Alan Bush Modern Music And The Cold War

The first major study of Alan Bush, this book provides new perspectives on twentieth-century music and communism. British communist, composer of politicised works, and friend of Soviet musicians, Bush proved to be 'a lightning rod' in the national musical culture. His radical vision for British music prompted serious reflections on aesthetics and the rights of artists to private political opinions, as well as influencing the development of state-sponsored music making in East Germany. Rejecting previous characterisations of Bush as political and musical Other, Joanna Bullivant traces his aesthetic project from its origins in the 1920s to its collapse in the 1970s, incorporating discussion of modernism, political song, music theory, opera, and Bush's response to the Soviet music crisis of 1948. Drawing on a wealth of archival sources, including recently released documents from MI5, this book constructs new perspectives on the 'cultural Cold War' through the lens of the individual artist.

The first major study of British communist composer Alan Bush, providing new perspectives on music and politics during the Cold War.

Music, Art and Diplomacy shows how a vibrant field of cultural exchange between East and West was taking place during the Cold War, which contrasts with the orthodox understanding of two divided and antithetical blocs. The series of case studies on cultural exchanges, focusing on the decades following the Second World War, cover episodes involving art, classical music, theatre, dance and film. Despite the fluctuating fortunes of diplomatic relations between East and West, there was a continuous circulation of cultural producers and products. Contributors explore the interaction of arts and politics, the role of the arts in diplomacy and the part the arts played in the development of the Cold War. Art has always shunned political borders, wavering between the guidance of individual and governmental patrons, and borderless expression. While this volume provides insight into how political players tried to harness the arts to serve their own political purposes, at the same time it is clear that the arts and artists exploited the Cold War framework to reach their own individual and professional objectives. Utilizing archives available only since the collapse of the Soviet Union, the volume provides a valuable socio-cultural approach to understanding the Cold War and cultural diplomacy.

The end of global communism has erased from memory the prior influence of communist ideology outside of the communist bloc. Many western musicians were involved in communist movements and organisations which often had a decisive impact upon their music. This book recalls the meeting of music and communism in societies outside of a communist state.

With his unmatched investigative skill, Bob Woodward tells the behind-the-scenes story of how President George W. Bush and his top national security advisers led the nation to war. Extensive quotations from the secret deliberations of the National Security Council and firsthand revelations of the private thoughts, concerns and fears of the president and his war cabinet, make BUSH AT WAR an unprecedented chronicle of a modern presidency in a time of grave crisis. Based on interviews with more than a hundred sources and four hours of exclusive interviews with the president, BUSH AT WAR reveals Bush's sweeping, almost grandiose vision for remaking the world. Woodward's virtual wiretap into the White House Situation Room reveals a stunning group portrait of an untested president and his advisers, three of whom might themselves have made it to the presidency. In BUSH AT WAR, Bob Woodward once again delivers a reporting tour de force.

At the height of the ideological antagonism of the Cold War, the U.S. State Department unleashed an unexpected tool in its battle against Communism: jazz. From 1956 through the late 1970s, America dispatched its finest jazz musicians to the far corners of the earth, from Iraq to India, from the Congo to the Soviet Union, in order to win the hearts and minds of the Third World and to counter perceptions of American racism. Penny Von Eschen escorts us across the globe, backstage and onstage, as Dizzy Gillespie, Louis Armstrong, Duke Ellington, and other jazz luminaries spread their music and their ideas further than the State Department anticipated. Both in concert and after hours, through political statements and romantic liaisons, these musicians broke through the government's official narrative and gave their audiences an unprecedented vision of the black American experience. In the process, new collaborations developed between Americans and the formerly colonized peoples of Africa, Asia, and the Middle East--collaborations that fostered greater racial pride and solidarity. Though intended as a color-blind promotion of democracy, this unique Cold War strategy unintentionally demonstrated the essential role of African Americans in U.S. national culture. Through the tales of these tours, Von Eschen captures the fascinating interplay between the efforts of the State Department and the progressive agendas of the artists themselves, as all struggled to redefine a more inclusive and integrated American nation on the world stage.

Places the radicalization of art music in early post-war France in its broader socio-cultural and political context.

At nearly every pivotal moment in international politics over the past twenty-five years–from the Reagan-Gorbachev summits, to the Iran-Contra scandal, to the collapse of the Soviet Union, to the decision to go to war in Iraq–if you dug deeply you would find a figure just behind the scenes influencing the action: that of Richard Perle. Largely eschewing senior cabinet appointments and other high-profile roles, the passionate, zealous Perle has been content to operate quietly—behavior which earned him the moniker of The Prince of Darkness. Nevertheless, his influence in Washington has helped to fuel an international disaster in Iraq and the growth of anti-Americanism worldwide. Alan Weisman, a former producer for 60 Minutes, CBS Sunday Morning, and the CBS Evening News, is now shining a light on this major political figure. While Perle has not authorized this biography, he has submitted to interviews with Weisman, encouraged his friends to do so, and provided non-classified material. Such access has granted Weisman a deep and critical insight into Perle’s methods and mindset. Weisman explores how Perle derailed a nuclear arms agreement between the U.S. and the then Soviet Union; his controversial business dealings; Perle’s tenure as Chairman of the Pentagon’s Defense Policy Board during the present Bush Administration; and his role leading up to the Iraqi War, including his dealings with Iraqi exiles like Ahmed Chalabi. From the collapse of the Soviet Union to the current saber-rattling over Iran, Syria, and North Korea, Perle has put his stamp on almost every decisive event in international politics. This is an insightful and incisive study of the highest quality, and one that everyone—not just policy experts—should read. From Prince of Darkness, What People Say about Richard Perle: “We used to have major problems when Richard would wander off the farm and be caught doing things that were not consistent with the policies that [Caspar] Weinberger and [George] Shultz were trying to implement.”—Colin Powell, Secretary of State, 2001-2005 “Richard can take a really bad idea and make it sound almost plausible and reasonable, even brilliant.”—Richard Burt, Assistant Secretary of State, 1983-1985 “I really don’t understand Perle. If you talk about the real neocons, there’s Richard Perle and Paul Wolfowitz, and they’re very different. Paul Wolfowitz is an idealist, but he’s prepared to impose democracy by the sword. I don’t think Perle gives a [bleep] about democracy. Fundamentally, it’s all a means to an end.”—Brent Scowcroft, National Security Advisor, 1989-1993

Musicologist Pauline Fairclough explores the evolving role of music in shaping the cultural identity of the Soviet Union in a revelatory work that counters certain hitherto accepted views of an unbending, unchanging state policy of repression, censorship, and dissonance that existed in all areas of Soviet artistic endeavor. Newly opened archives from the Leninist and Stalinist eras have shed new light on Soviet concert life, demonstrating how the music of the past was used to help mold and deliver cultural policy, how “undesirable” repertoire was weeded out during the 1920s, and how Russian and non-Russian composers such as Mozart, Tchaikovsky, Wagner, Bach, and Rachmaninov were “canonized” during different, distinct periods in Stalinist culture. Fairclough’s fascinating study of the ever-shifting Soviet musical-political landscape identifies 1937 as the start of a cultural Cold War, rather than occurring post-World War Two, as is often maintained, while documenting the efforts of musicians and bureaucrats during this period to keep musical channels open between Russia and the West.

From the fall of the Soviet Union to the Gulf War, the presidency of George H. W. Bush dealt with foreign policy challenges that would cement the post-Cold War order for a generation. This book brings together a distinguished collection of foreign policy practitioners – career and political – who participated in the unfolding of international events as part the Bush administration to provide insider perspective by the people charged with carrying them out. They shed new light on and analyze President Bush’s role in world events during this historic period, his style of diplomacy, the organization and functioning of his foreign policy team, the consequences of his decisions, and his leadership skills. At a time when the old American-led post-World War II order is eroding or even collapsing, this book reminds readers of the difference American leadership in the world can make and how a president can manage a highly successful foreign policy.