Frank zappa e il ’68 tedesco. Un paradosso transatlantico e un’accusa di provincialismo culturale = Frank Zappa, Germany, 1968. A transatlantic paradox and an accusation of cultural provincialism

IF 0.2 Q4 COMMUNICATION
Gianfranco Salvatore
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Abstract

FRANK ZAPPA, GERMANY, 1968. A transatlantic paradox and an accusation of cultural provincialism. Besides his autobiography, the rock guitarist and contemporary composer Frank Zappa (1940-1993) has disseminated his thinking through hundreds of highly articulate and seldom repetitive interviews. Published around the world by the international press since 1965, for almost thirty years, his statements, reflections, and analyses display a musicological, sociological, even semiotic and political approach not only to the arts, but to reality in the wider sense. Part of a broader research on his thinking, this paper aims to retrace Zappa’s position towards the protest movement in late Sixties, not only in the USA but also in Europe. A key moment in the development of such position came when he played in West Berlin in 1968 with his band The Mothers of Invention. That concert provides a very good example of a cultural clash between the highly politicized German audience, with its believes and principles, and Zappa’s personal visions for society and the way to improve it. That night the musician realized that ideas and actions implemented by the student protest in Europe, and above all in Germany, were the byproduct of a ‘cultural periphery’ in the worst sense: a sort of provincial extension of the USA which had been culturally colonized by the American model of the ‘youth revolt’, with local distortions and worsening. The crucial evolution of politics in the late Sixties both in Germany and in the USA, the social theories on youth developed during the Fifties and the Sixties, the influence and impact of Zappa’s songs and lyrics during the late Sixties, and the reaction of European media to his statements, are here examined contextually to the unfortunate concert in Berlin and the evolution of Zappa’s sociological and political theories developed after that controversial episode.
弗兰克和68年的德国人。跨大西洋悖论和对文化地方主义的指责=弗兰克·扎帕,德国,1968年。跨大西洋悖论与对文化地方主义的指责
弗兰克·扎帕,德国,1968年。跨大西洋的悖论和对文化地方主义的指责。除了自传,摇滚吉他手、当代作曲家弗兰克·扎帕(1940-1993)还通过数百次口齿清晰、很少重复的采访传播了他的思想。自1965年以来,他的言论、思考和分析在世界各地由国际媒体出版了近30年,不仅对艺术,而且对更广泛意义上的现实,都展示了音乐学、社会学甚至符号学和政治的方法。作为对其思想的更广泛研究的一部分,本文旨在追溯扎帕对60年代末抗议运动的立场,不仅在美国,而且在欧洲。1968年,他和他的乐队the Mothers of Invention在西柏林演出,这是他发展这一地位的关键时刻。那场音乐会提供了一个很好的例子,展示了高度政治化的德国观众之间的文化冲突,他们有自己的信仰和原则,而扎帕对社会的个人愿景和改善它的方式。那天晚上,音乐家意识到,在欧洲,尤其是在德国,学生抗议活动的思想和行动是“文化边缘”最坏意义上的副产品:一种被美国“青年反抗”模式文化殖民的美国的外省延伸,伴随着当地的扭曲和恶化。六十年代后期德国和美国政治的重要演变,五十年代和六十年代关于青年的社会理论的发展,六十年代后期扎帕歌曲和歌词的影响和影响,以及欧洲媒体对他的言论的反应,在此以柏林不幸的音乐会和扎帕的社会学和政治理论的演变为背景进行研究。
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