Deconstructing yiddishland
(De)constructing Yiddishland: Solomon and SoCalled's HipHopKhasene
Abigail Wood
In “(De)constructing Yiddishland: Solomon and SoCalled's HipHopKhasene” Abigail Wood reviews the album HipHopKhanse, recorded by Sophie Solomon and Josh Dolgin. In her article, Wood discusses how the album breaks boundaries by bringing klezmer music into the modern world. As well, she talks about how this album impacts the modern day Jew.
While HipHopKhasene is a ‘mock wedding’ style music album, Abigail Wood shows how the album differs greatly from a traditional klezmer wedding album. Most klezmer wedding albums “have created programmes where the repertory and performance practice recreate as faithfully as possible a wedding that might have existed in a certain time and place in Eastern Europe” (Wood, 11). These albums, whether intentionally or not, form a stark contrast to modern day Jewish music. HipHopKhasene on the other hand, does not try to reenact a wedding that may have taken place hundreds of years ago, but tries to bring those traditions into the modern day. Instead of having tradition klezmer wedding music and modern day music running parallel, yet completely apart, to each other, HipHopKhasene fuses the two together. Abigail Wood shows how Solomon and Dolgin take tradition klezmer musical instruments such as a violin and combine them with electronic beats to create a new sound. By doing so, “the listener is introduced not to a disembodied CD which somehow appeared on the shelves of the record shop but to the world that this project is coming from: not only a past culture, but a contemporary, everyday world where people hang out and music is made” (Wood, 7).
Abigail Wood takes an interesting album in HipHopKhasene and really dissects it to show the album is quite unique. Through reading her article, one can see how HipHopKhasene is truly
Abigail Wood
In “(De)constructing Yiddishland: Solomon and SoCalled's HipHopKhasene” Abigail Wood reviews the album HipHopKhanse, recorded by Sophie Solomon and Josh Dolgin. In her article, Wood discusses how the album breaks boundaries by bringing klezmer music into the modern world. As well, she talks about how this album impacts the modern day Jew.
While HipHopKhasene is a ‘mock wedding’ style music album, Abigail Wood shows how the album differs greatly from a traditional klezmer wedding album. Most klezmer wedding albums “have created programmes where the repertory and performance practice recreate as faithfully as possible a wedding that might have existed in a certain time and place in Eastern Europe” (Wood, 11). These albums, whether intentionally or not, form a stark contrast to modern day Jewish music. HipHopKhasene on the other hand, does not try to reenact a wedding that may have taken place hundreds of years ago, but tries to bring those traditions into the modern day. Instead of having tradition klezmer wedding music and modern day music running parallel, yet completely apart, to each other, HipHopKhasene fuses the two together. Abigail Wood shows how Solomon and Dolgin take tradition klezmer musical instruments such as a violin and combine them with electronic beats to create a new sound. By doing so, “the listener is introduced not to a disembodied CD which somehow appeared on the shelves of the record shop but to the world that this project is coming from: not only a past culture, but a contemporary, everyday world where people hang out and music is made” (Wood, 7).
Abigail Wood takes an interesting album in HipHopKhasene and really dissects it to show the album is quite unique. Through reading her article, one can see how HipHopKhasene is truly