Radio Interview Research Articles

Is Manuela Carmena a politician? Spanish journalists and politicians in the spotlight

ABSTRACTThe purpose of this paper is to better understand how the participants involved in a specific radio interview use categorization to (re)produce a dominant discourse in the Spanish political arena. In this discourse, politicians are seen as untrustworthy, and certain journalists are portrayed as serving specific political interests. The interview needs to be analysed within its sociopolitical context. The wider context is one in which two new political parties claim to represent a new way of doing politics: old politics is described as opaque and untrustworthy, and they want to create a politics of renewal. The more specific context is the reason behind the interview. It occurs right after the publication of a book of interviews by Maruja Torres, the interviewee, with Manuela Carmena. Manuela is the current mayor of Madrid and an important figure in one of the new parties mentioned above. But most importantly, the interview takes place after several Spanish newspapers focused on a specific statement in the book, in which the mayor admits she feels overwhelmed and tired. This article aims to show the categorial and positioning mechanisms employed by the participants in the interview to co-construct a given discourse regarding the various social actors involved in contemporary Spanish politics. Spanish politics is not just made up of big events; it is also the accumulation of small affairs like this one. When people read these newspaper articles or listen to a radio interview, they must position themselves in relation to the small event, and it is the sum of these stances that configure people’s political beliefs.

Critical intimacy: an interview with Gayatri Chakravorty Spivak

PurposeThis paper is an interview with Gayatri Chakravorty Spivak, whose work is inspiration for this special issue.Design/methodology/approachPublic radio interview methodology was used.FindingsThis paper provides autobiographical reflections by Spivak.Practical implicationsThe paper provides a glimpse into Spivak’s reflections on her life and work and its impact on her practice.Originality/valueThis is an excerpt of a previously published interview, included here by permission, and adds value to the special issue with insights from the author of “Can the Subaltern Speak?”.

FICTION IN REVIEW

1 5 4 Y F I C T I O N I N R E V I E W A Y T E N T A R T I C I ‘‘For her part, Alice was starting to consider really rather seriously whether a former choirgirl from Massachusetts might be capable of conjuring the consciousness of a Muslim man.’’ Having just ordered hotdogs from a halal cart on the Upper West Side, the twenty-something publishing assistant Alice in Lisa Halliday’s striking debut novel Asymmetry asks herself a delicate compositional question: Can a white Christian girl from New England accurately portray the consciousness of a male Muslim immigrant ? Jonathan Franzen would tend to say no. In a 2016 interview with Slate, the American novelist argued that not having many African American friends precluded him from writing a novel with a black protagonist: ‘‘If you have not had direct firsthand experience of loving a category of person – a person of a di√erent race, a profoundly religious person, things that are real stark differences between people – I think it is very hard to dare, or necessarily even want, to write fully from the inside of a person.’’ Franzen frames the choice to represent otherness not just as an act A s y m m e t r y : A N o v e l , by Lisa Halliday (Simon and Schuster, 288 pp., $26) 1 5 5 R of audacity but also as an almost unnatural, transgressive wish. The polemic is as old as James Joyce’s rendering of the inner thoughts of an Irish Jew, Leopold Bloom, but is given fresh life in Asymmetry, which both rises to the challenge of and wrestles with the possibility of intercultural representation. Asymmetry has an unusual tripartite structure. The first section , titled ‘‘Folly,’’ chronicles the relationship between Alice and the aging writer Ezra, and is modeled on Halliday’s own relationship with Philip Roth when she was in her twenties and he in his sixties. By contrast, the second section, ‘‘Madness,’’ is the firstperson account of Amar, an Iraqi American graduate student of Kurdish extraction, in the period leading up to and just after the 2003 American invasion of Iraq. The third part, ‘‘Ezra Blazer’s Desert Island Discs,’’ loops back to the fictionalized version of Roth, but in the unconventional format of a BBC radio interview. Halliday thus deliberately mixes writing about what she knows, her relationship with Roth, with writing about what she ostensibly does not, the first-person account of an Iraqi American. While ‘‘Folly’’ covers familiar ground, taking place in literary New York, mostly within a couple of blocks between Amsterdam and Broadway , ‘‘Madness’’ shuttles among Los Angeles, New York, London, Amman, Baghdad, and Sulaymaniyah in Iraqi Kurdistan. Intensifying the geographical unfamiliarity, Amar finds himself navigating culturally liminal and often uncomfortable spaces: a windowless immigration holding room at Heathrow, a smoke-filled rental car shared with an Iraqi intelligence o≈cer on the road from Jordan to Iraq. The sweep of Halliday’s novel at first feels at odds with the fiction of Roth, who, after all, wrote nine novels about his own literary alter-ego, Nathan Zuckerman. That outsized attention to male ego at the expense of all else led Sondra Bleich to remark that ‘‘Roth’s women either materialize out of a Dewing landscape, so ethereal as to be unattainable, or lunge at us from a De Kooning abstract, so gross as to be totally undesirable. In either case, they are unreal.’’ The alleged flatness of his female characters has resulted in the oft-repeated critical appraisal of his work as closeminded and misogynist. While Halliday wanders the globe, Roth is stuck in suburban New Jersey. In Asymmetry, Roth’s doppelgän- 1 5 6 T A R T I C I Y ger, Ezra, even admonishes Alice with the hackneyed MFA dictum to write what she knows: ‘‘Do you write about this? About us?’’ ‘‘No.’’ ‘‘Is that true?’’ Alice shook her head hopelessly. ‘‘It’s impossible.’’ . . . Ezra looked skeptical. ‘‘Do you write about your father?’’ ‘‘No.’’ ‘‘You should. It’s a gift.’’ ‘‘I know. But writing about myself doesn’t seem important enough.’’ ‘‘As opposed to...

Gaspar Cassadó: Cellist, Composer and Transcriber by Gabrielle Kaufman

Reviewed by: Gaspar Cassadó: Cellist, Composer and Transcriber by Gabrielle Kaufman John Moran Gaspar Cassadó: Cellist, Composer and Transcriber. Gabrielle Kaufman. Abingdon: Routledge 2017, [xviii, 280 p. ISBN 9781472467157 (hardback), $160.00; 9781315583792 (e-book), varies.] 27 figures, 80 music examples, 12 tables, appendices, discography, bibliography, index. In response to a question about how history would regard him, the subject of this book said prophetically in a 1963 radio interview, "We artists are like butterflies: when you die, it's finished" (p. xv). The Catalan cellist Gaspar Cassadó (1897–1966) is surprisingly little known today considering that he was one of the three most highly regarded cellists in the early [End Page 293] decades of the twentieth century and the student most closely associated with his world-famous teacher, Pablo Casals. Unlike his chief onetime rivals, Gregor Piatigorsky and Emanuel Feuermann, comparatively little has been written about him. (Feuermann is the beneficiary of two biographies in English: Seymour W. Itzkoff's Emanuel Feuermann, Virtuoso [Tuscaloosa: University of Alabama Press, 1979; 2nd ed., Schweinfurt: Reimund-Maier, 1995] and more recently Annette Morreau's Emanuel Feuermann [New Haven, CT: Yale University Press, 2002]. Piatigorsky, in addition to his own autobiography, Cellist [Garden City, NY: Doubleday, 1965], is the subject of Terry King's Gregor Piatigorsky: The Life and Career of the Virtuoso Cellist [Jefferson, NC: Macfarland, 2010] and Margaret Bartley's novelized treatment of his life in Grisha [New Russia, NY: Otis Mountain Press, 2004].) Cellists are familiar with Cassadó's name because of two pieces he wrote that remain in the repertoire—his Suite for Cello (1926) and Requiebros (1932) for cello and piano—but otherwise tend not to know much more about him. Born into a musical family in Barcelona, Cassadó was the son of composer Joaquín Cassadó. At the age of ten, aided by a scholarship from the city, he moved with his family to Paris so that he could study the cello with his compatriot Pablo Casals, who was then at the height of his career as a performer yet took a high level of interest in the young cellist's development, teaching him for over five years. In Paris, Cassadó also had instruction in composition from Maurice Ravel and Manuel de Falla. After World War I, he had a successful solo career performing with renowned conductors across Europe, including Thomas Beecham, Wilhelm Furtwängler, and Willem Mengelberg. He settled in Florence in the 1930s and then had a falling-out with Casals, who believed Cassadó did not take a strong enough stand against Fascism. At the Academia Chigiana in Siena, Cassadó's students included an American (Laurence Lesser), a German (Johannes Goritzki), and a Catalan (Marçal Cervera). In addition to his teaching, concertizing, and recording activities, he was a prolific composer and arranger, primarily for his own instrument. He married the Japanese pianist Chieko Hara, who was his frequent partner in duo repertoire. Gabrielle Kaufman divides her book into seven chapters, which focus on Cassadó's biography, his cello playing and that of his contemporaries, his composing, and his arranging. Three appendices provide lists of his works and arrangements as well as a discography. The biographical chapter is very useful, putting Cassadó in historical context with his contemporaries and giving the reader some general background about early twentieth-century Catalonia, especially Barcelona. Particu larly fascinating is Kaufman's view into a period that saw the rapid expansion of sound recording—her discography lists over one hundred recordings by Cassadó—and an increased demand for celebrity virtuosos. On the other hand, more details on his professional activity would have been welcome; the "biographical introduction" (pp. 1–34) that constitutes the first chapter of this book is disappointingly brief. For example, we learn that in Cassadó's 1957 recording for Vox of the six cello suites, BWV 1007–12, of Johann Sebastian Bach, he transposed Suite no. 4 up a whole step from E-flat to F major. However, Kaufman provides no information about where the recording was made or how it was received. Her characterization that recording the Bach suites was "an obligatory rite of passage for any famous cellist" (p. 29) seems anachronistic and might...

Hurricane Katrina and the chōric object of rhetorical studies

ABSTRACTThis essay reads former New Orleans mayor Ray Nagin’s infamous radio interview given during the aftermath of Hurricane to rethink both the popular narrative about the federal response to Katrina and, more broadly, the displacement of rhetorical objects both popularly and within rhetorical scholarship. Drawing upon Julia Kristeva’s early work, I advocate for a turn to a particular understanding of chōra, which positions critics in provisional relation objects of rhetorical study. Finally, I tender a reading of Nagin’s post-Katrina radio interview. The essay ultimately argues that: (1) the chōric function of Nagin’s interview simultaneously spurred political change and displaced the appearance of having done so; and (2) if rhetorical studies is to avoid remaining complicit with the politics of such displacement, scholars should attend carefully not only to what counts as rhetorical, but also to those objects that do not count but nevertheless function rhetorically. Reconsidering the object domain of rhetorical studies in this way not only opens up new objects for study but also accounts for how they might function outside of already established narratives.

Pilgrimage through a sound horizon: A guide through the electroacoustic works by Vladimir Jovanović (1956-2016)

In this paper, I aim to create a compiled analytical description of electroacoustic works by the untimely deceased composer Vladimir Jovanović, created between 2002, when he was appointed as manager of the Electronic Studio of III program of Radio Belgrade, and 2015, when he left this post. During this time, the author created seven studio compositions, almost exclusively using a computer. Thus, the focus of this paper will be placed on peculiarities of his compositional techniques - especially when working with MIDI and samples. The base for the formation of the narrative about Jovanović's works will be his statements, recorded in a radio interview and program notes he wrote as accompaniment to his compositions, together with the musicological and theoretical writings of Serbian authors.

Tennessee Williams and Italy: A Transcultural Perspective by Alessandro Clericuzio

Reviewed by: Tennessee Williams and Italy: A Transcultural Perspective by Alessandro Clericuzio Felicia Hardison Londre TENNESSEE WILLIAMS AND ITALY: A TRANSCULTURAL PERSPECTIVE. By Alessandro Clericuzio. Palgrave Macmillan, 2016; pp. xv + 225; 6 b/w illus. Italy and Italian culture held special allure for Tennessee Williams, as attested by his Memoirs, his published letters and notebooks, and some of his literary work. His close friendship with actress Anna Magnani, his liaison with Sicilian American Frank Merlo, and his working relationship with director Luchino Visconti all profoundly impacted his outlook and even directly stimulated his novel The Roman Spring of Mrs. Stone and play The Rose Tattoo. Alessandro Clericuzio's transcultural study not only fills gaps in our knowledge about the particulars of Williams's affinity for Italy, but also explores the chequered history of reception of Williams's work by Italian directors, audiences, critics, and censors. Clericuzio's transcultural approach takes the analysis beyond simple cross-fertilization of cultures; he shows how various forces in the evolving cultural climate—from lingering fascist elements in the wake of World War II, to the cold war, to the new freedoms of the 1960s, and so on—factored into the relentless ups and downs of Williams's reputation in Italy. Clericuzio's second chapter surveys these vicissitudes, tracing awareness of the young playwright back to the December 1945 and January 1946 issues of the monthly theatre journal Il dramma; the latter issue included an Italian transcription of an otherwise unavailable radio interview, which Clericuzio renders back into English, in which Williams segues from comments on The Glass Menagerie to his vision for theatre as a basis for "international comprehension" (12). Yet, the first Italian production of a Williams play, Visconti's Lo zoo di vetro (The Glass Menagerie) in Rome in December 1946, was hissed and booed by audiences resentful of an American presence on the Italian stage (17). For one critic, The Glass Menagerie exemplified the "new mental structure" of a nation that had no fear of being colonized (20); others were confused as they tried to reconcile the apparent symbolism of the play with their expectation of the neo-realism that had made Visconti's reputation as a film director. But most critics ignored the author as they focused on the celebrity director's stage work. The critical survey chapter shows that even during the golden years of Williams's reputation in Italy, roughly 1957 to 1964, there were some harsh assessments. The negative responses to his experimental plays of the later 1960s in Italy paralleled criticisms in the United States and elsewhere. Then the playwright's death in 1983 brought a new wave of appreciation for the canon as a whole, for his great female characters, and for his willingness to represent the underside of American culture. This chapter, the longest in the book, is a heroic effort, as Clericuzio waded through hundreds of reviews to cull and translate the pithiest or most revealing observations; it is also the toughest going for the reader, with its complicated interweaving of ideas from so many reviewers and publications. An appendix listing of major Italian productions partially compensates for the lack of play titles in the people-names-only index. In the chapter on Visconti's productions of The Glass Menagerie and A Streetcar Named Desire, Clericuzio deftly pulls together biographical details about the director and the playwright and information on leading Italian stage artists, as well as accounts of Visconti's directorial approach to the plays and of the major impact that Italian censorship had on their collaboration. Unfortunately, Visconti's attempt to skirt censorship by slipping some vulgar words back into the opening-night performance of his 1949 Streetcar had an adverse effect on subsequent dealings with censors and may have thwarted not only the director's hope of directing Cat on a Hot Tin Roof, but Hollywood's distribution of Williams films in Italy as well. Questions of censorship, including inconsistent treatment of allusions to homosexuality, crop up also in the chapters on subsequent productions of Streetcar, The Rose Tattoo, and The Roman Spring of Mrs. Stone, and on the plays of the "golden years." In the final two chapters, Clericuzio...

The FDA Is Listening

Back to table of contents Previous article Next article From the PresidentFull AccessThe FDA Is ListeningMaria A. Oquendo,M.D.Maria A. Oquendo,Search for more papers by this authorM.D.Published Online:25 Aug 2016https://doi.org/10.1176/appi.pn.2016.9a15AbstractI must admit I always feel a little wary when giving a radio interview and questions are being called in by the public. I wait, wondering what’s next and hoping I can be helpful. In fact, calls are usually from individuals with questions about how to best help themselves or their loved ones. Not that these calls are easy to handle on the air, like the one a few years ago from a mother of a suicidal adolescent who clearly needed an emergency department evaluation.But then it happened. “Hello, my name is Joe, and I’m calling from Oregon.” After the warm greeting, his tone changed, as he sharply questioned how psychiatrists could support a barbaric treatment such as ECT. I did my best to counter with information about the evidence for its safety and life-saving effects, explaining that this excellent treatment was often vilified unjustly. I do not believe Joe was convinced.Not one week later, I was pleasantly surprised to receive an invitation from Robert M. Califf, M.D., commissioner of the Food and Drug Administration (FDA). The invitation was to participate in the FDA’s stakeholder listening session as this issue of Psychiatric News went to press. The goal is to provide APA and other thought leaders with the opportunity to bring burning issues to the attention of the FDA. I should note that there were several sources of surprise to me with regard to this invitation—perhaps the most salient one was the notion that a major federal agency would use some of the same strategies that we use in global mental health (GMH) research. Community-based participatory research in GMH settings employs focus groups and other community-engagement approaches to ensure that the research design ultimately is informed by the viewpoints of key stakeholders. The idea is that the research design does not come from “on high” but rather is a product of a close collaboration with the community and local agencies and universities. This strategy promotes not only “buy in,” but optimally “want in.” Similarly, the FDA is clearly seeking to engage those of us most affected by its decisions—patients and their families, physicians, and health care delivery services—to maximize the likelihood that its policies will take into account the nuances of the “real world” and ultimately be better received.Given Joe’s call, it will not shock you that the APA administration and I selected support for the FDA’s proposed rule change to reclassify ECT devices from Class III (high risk) to Class II (low risk) as a key item to discuss. We will talk with the FDA about the utility and safety of ECT and the need to enhance its availability, injecting robust data into the debate. But ECT is only one of the topics that we will raise with the FDA. We will also encourage a review of prescription practices in view of the opioid epidemic and underscore the need for ensuring diversity in clinical-trial samples to generate data applicable to the diverse U.S. population. Now, I don’t know if Joe will be at the FDA hearing, and even if he were, I am not sure he would be convinced. But what I do know is that we need to be persistent in adhering to the dissemination of the best data available about treatments that work, treatments that save lives. ■ ISSUES NewArchived

Queering Hip-Hop, Queering the City: Dope Saint Jude’s Transformative Politics

Queering Hip-Hop, Queering the City: Dope Saint Jude’s Transformative Politics

The use of emotionally arousing music to enhance memory for subsequently presented images

Emotion-enhanced memory occurs when an arousal response to an emotion stimulus strengthens memory consolidation. We tested whether listening to emotionally arousing music enhanced memory in this way. In a within-subjects design, 37 participants (18 to 50 years, 22 female) listened to two of their own highly enjoyed music tracks, two self-rated neutral tracks from other participants’ selections, and a five-minute radio interview. After each listening episode, participants memorised a unique array of 24 images. Subjective and physiological emotional arousal was monitored throughout the experiment and free recall of all images within the five image arrays was tested at the end. As predicted, compared to the music and non-music controls, self-selected enjoyed music elicited greater subjective and physiological changes consistent with emotion, and more details from images presented after enjoyed music were recalled than after listening to the radio interview. A multiple regression analysis revealed that physiological changes consistent with an emotional arousal response to enjoyed music reliably predicted memory. Further research with larger samples is needed to replicate these exploratory findings.

'Any Good Hunting?': When a Justice's Impartiality Might Reasonably Be Questioned

'Any Good Hunting?': When a Justice's Impartiality Might Reasonably Be Questioned

Examples of both expected and unexpected interactions and outcomes when conveying science and technology to traditional print and modern media journalists

It has been my experience with both traditional print journalists, and with modern media journalists, that unexpected interactions and outcomes sometimes occur. These can have both desirable and undesired consequences for the scientist. Some examples of these interactions will be given, which are associated with quite diverse technical topics, ranging from press and radio interviews covering work on the soundscape of a threatened species (Ceratotherium simum simum, the southern white rhinoceros), to a radio interview on the acoustics of coffee roasting that included a surprise guest, to an underwater photo shoot with a National Geographic photographer covering research on an underwater noise abatement system. Some guidelines will be presented that aim to minimize the undesired outcomes.

Re-imagining the Literary Brand

This paper argues that the industrial contexts of re-imagining, or transforming, literary icons deploy the promotional strategies that are associated with what are usually seen as lesser, or purely commercial, genres. Promotional paratexts reveal transformations of content that position audiences to receive them as creative innovations, superior in many senses to their literary precursors due to the distinctive expertise of creative professionals. Analysing Spielberg's film, The Adventures of Tintin (2011), and Andrew Motion's fictional continuation of Stevenson's Treasure Island, it argues that literary fiction and cinematic texts associated with celebrated authors or auteurist producer-directors share branding discourses characteristic of contemporary consumer culture.

Narrative interviewing.

Introduction Narrative interviews place the people being interviewed at the heart of a research study. They are a means of collecting people's own stories about their experiences of health and illness. Narrative interviews can help researchers to better understand people's experiences and behaviours. Narratives may come closer to representing the context and integrity of people's lives than more quantitative means of research. Methodology Researchers using narrative interview techniques do not set out with a fixed agenda, rather they tend to let the interviewee control the direction, content and pace of the interview. The paper describes the interview process and the suggested approach to analysis of narrative interviews, We draw on the example from a study that used series of narrative interviews about people's experiences of taking antidepressants. Limitations Some people may find it particularly challenging to tell their story to a researcher in this way rather than be asked a series of questions like in a television or radio interview. Narrative research like all qualitative research does not set out to be generalisable and may only involve a small set of interviews.

Micro­microcelebrity: Branding Babies on the Internet

Micro­microcelebrity: Branding Babies on the Internet

The girl who stood for education and was shoot by Taliban�, I came from a country which was created at midnight. When I almost died it was just after midday�

“I came from a country which was created at midnight. When I almost died it was just after midday” Those are very impressive quotes with which the book starts revealing almost everything what the book covered. Its the story of Pakistani girl who was born to a illetrate mother and a daring father who had a strong desire to make all the girls literate inspite of opposition from Taliban, The Jihadis, that terrorised the whole Pakistan. Malala’s father Mohmd Ali Jinnah love of learning and sense of justice which made him speak fearlessely against Taliban’s for the same. Nobody was the first child of parent and intelligent and inquisitive child and also had great interest towards learning and education. The book also tells about the Pakistan culture. They migrated from Kabul and settled in beautiful valley Swat. (Which was war prone). Mallala’s father had a deep desire to open a school for children despite of his poverty. The book also tells us about his fight against Government of Pakistan and strong opposition from the Taliban’s. Maulana Fazulullah a young extremist and fighter of Taliban and was leader of the same was totally against the girl’s education and whoever went against him was punished severely. He ordered his fighters to bomb the school or shoot the educationist who went for it (In the process Mallala’s father also got the continous threat from them. Mallala continued going to school with her books hidden under her chadar (Shawl) As she had a strong desire and interest in education, she also started writing for BBC under a pen name “Gul Makai“ . She also gave a radio interview speaking frankly on the issue of the girl’s education when they shifted from border to Peshavar. The book tells about her fight for life when she was by the Taliban’s on 9th Oct 2012. It was a miracle she got her life back after being shot in head with the severe damage in the skull as well as her face. Her fight for Life was from Peshavar Army hospital to Burminghum England, (where she underwent many surgeries) Ultimately her strong desire to live for education made her won the battle of survival. Her struggle for her made her worldwide known and everybody with her heart prayed for her survival. Her work for girl’s education and fight for injustice against them enable her won the Nobel Prize for Peace.

Deliver FERPA Basics training to help students remember content, Part 2

In a radio interview on Bob Brinker's Moneytalk show a few months ago, Don Tapscott, regarded as one of the world's most influential thinkers, stated.

Stance and politeness in spoken Latvian

Abstract The present article is concerned with the concept of stance and its relationship to face, face work and politeness applied to Latvian spoken discourse. It offers an extensive review of relevant literature on stance and politeness theories, followed by an illustrative analysis of politeness strategies and stance markers found in a radio interview. On this basis, the article argues that stance markers - epistemic, evidential, mirative and hedging devices - may be considered a negative politeness strategy, responding to the speaker’s and hearer’s desire for autonomy. In conclusion, it suggests a hypothesis that could explain differing use of stance markers and politeness strategies by speakers fulfilling varying conversational roles and of various social standing.

Kyle Sandilands: Examining the “Performance of Authenticity” in Chat-Based Radio Programming

Kyle Sandilands: Examining the “Performance of Authenticity” in Chat-Based Radio Programming

Post-War French Popular Music: Cultural Identity and the Brel-Brassens-Ferré Myth by Adeline Cordier

Reviews 281 compromise destined to become an encore of the divided Third Republic, blamed by many for the debacle of 1940.After leading the provisional government (1944–46), de Gaulle withdrew into the political wilderness to contemplate his next move but would have to wait until 1958, when his nation, embroiled in a bitter civil war in Algeria, once again called upon l’homme providentiel to assume the reins of government. De Gaulle created a new constitution ideally suited for his own leadership style, one that even the Socialist Mitterrand, author of the highly critical book Le coup d’état permanent, effortlessly would mold to his own persona, just like every other president ever since. In Bouchet’s work, de Gaulle emerges as the father of modern France, as the single most significant Frenchman of the twentieth century, his reputation largely unscathed, thanks as much to the solidity of the institutions he created as to the lessthan -providential nature of his six successors, who have been unable to resolve the problems that have plagued France ever since the end of the Trente Glorieuses: massive unemployment, growing social inequality, and loss of economic clout and stature in the concert of nations. De Gaulle had what he fondly called “une certaine idée de la France,” a nation of modest grandeur, which appears much diminished today. This work is highly persuasive, never prone to oversimplification, admirably neutral politically speaking, and well argued throughout; and, what is more, it is a pleasure to read. As such it is eminently suitable for the classroom and will be much appreciated by students everywhere. St. Norbert College (WI) Tom Conner Cordier, Adeline. Post-War French Popular Music: Cultural Identity and the BrelBrassens -Ferré Myth. Farnham: Ashgate, 2014. ISBN 978-1-4094-2606-6. Pp. 188.£60. The chanson trio of Brel, Brassens, and Ferré has long been considered representative of French postwar authenticity and cultural identity. Cordier’s fascinating book explores the origins and popularity of the artists who, despite no personal or professional collaboration (save one well-publicized radio interview), symbolize the “trinity of chanson” (2) in the collective memory and, as such, represent the cultural climate and attitudes of 1950s and 1960s France. Through a methodical analysis of the media profiles of these “reluctant celebrities” (66), Cordier depicts the trio of twentieth-century troubadours as symbolizing a “manufactured representation of Frenchness”(21). Cordier examines“Frenchness”through a historical and theoretical lens, describing a culture of conflict between revolt and authority (exemplified by Rioux and Sirinelli), where the paradox between a desire for modernity and a return to the status quo characterized the“collective French identity”(87) of the postwar era. Cordier asserts that the singers’ stylistic differences were actually complementary and formed “three poles that provide a triangle within which Frenchness can be defined” (69). Cordier applies Barthes’s theory of myth to explain the success of the media image (both Leloir’s iconic photo from the radio interview, one still found on postcards , and the interview itself) in reinforcing the trio’s public persona as representative of authenticity, left-wing intellectual revolt, and poetry. Cordier explores each aspect— authenticity, revolt, and poetry—in detail. By comparing the singers’individual songs, she establishes their commonality as a trio within the context of their status as myth representing a French cultural heritage shared with their listeners. The lyrics’common themes—war, death, nostalgia, love—include cultural touchstones, involving the listeners in the narrative. Reinforcing the idea that these artists’ work represents the postwar era, Cordier also discusses their oft-mentioned misogyny, since the gender climate at that time indicates a“tacit acceptance of sexism in postwar French society” (123). Cordier insists upon the authenticity and mass appeal of these auteurs of chanson, who resisted the influence of Anglophone rock and French yéyé during the 1950s and 1960s. Privileging their lyrics over the musicality or danceability of their songs, they wrote and performed their music (with a passion and physicality that connected them viscerally to their fans), and bridged the gap between Bourdieu’s high and low culture and between oral and written genres (134). The artists reached a mostly Francophone audience and rendered poets...