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Music and text, ethnicity and setting, culture and society are all combined to bring forward a penetrating insight into the American West and its composite cultural and historical evolution. Keywords: Western American Studies, music, lyrics, minorities, the American West ——— 1. Introduction: Music, Voices and the American West The American West could be understood as a vast expansion of land that held the coming-ofage process of a new nation. Today, revisionist approaches to the American West tend to underline the significance of different active subjects and their ideologies in the construction of a cultural paradigm that has traveled beyond geographically-defined borders. However, it is not only now but also then that this occurred, as Clyde A. Milner II highlights when he describes the origins of the American West “as an international borderland between native peoples” (1994, 6). This region became a zone of tension where different peoples (cultures, communities, ethnicities) met, coexisted and negotiated that gathering and blend; sometimes, in unfair or unbalanced terms. The region, both as an ideal and as setting, was shaped by “traditional views of the conquest of this territory” (Rio 2014, 20) and one way to revise those “traditional views” was by giving voice to those that were neglected. It has been customary to illustrate this revisionist spirit through the analysis of different cultural products, mainly literature and films. We believe that there is a necessity to approach and vindicate other genres and cultural products as sources and targets that enrich and complicate multiform approaches to the American West. Thus, Angel Chaparro focuses on Mormonism in the first section, providing a general overview of how certain bands have married their faith and their art. Then, Amaia Ibarraran engages in a study of African-American work songs to disclose how music develops through different historical circumstances that alter their content, social function and emotional charge. Finally, Monika Madinabeitia analyses the connection of music and the BasqueAmerican identity construct through the case of Boise, Idaho. These three supplementary views illustrate the statements that we make in this introduction. 2. Mormons and Popular Music: From The Osmonds to The Killers Mormons have been often forgotten when emphasizing the importance to hear neglected voices in the American West: “no history of the United States nor of the American West fully incorporates the Mormon experience and its relevance to understanding of the broader American Experience” (May 1999, 9). It is necessary to unveil Mormon participation in the culture and history of the American West, also by focusing on their engagement in the field of music.

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The Production Code was established in the same year, reflecting the growing desire of the clergy to censor and control the unhealthy influence of As noted by philosopher Stanley Cavell in Pursuits of Happiness. There were big fines if films were released without the Code’s stamp of approval and actresses Mae West, Jean Harlow and Marlene Dietrich were all forced underground. Brassy women and platinum blondes came to be portrayed as working women or independent heiresses. If Chaplin, Keaton and Lloyd saw the male comic as victimized in an indifferent malevolent world, the talking comedy had the lovers do it with words. Screwball delighted in the intimacy of speech, a trope used to the fore in Annie Hall and When Harry Met Sally. The state of marriage in these comedies is one without financial worry or children. The Coen brothers are huge fans of early screwball and its influence can be seen in Raising Arizona, The Hudsucker Proxy and Intolerable Cruelty. Post screwball, this style of writing mainly decamped to TV, producing a golden age for the American sitcom in The Jack Benny Program, Jackie Gleason’s The Honeymooners and Lucille Ball’s I Love Lucy. Modern sitcom uses some of the tropes of this golden age and the comedy writer can learn much in terms of pacing, rhythm and characterization from screwball movies. Romantic comedy Four Weddings and A Funeral. Sabrina. The Apartment. Sleepless in Seattle. What’s Up, Doc? The Shop Around The Corner. Annie Hall. In romcom, there are mistaken or unrevealed identities, there is reconciliation and transformation and real world issues are frittered away by romantic love.

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THE DIVING BELL AND THE BUTTERFLY Amazing French film based on the true story of the editor of Elle magazine who had a stroke and lost all control of his body except for his left eyelid. Still mentally intact, he spends his time fantasizing and remembering moments of his life before deciding to write a book by dictating to his secretary using blinks of his eyelid. A Spanish giallo about a boy who was discovered by his mother putting together a nudie jigsaw puzzle. After beating him, the boy kills her and fools the police. Forty years later, someone on a college campus is killing women with a chainsaw and making off with various body parts for a real life jigsaw puzzle. Way over the top slasher film, where some of the American actors take lessons in hystrionics from their Spanish co-workers. Starring Christopher George, Lynda Day George and Paul L. Left alone and thinking he is going to be kicked out when they return, he starts bringing home unsavory characters in order to not be alone. Low-budget indie with some good performances, but not enough happens here to keep my interest. BLOOD AND CHOCOLATE A female werewolf grows bored with her pack and considers leaving when she meets a human male that she starts to fall in love with, causing problems with her pack leader, who desires her as his own mate. ALVIN AND THE CHIPMUNKS When three chipmunks who can sing and dance have their tree cut down, they find themselves ending up in the city at the home of Dave Seville, a down-on-his-luck songwriter. He thinks the harmonizing rodents are pests until he gets the idea for a novelty Christmas song, which turns them into stars. So sickeningly super-sweet, this movie may actually cause diabetes. THE BIG BAD SWIM Nice little indie ensemble drama about a group of people learning to swim at an adult swimming course. The teacher is a manic depressive, one woman is having marital woes, another doesn't enjoy sex, a bravado male needs to learn to swim to impress his son but is afraid of water, and so on. Not everyone's cup of tea, and it's not riveting, but it held my interest for 90 minutes. MST3K: FIRST SPACESHIP ON VENUS Lesser effort from Joel and the 'bots as they watch a really boring movie about man's first trip to Venus and their horror at discovering a dead planet that was intent on invading earth.

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“He’s King in the North” and “fewer” made all those tedious longing stares on Dragonstone almost worthwhile. Pilou Asbaek took Euron so far over the top that he came back around again. It’s too bad the DC movies are so relentlessly grim. He was doing a great Batman villain for the whole season. Finding the remains of the farmer and his daughter was heartbreaking. The “whingeing” conversation with G. ndry. Failing to kill the zombie bear. The “Brienne of fucking Tarth” conversation with Tormund. The end of Petyr Baelish and his unreliable accent, no matter how we got there. I didn’t even mind losing Indira Varma, since she couldn’t do a decent scene with those three in it. Edited another time to add: How could I forget the Olympics of side eye. That intercutting of glances bouncing between Jaime, Brienne and C. rsei was masterful. There was a lot to like and season 7 and to be grateful for here at the end of JB week. And what I didn’t like can always be fixed in future fics. Last edited by LibKat on 12:05 AM - Oct 08, 2018, edited 3 times in total.