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The Canadian Jewi^ News, Friday, May 19th, 1972 - Page 11
Twnounced imprinf
Jesus Influence on
lUSlC
By RICK KAKOONNE
The Jesus Revolution which is currently taking jdace among North American youth has cast a significant inqirint on_the entire cdn-teniporary music scene; periiaps not so much the frankly "commercial" seg-vaesA (such as the Osmonds, Carpenters, etc.) but in many otter aspects of rock, folk-rock and "underground" rock.
While some recent hit tunes have t)een frankly Christian - religious (such as Put your Hand in tte Rand or Jesus Christ Superstar), tte pronounced imprint of Protestant church hymns and gospel music has been much wider, so that an increasingly large ainount of material heard over bott^AM and FM rock stations are musically little more than gospel hymns with secular words and a strong beat.
If one were to compare the present music scene with that of tte mid-60s, during the heyday of tte Beatles and the Rolling Stones, be or she would notice tte at)sence of ttis frequency of standard gospel pn^ressions that characterize much of rock music today.
The music of tte mid and late 60s was louderahd more raucous than that of today, but it was infinitely freer and more creative. Songs such as Eight Miles High by the Byrds, Bemadette by tte Four Tops, tte Beatles' Sgt. Pester album and White Rabbit by tte Jefferson Airplane boldly explored new musical horizons and marked a period of true musical ferment.
Sometime in late 1969, however, a new period began; ooe in which the music was softer, tte political radicalism faded into tte background, and a new ideal-that of tte saintly Christ from the
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innocent countryside - replaced that of tte urttan hipster as tte ultimate youth goal.
Why this change? Political r^ression by the Nixon-Ag-new administration_jnight. have been a fkctor, iKtt tte Tate murders, tte heroin plague, and tte ill-fated Altamont rock festival probably did more to frighten millions of young people away from the youtt culture otthe 60s.
TUs youth, Witt a suddeh vacuum in tteir lives, became especially receptive to fimdamentalist Christianity as a new eiasy patt to what they conceived to be a meaning life; a purer, more simple ideal, free from tte complexities of modem urban existence.
Thus tte hard rock of tte Stdiiiss and Cream changed into tte up-l)eat gospel revivalism of Leon Russell and Delaney - Bonnie; and tte folk-protest of Joan Baez changed into tte hymnlike and ettereal somnolence.of James Taylor and Neil Young.
Along Witt this, of course, came Siqwrstar and God-spell, plus a dozen commercialized imitations. The imprint of this Christian revival on tte black seme is quite a bit more complex and will be discussed in a future article. It is interesting to note, however, that a top hit an the black charts today is Exodus by tte Originals, and quite a few major black hits of tte recent past (such as Ain't No Sunshine) have a strong Jewish melodic influence.
The challenge to Jewish creative musicians in tte North American milieu is therefore to rediscover our very own rich musical roots and tten to utilize ttem as a springboard from which to ^lore new horizons in tte fiihire:
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Joy for ^epassimaiedisc^ks of genuine, arthHc
BennanYablokofr
Ya
By LEWIS LEVENDEL ON Assistant Editor
Herman Yablokoff, one of the pioneering giants of the Yiddish theatre, returns to Toronto next month in a new play.
There will be three performances on June 3 and 4 at St. Lawrence Centre of the musical My Son The Doctor which Yablokolf au-tiured, produced and directed. It satirizes a phenom-mmon in North American Jewish sociolc^-NishtGeh-zogrt' (there is nothii^ to worry about).
A young - looking 66, Yablokoff told The CJN he has made more than 50 appearances in Toronto since the 1920's. He recalls performing at the old Standard Theatre at Spadina and Dundas, the Victoria on Queen St., and Royal Alex and Massey Hall.
Prior to the recent revival of interest in Yiddish theatre, Yablokoff had worked for a number of years on his two volume Aroimd the World with Yiddish Theatre, which includes thi^ "chapiters" on TorSnft). ijie* work is now being translated into English and Hebrew.
, The actor said he has been touring with his play which he authored three years ago in the U.S., Canada and South America. "There has l)een a terrific response froim young people,", he said, "There is such an interest tha,t Hebrew Actors Union - of which! am president - is stud]ring plans to estabUsb an acting ^ sdiool for young people now
returns
laming the language," he said.
Among the cast of Yablokoff's musical are Bella My-sell, MarekWarshafsky, David Carey and Diane Cypkin. Musical director is-Renee Solomon.
Performances are Saturday night June 3 at 8:45 and Sunday June 4 at 2:30 and 8:30. Tickets are priced at $4, $5 and $6.
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By AMNON AJZENSZTADT
Recently,.well over 1,000 Jews gave a vote of confi-d^e and moral and material support, to the new Jewish theatre in Montreal under the able and competent leadership of ^ gifted, multi-talented man, Chaim Avron.
Chaim Ayron's only questionable negative side (as far as I can see) might be that he is not a very commercial, hard-boiled, materialistic theatre entrepreneur. I say "maybe" because neither did I have a chance to interview him,- nor did anyone in the know tell me about this amazing man, who has to his credit: the book, lyrics, new original music, direction and the entire production;
The other very impressive figure is the guest star, leading tenor of the Israeli Opera, Ino Topper, I have seen and heard Ino Topper on three continents: intheWarsaw Jewish Theatre about 10 years ago, with Ida Kamin-ska, oh the stage of Tel
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Aviv's Sholem Aleichem House, last year; and now in tiie St. Lawrence Centre of the Performing Arts in our own Toronto.
All the performers displayed zealous and-harmon^ ious teamwork, creating a. wtHiderful two-hour show of Am, drama, and joy for the ardent, passionate disciples (followers) of the genuine, artistic Yiddish word.
As you can probably sense, I am also joining in the chorus of the. enchanted viewers who came tp see th e Yiddish play Shulamitfa. and were pleasantly surprised with quite a spectacle of entertainment,  music, dance
and holiday atmosphere; all in a pure, literary "mama loshen".
So what is the moral of the story which we, the so-called fighters for cultural Jewish continuity, are supposed to 'learn J[rom that maXYellously inspira-tionai aff&ir of theShulamith presentation?
Of course, one of the lessons will naturally be the old-new truism that "Where there is a will, there is a way". As Chaim Avronj so elequently said "Nobody has yet attended the funeral of the Yiddish language, and no ooe hasyet saidKaddish for its demise. ..."
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