sermon. Improvised recitative passages, melismatic singing, and extravagant expressivity also characterize gospel music.
Other forms of gospel music have included the singing and acoustic guitar playing of itinerant street preachers; individual secular performers, sometimes accompanied by bands; and harmonizing male quartets, usually singing a cappella, whose acts included dance routines and stylized costumes.
Among the most prominent of gospel music composers and practitioners were Thomas A. Dorsey; the Reverend C.A. Tindley; the Reverend C.L. Franklin of Detroit, who issued more than 70 albums of his sermons and choir after World War II; blind Reverend Gary Davis, a wandering preacher and guitar soloist; Sister Rosetta Tharpe, whose guitar and vocal performances took gospel into nightclubs and concert theatres in the 1930s; Roberta Martin, a gospel pianist based in Chicago with a choir and a school of gospel singing; and Mahalia Jackson who toured internationally and was often broadcast on television and radio.