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sigelei great pleasure to have you I'm

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Ally beta the director of the Center for

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Near Eastern Studies and on behalf of my

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colleagues at the center I would like to

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welcome you to the first average lecture

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of this academic year this has been

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going on for several years now before I

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turn the podium to my dear colleague

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amar boom who will introduce today's

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distinguished speaker professor Chris

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silver I would like to take this

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opportunity to thank Sarah Stein who

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will be coming soon and the levy Center

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for Jewish Studies for the

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co-sponsorship of these lecture series

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as well I would like to thank my

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colleagues at CNES especially Ashley

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Bali and amar BOOOM for their

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intellectual leadership and help with

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organizing this year's series I also

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wish to give a shout out to our stellar

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staff joanna romero and christian

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rodriguez for their logistical support

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who i think they're preparing the set

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for our reception so please stay on we

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actually have kosher food that we do for

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these things and very high-quality so

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don't go away for those of you who are

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not familiar with the Center for Near

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Eastern Studies at UCLA CNES is a

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research hub where over a hundred

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usually faculty from humanities Social

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Sciences arts and law school collaborate

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in a variety of research and pedagogical

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practices founded in 1957 it is one of

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the oldest and most distinguished US

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Centers for interdiscipline research on

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the Middle East broadly construed we'll

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provide a forum for an exchange of ideas

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and the dissemination of information

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within and beyond the campus offering

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cutting edge research and fresh

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perspective on the challenges and

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cultural richness of the Middle East the

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center supports graduate and

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undergraduate instruction in over dozen

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academic departments research by faculty

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students and visiting scholars

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interchange among scholars from around

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the world and vital public programming

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on the challenges facing the Middle East

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and

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Africa as well as their many cultural

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and social achievement and for I see

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some students in the audience many and I

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would like to encourage you to check out

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our website because we have all kinds of

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fellowships for language learning and so

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on that we provide for both

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undergraduate and graduate students so

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make sure you check our website and add

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this on our website for this sort of

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support today's talk is part of our

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avarice lecture series that has been

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underwritten by a generous anonymous

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donor and which focuses on Jewish

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communities living in Muslim lands prior

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to the 20th century we have named series

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avarice the Latin name for the abner

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rushed the 12th century and the Lucien

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polymath whose philosophical works

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integrated Islamic traditions with

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ancient Greek thought to point to the

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rich history of cordobas Jewish Muslim

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relations as a model for coexistence and

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the connections between avarice and the

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Jewish philosopher Maronites both of

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whom were committed to intellectual

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exchange and communal life across

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religious boundaries

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not to mention tolerance I would like to

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then now briefly introduce our wonderful

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colleague Omar Baum who's and who will

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be introducing our speaker Omaha is a

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socio-cultural anthropologist here at

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UCLA and now the program director of our

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new mellon grant on minorities in the

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Middle East

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Omar's stellar ethnographic work

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addresses the place of religious and

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ethnic minorities in the MENA region he

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has published widely on this topic his

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publication list is too long to go over

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it but I want to mention two books his

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book memories of absence how Muslims

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remember Jews in Morocco which was

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published by Stanford University Press

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very great book I recommend those of you

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are interested in topic to check it out

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and recently accorded that collection

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with Sarah Stein on

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the top title is called the Holocaust

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and North Africa which was published by

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Stanford this past year Stanford

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University Press as well so please join

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me Thank You Allie today I think today

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is really a special day for me and I'm

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sure you're gonna be get a treat today

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first of all because you will be hearing

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from one of the really I would I think

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one of the rising junior scholars and

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historians I would say on Jewish Muslim

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relations so I remember about back in

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2008 when when I met Chris dr. Silva for

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the first time in Tucson Arizona came

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and he said he started in talking to me

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in Moroccan Arabic and French and all

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the languages really needed and required

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to do the research that he will present

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today and he said I want I'm shopping

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around trying to figure out what what is

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the best program I need I can go to to

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do my PhD and I said well UCLA is your

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place and I'm glad he did and I'm glad

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he got the training from all of this

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stellar I would say one of the leading

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scholars in our university Sarah Stein

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dr. silver serves as Siegel family

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assistant professor in Jewish history

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and culture in the department of Jewish

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Studies at McGill University he is a

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part of a I would say a new generation

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of historians that are doing some really

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unique research by using sound and music

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to study the complexities of Jewish

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Muslim relations in North Africa and

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addressed in the journal Middle East and

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I think when he's not only doing this by

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looking at historical context political

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context but also by tracing this in a

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global as well as regional from global

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regional perspective and I think to do

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this type of work you have to know the

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musicians you have to know their

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networks you have to know their

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connections you have to know their

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relations not only to power but also to

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economic establishment and so on and so

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forth

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and I think that's the reason why he get

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he got all the fundings that he got from

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different from different organizations I

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would name a few here like the American

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Institute for Magreb East Studies Posen

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Foundation the American Academy of

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Jewish research so this is just to name

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a few I would really I would say one

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last thing here which is to really

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encourage you if you are interested in

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music and Jewish Muslim relations and in

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North Africa in particular to go and

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visit his website

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garma found it's an impressive website

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that I think I don't know when he finds

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it the time to do this but I have been

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looking at this for four years and it's

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the amount the amount of work not only

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to do the collection to trace the who

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produced what and what when when the

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music was played but also it's also

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written with a historical perspective

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and I think I'm really looking forward

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to his book which is gonna be the I

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would say the title the potential title

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is on the subject of Jews Muslims in

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music in 21st in 20 in twentieth-century

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North Africa so without further ado

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please join me in welcoming dr. silver

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thank you for coming Thank You Anwar for

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the kind words I leave for the

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introduction Christian and Joanna for

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coordinating this our time together

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tonight I'm honored and humbled to be

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with you and to be back at UCLA at the

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end of the 19th century a young Algerian

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Jew by the name of Edmund

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tanja feel embarked on a mission to save

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the soul of his musical heritage one

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that he referred to as Arab and Muslim

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he was in the right place at the right

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time and was just the visionary to do so

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born in the lower casbah of Algiers in

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1874 you feel had grown up mere steps

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from a number of cafes that provided

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stage for the capital's leading

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musicians of the multi modal sweet music

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born of medieval al-andalus known as the

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Nuba from his perch at Maloof Luba lujah

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his father's restaurant your fuel was

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reared on the sounds of the eras

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undisputed master chef Mohammed bananas

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fringe' indeed the Muslim virtuoso of

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the Andalusian food laQuita performed

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nightly at cafe Malikov the cafe still

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in existence which that opposite the

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elderly feels greasy spoon the younger

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you feel would have had occasion to

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cease finja

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up close as well maklouf lugia was known

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to feed sinja and his Muslim and Jewish

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disciples you feel in turn also ventured

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to Cafe malikov which was frequented by

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an overlapping group of quote Jews and a

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young guard of music lovers end quote as

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later recalled by a field successor Maha

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Deen bashed RZ but you feel was more

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than just a music lover bashed RZ whose

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fame would in time surpass that of his

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mentor described you feel not just as a

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patron of spin jaw but one with a plan

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for preserving his voice in perpetuity

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till you feel spin JA born in 1844

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seemed to be the last of his generation

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with him it was thought would go his

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music their music while the feeling of

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imminent loss had long infused the Nuba

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that sentiment was diffused beyond music

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and throughout Algeria as you feel came

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of age in the 1890s after more than half

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a century of French colonization major

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changes had been wrought to the former

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Ottoman territory the Algerian capital

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for instance was destroyed and

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reconfigured making way for growing

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numbers of European settlers who

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contributed directly to the decimation

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of Algeria's Muslim population French

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policy had also reordered the Jewish

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Muslim relationship at least legally the

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commute acree of 1870 for example forced

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most algerian jews to take french

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citizenship muslims meanwhile retained

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their subject status for algerian jews

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the decades after the enactment of Camus

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carried with them grave consequences

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alongside social advancement waves of

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violent settler anti-semitism were

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unleashed you feel and sinja were direct

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witness to this in 1898 French settlers

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mobs attacked

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mahalo flew BIA along with a thousand

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other Jewish owned properties with the

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traditional order and traditions

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themselves under threat rescue became

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the watchword of you feel who grasped as

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did other reformers the time was running

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out in the 1890s your fuel began to

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compile endangered Andalusian songtext

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with the aid of spin jaw and his Jewish

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disciple Lajos Aurora whose name you can

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see at the bottom here this was no easy

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task

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musicians were loath to hand over the

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unique manuscripts in their possession

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and on which their livelihoods depended

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nonetheless you feel made significant

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progress collecting dozens of pieces

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some of which he endeavor to set to

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Western notation meanwhile he continued

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to gather in 1903 you feel hired ona a

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French journalist to a system in his

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efforts swing jaw and sword then

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performed the field compositions 401a

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who transcribed them for piano less than

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a year later you feel sorrow and ona

276

00:12:48,520 --> 00:12:52,990

published a groundbreaking set of

277

00:12:50,590 --> 00:12:55,630

Andalusian sheet music entitled the

278

00:12:52,990 --> 00:12:58,030

repertoire the music of Emma it

279

00:12:55,630 --> 00:13:01,600

represented an initial step on the path

280

00:12:58,030 --> 00:13:04,780

to rescue as envisioned by a feel the

281

00:13:01,600 --> 00:13:07,690

next step was not long in coming months

282

00:13:04,780 --> 00:13:11,260

after the repertoires appearance your

283

00:13:07,690 --> 00:13:13,810

fuel released his masterwork a 400-page

284

00:13:11,260 --> 00:13:16,660

compendium of never before printed

285

00:13:13,810 --> 00:13:19,180

Andalusian song texts known as the much

286

00:13:16,660 --> 00:13:21,460

more an attorney one hand McCallum

287

00:13:19,180 --> 00:13:23,580

and I lose the collection of songs and

288

00:13:21,460 --> 00:13:25,750

melodies from the words of Al Andalus

289

00:13:23,580 --> 00:13:28,600

you Fields magnum opus

290

00:13:25,750 --> 00:13:31,480

was actually two parallel compilations

291

00:13:28,600 --> 00:13:34,120

the Arabic language much more and the

292

00:13:31,480 --> 00:13:36,070

Judeo Arabic D 111 even can a man under

293

00:13:34,120 --> 00:13:39,820

loose the treasury of songs from the

294

00:13:36,070 --> 00:13:41,650

words of Al Andalus that the Diwan was

295

00:13:39,820 --> 00:13:44,440

published simultaneous to the magma

296

00:13:41,650 --> 00:13:47,770

spoke at once to two issues we will soon

297

00:13:44,440 --> 00:13:50,770

address first to the outsize presence of

298

00:13:47,770 --> 00:13:53,020

Jewish musicians in Algeria and second

299

00:13:50,770 --> 00:13:55,720

to the fact that said population

300

00:13:53,020 --> 00:13:57,640

continued to read speak and sing in

301

00:13:55,720 --> 00:14:00,130

their native tongue more than three

302

00:13:57,640 --> 00:14:03,970

decades after commute Retton its

303

00:14:00,130 --> 00:14:06,700

existence among them for the twin 1904

304

00:14:03,970 --> 00:14:08,800

publications identical in their musical

305

00:14:06,700 --> 00:14:11,530

content you feel had worked tirelessly

306

00:14:08,800 --> 00:14:13,840

to surface the hoarded manuscripts of

307

00:14:11,530 --> 00:14:17,230

Muslim and Jewish singers as he

308

00:14:13,840 --> 00:14:19,750

announced in the modular it paid off you

309

00:14:17,230 --> 00:14:22,540

feel had reconstituted much of the Nuba

310

00:14:19,750 --> 00:14:24,700

from its scattered pieces with just

311

00:14:22,540 --> 00:14:26,520

caused the local and global music

312

00:14:24,700 --> 00:14:29,170

community heralded his singular

313

00:14:26,520 --> 00:14:31,240

accomplishment which remains among the

314

00:14:29,170 --> 00:14:36,100

most critical works on Andalusian music

315

00:14:31,240 --> 00:14:38,890

to this day incredibly by 1904 the 30

316

00:14:36,100 --> 00:14:41,500

year old you feel was just beginning in

317

00:14:38,890 --> 00:14:44,170

the years following you feel founded a

318

00:14:41,500 --> 00:14:47,080

free Arab music school in Algiers which

319

00:14:44,170 --> 00:14:50,110

by 1912 he had transformed into and

320

00:14:47,080 --> 00:14:52,690

mutashabiha the first modern Andalusian

321

00:14:50,110 --> 00:14:56,860

Orchestra not just in Algeria but in all

322

00:14:52,690 --> 00:14:59,650

of the Maghreb its members Jewish

323

00:14:56,860 --> 00:15:02,410

nearly to the one donned their signature

324

00:14:59,650 --> 00:15:04,690

tarbush and tuxedo for each and every

325

00:15:02,410 --> 00:15:08,590

performance over the next two and a half

326

00:15:04,690 --> 00:15:10,210

decades and al-mutanabi as helm you feel

327

00:15:08,590 --> 00:15:12,760

made a number of discoveries that

328

00:15:10,210 --> 00:15:16,030

forever altered the soundscape of his

329

00:15:12,760 --> 00:15:17,980

fellow Algerians among them bastards II

330

00:15:16,030 --> 00:15:20,710

who you can see at centre here without

331

00:15:17,980 --> 00:15:22,890

that our bouche the Muslim tenor already

332

00:15:20,710 --> 00:15:27,220

mentioned for whom the Algerian national

333

00:15:22,890 --> 00:15:29,500

theatre is now named had you feel done

334

00:15:27,220 --> 00:15:31,780

any one of these things it would have

335

00:15:29,500 --> 00:15:32,650

been caused enough to take stock of his

336

00:15:31,780 --> 00:15:36,100

career

337

00:15:32,650 --> 00:15:38,530

but he hardly stopped there by 1923 in

338

00:15:36,100 --> 00:15:40,600

but one additional example among many

339

00:15:38,530 --> 00:15:42,580

the fuel was installed as the first

340

00:15:40,600 --> 00:15:45,220

chair of Arab music at the Algiers

341

00:15:42,580 --> 00:15:47,560

conservatory indeed from the end of the

342

00:15:45,220 --> 00:15:49,570

19th century through his death in 1928

343

00:15:47,560 --> 00:15:52,030

there was no figure more central to

344

00:15:49,570 --> 00:15:55,600

Andalusian music in Algeria than Edwin

345

00:15:52,030 --> 00:15:57,790

Netanya feel yet as scholars before me

346

00:15:55,600 --> 00:16:02,080

have acknowledged the fuels archival

347

00:15:57,790 --> 00:16:04,570

paper trail runs frustratingly thin what

348

00:16:02,080 --> 00:16:06,580

this unfortunate lack has resulted as

349

00:16:04,570 --> 00:16:09,490

resulted in as Jonathan Glasper has

350

00:16:06,580 --> 00:16:12,280

argued is an ambiguous legacy for you

351

00:16:09,490 --> 00:16:14,710

feel at least beyond the circle of Maha

352

00:16:12,280 --> 00:16:17,380

rabii musicians and aficionados for whom

353

00:16:14,710 --> 00:16:19,300

he is appreciated but even within that

354

00:16:17,380 --> 00:16:21,820

circle the Algerian Jew proves difficult

355

00:16:19,300 --> 00:16:24,490

to locate within what would seem to be

356

00:16:21,820 --> 00:16:26,980

his most natural genealogy given our

357

00:16:24,490 --> 00:16:30,970

sources that is as a mediator between

358

00:16:26,980 --> 00:16:33,580

two towering Muslim musical figures spin

359

00:16:30,970 --> 00:16:37,270

juh you feel sores and bashed Odyssey is

360

00:16:33,580 --> 00:16:39,220

beneficiary I contend that you feels

361

00:16:37,270 --> 00:16:41,410

ambiguity may very well have to do with

362

00:16:39,220 --> 00:16:43,840

a certain flattening of his biography

363

00:16:41,410 --> 00:16:46,090

and the concomitant erasure of an

364

00:16:43,840 --> 00:16:47,980

industry in other words while scholars

365

00:16:46,090 --> 00:16:50,140

have relied heavily on particular

366

00:16:47,980 --> 00:16:52,330

components of your fields published

367

00:16:50,140 --> 00:16:55,090

material in order to place him within a

368

00:16:52,330 --> 00:16:57,340

classical high art Andalusian lineage

369

00:16:55,090 --> 00:17:00,250

rooted in the past and what just caused

370

00:16:57,340 --> 00:17:03,190

a trove of other documents which also

371

00:17:00,250 --> 00:17:06,250

bore his name brand and imprint

372

00:17:03,190 --> 00:17:09,370

positioned him as something new modern

373

00:17:06,250 --> 00:17:11,140

and even nationalist thus while you feel

374

00:17:09,370 --> 00:17:13,780

was certainly a bridge to an earlier

375

00:17:11,140 --> 00:17:16,210

moment the Algerian Jew was also a

376

00:17:13,780 --> 00:17:18,610

forward-looking musical nation builder

377

00:17:16,210 --> 00:17:21,310

who worked mostly behind the scenes in a

378

00:17:18,610 --> 00:17:24,190

business now 120 years old that we know

379

00:17:21,310 --> 00:17:27,790

almost nothing about that is recording

380

00:17:24,190 --> 00:17:29,970

as it emerged in the log Rebbe here you

381

00:17:27,790 --> 00:17:32,260

feels legacy is far from ambiguous

382

00:17:29,970 --> 00:17:33,970

instead the impresario lies at the

383

00:17:32,260 --> 00:17:36,250

center of a modern north african

384

00:17:33,970 --> 00:17:38,290

industry and which one also finds an

385

00:17:36,250 --> 00:17:40,840

overwhelmingly Jewish infrastructure of

386

00:17:38,290 --> 00:17:43,240

music makers and music purveyors who

387

00:17:40,840 --> 00:17:45,340

serve to spread and sell Arab music old

388

00:17:43,240 --> 00:17:46,060

and new from Morocco to Tunisia in

389

00:17:45,340 --> 00:17:50,560

staggering

390

00:17:46,060 --> 00:17:52,440

members for well over half a century so

391

00:17:50,560 --> 00:17:54,820

what are the stakes of this intervention

392

00:17:52,440 --> 00:17:57,220

what are we all doing here together

393

00:17:54,820 --> 00:17:58,960

besides eventually listening to some

394

00:17:57,220 --> 00:18:01,630

music I promise

395

00:17:58,960 --> 00:18:03,880

to begin with I would suggest that an

396

00:18:01,630 --> 00:18:05,710

interrogation of a nodal point in a

397

00:18:03,880 --> 00:18:07,420

global apparatus that's supported among

398

00:18:05,710 --> 00:18:09,220

the most monumental technological

399

00:18:07,420 --> 00:18:12,010

innovations of the last century and a

400

00:18:09,220 --> 00:18:13,570

half is a worthy endeavor it will no

401

00:18:12,010 --> 00:18:16,750

doubt raise new questions that demand

402

00:18:13,570 --> 00:18:18,310

answers but our purposes for tonight are

403

00:18:16,750 --> 00:18:21,520

at once more focused and at the same

404

00:18:18,310 --> 00:18:23,530

time more lofty recording as an industry

405

00:18:21,520 --> 00:18:25,840

and recording to themselves they argue

406

00:18:23,530 --> 00:18:27,580

may well enable us to rethink modern

407

00:18:25,840 --> 00:18:31,890

Jewish history across the Maghreb and

408

00:18:27,580 --> 00:18:31,890

the Jewish Muslim relationship therein

409

00:18:33,240 --> 00:18:39,990

in this way ignore that in this way this

410

00:18:37,330 --> 00:18:43,060

talk based on my current book project

411

00:18:39,990 --> 00:18:45,700

confronts two intertwined inherited

412

00:18:43,060 --> 00:18:48,990

narratives the first has privileged the

413

00:18:45,700 --> 00:18:52,810

theme of emancipation to assimilation

414

00:18:48,990 --> 00:18:54,880

including the Jewish sorry emancipation

415

00:18:52,810 --> 00:18:57,040

to assimilation of North African Jews

416

00:18:54,880 --> 00:18:59,320

and their relationship to France and

417

00:18:57,040 --> 00:19:01,450

French s institutions including the

418

00:18:59,320 --> 00:19:04,270

educational system of the audience

419

00:19:01,450 --> 00:19:06,340

Israeli to Universal it is an oft old

420

00:19:04,270 --> 00:19:07,960

story of the rapid and bearish was among

421

00:19:06,340 --> 00:19:10,960

of Jews that followed the French

422

00:19:07,960 --> 00:19:14,440

occupation of Algeria in 1830 Tunisia in

423

00:19:10,960 --> 00:19:16,390

1881 and Morocco in 1912 and which land

424

00:19:14,440 --> 00:19:18,670

paraphrasing from one scholar here quote

425

00:19:16,390 --> 00:19:20,980

Jews quickly divested of their North

426

00:19:18,670 --> 00:19:24,310

African traditions spoke French in place

427

00:19:20,980 --> 00:19:26,500

of Arabic and became European end quote

428

00:19:24,310 --> 00:19:28,870

the second narrative is intimately

429

00:19:26,500 --> 00:19:30,520

related here scholars agree that in

430

00:19:28,870 --> 00:19:32,500

drawing closer to French language and

431

00:19:30,520 --> 00:19:36,730

culture and in the Algerian case

432

00:19:32,500 --> 00:19:39,760

becoming French citizens Jews were

433

00:19:36,730 --> 00:19:43,030

cleaved from Muslims a rupture Benjamin

434

00:19:39,760 --> 00:19:45,100

Stora has referred to as exile that

435

00:19:43,030 --> 00:19:47,200

exile inevitably said Jews and Muslims

436

00:19:45,100 --> 00:19:49,720

on divergent political paths in which

437

00:19:47,200 --> 00:19:52,360

the former appear to have abstained from

438

00:19:49,720 --> 00:19:55,210

the interwar and post-war anti colonial

439

00:19:52,360 --> 00:19:57,370

nationalism of the latter that force of

440

00:19:55,210 --> 00:19:59,170

nationalism resulted in dependence for

441

00:19:57,370 --> 00:19:59,890

the countries the Maghreb in the 1950s

442

00:19:59,170 --> 00:20:02,950

and 1960s

443

00:19:59,890 --> 00:20:04,720

60s and a final exile for Jews from

444

00:20:02,950 --> 00:20:06,370

Muslims through their departure from

445

00:20:04,720 --> 00:20:09,670

North Africa in the course of

446

00:20:06,370 --> 00:20:12,420

decolonization given all of this

447

00:20:09,670 --> 00:20:15,250

where does Edmund Norton airfield fit in

448

00:20:12,420 --> 00:20:18,190

what do we do with a young arab ofone

449

00:20:15,250 --> 00:20:20,560

Jew the son of a restaurateur born four

450

00:20:18,190 --> 00:20:22,960

years after the community Kree who came

451

00:20:20,560 --> 00:20:25,180

to learn French imperfectly who never

452

00:20:22,960 --> 00:20:27,280

attended the aliens who remained in

453

00:20:25,180 --> 00:20:29,440

meshed with Muslims who donned the same

454

00:20:27,280 --> 00:20:31,360

tarbrush and suit as a group of proto

455

00:20:29,440 --> 00:20:33,700

nationalist reformers known as the young

456

00:20:31,360 --> 00:20:36,010

Algerians and whose musical activities

457

00:20:33,700 --> 00:20:38,020

were in step with the NADA the movement

458

00:20:36,010 --> 00:20:41,110

of arab arab cultural renaissance

459

00:20:38,020 --> 00:20:43,240

associated with in Middle East for that

460

00:20:41,110 --> 00:20:45,310

matter how do we make sense of an inter

461

00:20:43,240 --> 00:20:47,890

war figure like the Tunisian Jewish

462

00:20:45,310 --> 00:20:49,840

Habiba Masika North Africa's four

463

00:20:47,890 --> 00:20:52,150

superstar whose anti colonial

464

00:20:49,840 --> 00:20:54,520

nationalist records inspired Muslim and

465

00:20:52,150 --> 00:20:57,190

Jewish audiences as far west as Morocco

466

00:20:54,520 --> 00:20:59,470

and the largely Jewish class of

467

00:20:57,190 --> 00:21:01,660

suppliers of Masika subversive sounds

468

00:20:59,470 --> 00:21:03,790

who understood well the consequences of

469

00:21:01,660 --> 00:21:05,560

their trade in her records but

470

00:21:03,790 --> 00:21:07,660

nonetheless nonetheless passed those

471

00:21:05,560 --> 00:21:09,330

discs across borders to the great

472

00:21:07,660 --> 00:21:12,910

frustration of the French authorities

473

00:21:09,330 --> 00:21:14,470

what story do they tell finally what

474

00:21:12,910 --> 00:21:16,900

happens to critical historiographical

475

00:21:14,470 --> 00:21:19,330

timelines when considering the case of

476

00:21:16,900 --> 00:21:21,850

Sammy and Mugabe a Moroccan Jewish

477

00:21:19,330 --> 00:21:25,480

musician a few equals at mid 20th

478

00:21:21,850 --> 00:21:29,770

century whose rise to fame is framed by

479

00:21:25,480 --> 00:21:31,510

the improbable years of 1948 to 1956 and

480

00:21:29,770 --> 00:21:33,430

who provided the Moroccan march to

481

00:21:31,510 --> 00:21:36,430

independence with it's very soundtrack

482

00:21:33,430 --> 00:21:38,800

and our time together tonight will come

483

00:21:36,430 --> 00:21:41,110

to a focus on recordings made by a field

484

00:21:38,800 --> 00:21:43,150

Masika and I'll monitor be an attempt to

485

00:21:41,110 --> 00:21:44,800

answer these questions in order to

486

00:21:43,150 --> 00:21:47,860

render the Jewish muscle past in the

487

00:21:44,800 --> 00:21:50,890

Maghreb in its own voice with that and

488

00:21:47,860 --> 00:21:56,080

armed with new sources we return to your

489

00:21:50,890 --> 00:21:58,600

field in 1902 the london-based

490

00:21:56,080 --> 00:22:01,960

gramophone company registered their

491

00:21:58,600 --> 00:22:03,700

trademark in Algeria and Tunisia like

492

00:22:01,960 --> 00:22:05,800

the French part a label which had

493

00:22:03,700 --> 00:22:08,080

released cylinders of Andalusian music

494

00:22:05,800 --> 00:22:09,960

the year prior it was an early start in

495

00:22:08,080 --> 00:22:12,910

the Maghreb for the multinational

496

00:22:09,960 --> 00:22:13,690

despite their advanced entry gramophones

497

00:22:12,910 --> 00:22:16,180

initial

498

00:22:13,690 --> 00:22:19,060

in Algeria and Tunisia was disappointing

499

00:22:16,180 --> 00:22:20,920

at best in both territories the label

500

00:22:19,060 --> 00:22:23,350

had stagnated under their local

501

00:22:20,920 --> 00:22:26,980

representative a Frenchman in Algiers

502

00:22:23,350 --> 00:22:30,160

named de Simone in April and night in

503

00:22:26,980 --> 00:22:32,260

April 1906 a frustrated Alfred Clarke

504

00:22:30,160 --> 00:22:34,720

the director of gramophones French

505

00:22:32,260 --> 00:22:37,000

subsidiary demanded that des seaman

506

00:22:34,720 --> 00:22:39,460

quote reinvigorate the Algerian market

507

00:22:37,000 --> 00:22:42,100

and quote he was especially concerned

508

00:22:39,460 --> 00:22:44,650

that increased competition from German

509

00:22:42,100 --> 00:22:47,650

labels would marginalize the label

510

00:22:44,650 --> 00:22:49,900

gramophone in North Africa some months

511

00:22:47,650 --> 00:22:52,360

later Clark dispatched American sound

512

00:22:49,900 --> 00:22:55,180

engineer Charles Oakland to remedy the

513

00:22:52,360 --> 00:22:58,720

situation in Algiers and trueness

514

00:22:55,180 --> 00:23:01,630

Sherman recorded recorded 216 single

515

00:22:58,720 --> 00:23:03,520

sided flat discs those masters were then

516

00:23:01,630 --> 00:23:06,430

sent to gramophones pressing plant and

517

00:23:03,520 --> 00:23:08,440

Hannover Germany 100 of those sides were

518

00:23:06,430 --> 00:23:11,560

subsequently transformed into 50

519

00:23:08,440 --> 00:23:14,650

double-sided commercial discs as a first

520

00:23:11,560 --> 00:23:17,470

run only 24 copies of each record were

521

00:23:14,650 --> 00:23:19,170

shipped back to the Maghreb for sale to

522

00:23:17,470 --> 00:23:21,790

be sure the output was rather meager

523

00:23:19,170 --> 00:23:24,460

nonetheless gramophone still saw great

524

00:23:21,790 --> 00:23:26,620

potential in the region as Clark soon

525

00:23:24,460 --> 00:23:28,210

understood however the company possessed

526

00:23:26,620 --> 00:23:34,900

neither the right access nor

527

00:23:28,210 --> 00:23:37,900

representation in 1908 Clark travelled

528

00:23:34,900 --> 00:23:39,490

to Algiers to investigate upon arrival

529

00:23:37,900 --> 00:23:41,890

he wrote to gramophones managing

530

00:23:39,490 --> 00:23:45,010

director theater or Birnbaum in London

531

00:23:41,890 --> 00:23:46,690

quote I found that in Algiers itself

532

00:23:45,010 --> 00:23:49,510

there were two people who dealt

533

00:23:46,690 --> 00:23:53,050

considerably in talking machines choline

534

00:23:49,510 --> 00:23:54,730

and a mr. you feel in Algerian Jew who

535

00:23:53,050 --> 00:23:57,610

has an establishment in the native town

536

00:23:54,730 --> 00:23:59,560

unquote well the paul choline company

537

00:23:57,610 --> 00:24:02,170

established in algeria since 1903

538

00:23:59,560 --> 00:24:05,320

impressed you feel was far more

539

00:24:02,170 --> 00:24:07,630

difficult to ignore Clarke added that

540

00:24:05,320 --> 00:24:10,090

quote before the advent of the disc

541

00:24:07,630 --> 00:24:11,830

Talking Machine you feel made phonograph

542

00:24:10,090 --> 00:24:14,530

records and obtained the exclusive

543

00:24:11,830 --> 00:24:16,900

services of the best Arabian and Moorish

544

00:24:14,530 --> 00:24:19,780

artists holding them under contract

545

00:24:16,900 --> 00:24:21,760

end quote Clarke further observed that

546

00:24:19,780 --> 00:24:24,460

quote all the good trade in the place

547

00:24:21,760 --> 00:24:26,790

goes to Colleen all the native trade -

548

00:24:24,460 --> 00:24:28,410

you feel unquote

549

00:24:26,790 --> 00:24:30,630

that the so-called native trade went to

550

00:24:28,410 --> 00:24:32,550

you feel ode to the fact that he

551

00:24:30,630 --> 00:24:34,470

operated much as North African Jewish

552

00:24:32,550 --> 00:24:36,860

merchants had in the previous century

553

00:24:34,470 --> 00:24:39,570

with regard to imported goods

554

00:24:36,860 --> 00:24:41,820

Clark noted for instance that quote the

555

00:24:39,570 --> 00:24:44,460

position in Algeria is that everything

556

00:24:41,820 --> 00:24:46,680

is sold on the installment plan and to

557

00:24:44,460 --> 00:24:49,530

be able to do this one must be a native

558

00:24:46,680 --> 00:24:51,510

of the place unquote as his

559

00:24:49,530 --> 00:24:53,880

co-religionists had done in the past the

560

00:24:51,510 --> 00:24:55,950

fuel was extending credit to his Muslim

561

00:24:53,880 --> 00:24:58,320

and Jewish clients but now to purchase

562

00:24:55,950 --> 00:25:01,980

records DeSimone did not

563

00:24:58,320 --> 00:25:03,690

instead he quarreled with you feel Clark

564

00:25:01,980 --> 00:25:06,390

reported that quote the result has been

565

00:25:03,690 --> 00:25:09,120

that the Simone has the worst records on

566

00:25:06,390 --> 00:25:11,270

the market and quote you feel on the

567

00:25:09,120 --> 00:25:15,330

other hand was expanding his operations

568

00:25:11,270 --> 00:25:17,180

Clark informed Berman that by 1905 quote

569

00:25:15,330 --> 00:25:20,910

you feel being anxious to do business

570

00:25:17,180 --> 00:25:23,820

invited Odeon and pate to come down to

571

00:25:20,910 --> 00:25:26,520

Algeria and make records and quote in

572

00:25:23,820 --> 00:25:29,550

the meantime you feel showed little sign

573

00:25:26,520 --> 00:25:31,800

of slowing down when the Edin label and

574

00:25:29,550 --> 00:25:35,280

anchor record moved into Algeria between

575

00:25:31,800 --> 00:25:37,560

1906 and 1908 you feel was once again

576

00:25:35,280 --> 00:25:40,710

employed as representative and artistic

577

00:25:37,560 --> 00:25:43,020

director in the course of Clarks 1908

578

00:25:40,710 --> 00:25:45,480

visit to Algeria then he concluded that

579

00:25:43,020 --> 00:25:48,180

gramophone the recording giant needed

580

00:25:45,480 --> 00:25:51,120

you feel you feel a recording giant in

581

00:25:48,180 --> 00:25:53,430

the making agreed enthusiastically Clark

582

00:25:51,120 --> 00:25:55,140

announced a Birnbaum that quote we then

583

00:25:53,430 --> 00:25:57,570

fixed up your field to represent us

584

00:25:55,140 --> 00:25:58,920

further to give us the services of all

585

00:25:57,570 --> 00:26:01,350

his tied up artists

586

00:25:58,920 --> 00:26:04,350

I left you feel highly delighted and a

587

00:26:01,350 --> 00:26:06,750

keen gramophone man unquote as for

588

00:26:04,350 --> 00:26:09,360

Tunisia also represented by the Simone

589

00:26:06,750 --> 00:26:11,880

Clark represents a Clark transferred

590

00:26:09,360 --> 00:26:14,550

represent representation there to the

591

00:26:11,880 --> 00:26:16,710

benbarnes Jewish brothers and the major

592

00:26:14,550 --> 00:26:20,040

purveyors of Arabic language records in

593

00:26:16,710 --> 00:26:21,990

Tunis within moments of the first

594

00:26:20,040 --> 00:26:24,570

recording sessions in Algeria and

595

00:26:21,990 --> 00:26:28,770

Tunisia you feel had become synonymous

596

00:26:24,570 --> 00:26:30,630

with the emergent industry itself Odeon

597

00:26:28,770 --> 00:26:34,230

records for example branded in

598

00:26:30,630 --> 00:26:36,690

metropolitan France as disco do appeared

599

00:26:34,230 --> 00:26:39,330

in Algeria under the name of disc you

600

00:26:36,690 --> 00:26:40,590

feel this key field records not only

601

00:26:39,330 --> 00:26:42,690

carry the name of yes

602

00:26:40,590 --> 00:26:45,330

but also depicted the Islamic symbols of

603

00:26:42,690 --> 00:26:49,230

Crescent hand of Fatima and five-pointed

604

00:26:45,330 --> 00:26:51,779

star as for Part A you feel marked their

605

00:26:49,230 --> 00:26:53,789

earliest releases by providing spoken

606

00:26:51,779 --> 00:26:55,950

introductions than music that followed

607

00:26:53,789 --> 00:26:58,110

he announced the title of the song

608

00:26:55,950 --> 00:27:00,840

performed and then the name of the

609

00:26:58,110 --> 00:27:03,630

performer before pronouncing the record

610

00:27:00,840 --> 00:27:06,750

a product of collection you feel a

611

00:27:03,630 --> 00:27:10,289

phrase he had in fact trademarked since

612

00:27:06,750 --> 00:27:12,029

1904 so the big question as of right now

613

00:27:10,289 --> 00:27:16,020

is whether this technology is going to

614

00:27:12,029 --> 00:27:19,409

work in a moment we will see what I've

615

00:27:16,020 --> 00:27:25,230

done here is taken three introductions

616

00:27:19,409 --> 00:27:27,840

to records from before before 1910 three

617

00:27:25,230 --> 00:27:29,370

Algerian records where Edmond Newton you

618

00:27:27,840 --> 00:27:32,460

feel we can hear his voice he is

619

00:27:29,370 --> 00:27:35,580

pronouncing these spoken introductions

620

00:27:32,460 --> 00:27:38,250

so here the title of a song the name of

621

00:27:35,580 --> 00:27:40,049

the performer and then mention of

622

00:27:38,250 --> 00:27:42,750

collection Lea feel and again this is

623

00:27:40,049 --> 00:27:45,510

your feels voice himself and I've made

624

00:27:42,750 --> 00:27:48,860

it so that you can hear it twice in case

625

00:27:45,510 --> 00:27:48,860

you miss it the first time

626

00:28:22,279 --> 00:28:29,580

here again you can see collects on your

627

00:28:24,840 --> 00:28:33,029

feel already in 1904 as marked on on

628

00:28:29,580 --> 00:28:36,600

those publications so whom did you feel

629

00:28:33,029 --> 00:28:38,970

record mostly other Jews so much so that

630

00:28:36,600 --> 00:28:41,249

at least one interwar critic to ride a

631

00:28:38,970 --> 00:28:44,149

terror music in Algeria as little more

632

00:28:41,249 --> 00:28:47,309

than quote the music wave and quote and

633

00:28:44,149 --> 00:28:49,470

Algiers almost all of those Jews were in

634

00:28:47,309 --> 00:28:53,070

earshot of you feels base in the lower

635

00:28:49,470 --> 00:28:55,740

casbah some were even closer la Hauser

636

00:28:53,070 --> 00:29:00,090

or seen here shared airfields home

637

00:28:55,740 --> 00:29:02,279

office alfred celebrity another early

638

00:29:00,090 --> 00:29:05,700

Algerian recording artist lived around

639

00:29:02,279 --> 00:29:08,009

the corner boys been siano who recorded

640

00:29:05,700 --> 00:29:10,379

as part of an ensemble called Jemima and

641

00:29:08,009 --> 00:29:12,779

with adobea resided down the street from

642

00:29:10,379 --> 00:29:14,580

the impresario as Malcolm Taylor has

643

00:29:12,779 --> 00:29:16,799

shown the vast majority of Allen with

644

00:29:14,580 --> 00:29:19,529

Libya he feels expanded Andalusian

645

00:29:16,799 --> 00:29:22,230

Orchestra lived within 200 meters of one

646

00:29:19,529 --> 00:29:24,389

another although Jews from the casbah

647

00:29:22,230 --> 00:29:26,490

sometimes stood in for the near totality

648

00:29:24,389 --> 00:29:29,039

of artists featured in the debut

649

00:29:26,490 --> 00:29:30,899

algerian record catalogues Muslims from

650

00:29:29,039 --> 00:29:33,269

the same compact quarter were

651

00:29:30,899 --> 00:29:36,749

represented as well albeit in smaller

652

00:29:33,269 --> 00:29:39,330

numbers among them was Yemen on the air

653

00:29:36,749 --> 00:29:42,749

the eras premier Algerian female artist

654

00:29:39,330 --> 00:29:44,639

whose who featured prominently with her

655

00:29:42,749 --> 00:29:47,369

gifted voice youngnam maintained the

656

00:29:44,639 --> 00:29:49,499

most important place in part a is 1912

657

00:29:47,369 --> 00:29:52,070

algerian catalogue will also mean the

658

00:29:49,499 --> 00:29:55,740

only non Jewish artist on offer

659

00:29:52,070 --> 00:29:57,869

performing the Nuba well the Jewishness

660

00:29:55,740 --> 00:30:01,559

of early twentieth-century recording in

661

00:29:57,869 --> 00:30:03,779

Algeria or Tunisia or Morocco is best as

662

00:30:01,559 --> 00:30:06,749

perhaps best understood as a question of

663

00:30:03,779 --> 00:30:09,149

degree rather than kind class again was

664

00:30:06,749 --> 00:30:11,970

an important part of the equation you

665

00:30:09,149 --> 00:30:14,940

feel was the son of a restaurant or sad

666

00:30:11,970 --> 00:30:17,090

or sassy and sinja or cobblers by trade

667

00:30:14,940 --> 00:30:19,070

the turn to class

668

00:30:17,090 --> 00:30:21,080

that will record in favor Jews the

669

00:30:19,070 --> 00:30:23,600

industry also remained an intimately

670

00:30:21,080 --> 00:30:26,929

Jewish Muslim affair of a certain social

671

00:30:23,600 --> 00:30:28,970

status from its outset with you feel

672

00:30:26,929 --> 00:30:31,549

acting as guide record companies

673

00:30:28,970 --> 00:30:34,370

captured an impressive range of music

674

00:30:31,549 --> 00:30:36,769

the vast Andalusian repertoire and its

675

00:30:34,370 --> 00:30:39,940

associated colloquial forms were but one

676

00:30:36,769 --> 00:30:43,070

piece of a larger whole Hebrew

677

00:30:39,940 --> 00:30:46,190

parallelity peeled featured prominently

678

00:30:43,070 --> 00:30:48,559

in early record catalogues as well so

679

00:30:46,190 --> 00:30:51,710

did Bedouin folk music rural Kabila song

680

00:30:48,559 --> 00:30:53,899

and all styles popular topical and

681

00:30:51,710 --> 00:30:56,299

comedic and you can get a bit of a sense

682

00:30:53,899 --> 00:31:01,190

of that here on the left we sort of have

683

00:30:56,299 --> 00:31:03,950

general comedic song on the upper right

684

00:31:01,190 --> 00:31:07,700

we have Jewish comedic song in Arabic

685

00:31:03,950 --> 00:31:10,149

and in the bottom right we have peeved

686

00:31:07,700 --> 00:31:14,179

and we can see also a shift in

687

00:31:10,149 --> 00:31:15,259

orthography as well for the record

688

00:31:14,179 --> 00:31:17,360

companies and their local

689

00:31:15,259 --> 00:31:19,460

representatives the very John Rose

690

00:31:17,360 --> 00:31:22,429

repertoire in languages mattered little

691

00:31:19,460 --> 00:31:24,200

it was sales that counted all records

692

00:31:22,429 --> 00:31:28,039

were therefore quickly marketed as

693

00:31:24,200 --> 00:31:30,470

either Algerian or Arab well you feel

694

00:31:28,039 --> 00:31:33,019

sold the Algerian Arab records he played

695

00:31:30,470 --> 00:31:35,509

such a critical role in producing out of

696

00:31:33,019 --> 00:31:37,039

his office most however were initially

697

00:31:35,509 --> 00:31:38,149

distributed through larger

698

00:31:37,039 --> 00:31:41,360

establishments

699

00:31:38,149 --> 00:31:44,019

this included French record stores but

700

00:31:41,360 --> 00:31:48,139

also local North African Jewish owned

701

00:31:44,019 --> 00:31:50,570

enterprises like Ben Barone member

702

00:31:48,139 --> 00:31:54,529

eoghan was founded by Jacques and Everio

703

00:31:50,570 --> 00:31:57,350

member owned in Tunis in 1903 it was

704

00:31:54,529 --> 00:31:59,570

born primarily a music store but began

705

00:31:57,350 --> 00:32:02,840

to stock photographs and records from

706

00:31:59,570 --> 00:32:05,299

the outset when Barone also came to hold

707

00:32:02,840 --> 00:32:07,249

exclusive concession in Tunisia for

708

00:32:05,299 --> 00:32:09,980

record labels based in metropolitan

709

00:32:07,249 --> 00:32:11,690

France gramophone will recall had

710

00:32:09,980 --> 00:32:13,549

already transferred its Tunisian

711

00:32:11,690 --> 00:32:18,070

represented representation to the firm

712

00:32:13,549 --> 00:32:21,200

in 1908 in 1916 as the enterprise

713

00:32:18,070 --> 00:32:22,970

expanded in Tunisia Jacques member-owned

714

00:32:21,200 --> 00:32:26,000

dispatched his son-in-law

715

00:32:22,970 --> 00:32:28,730

Raul Hassan hence the name here to

716

00:32:26,000 --> 00:32:30,380

Morocco in many ways Hassan was a

717

00:32:28,730 --> 00:32:33,230

curious choice to

718

00:32:30,380 --> 00:32:35,330

lead their westward expansion most

719

00:32:33,230 --> 00:32:37,370

intriguingly the individual tasked with

720

00:32:35,330 --> 00:32:40,600

corner in the record market in Morocco

721

00:32:37,370 --> 00:32:42,860

was almost completely deaf his political

722

00:32:40,600 --> 00:32:45,920

orientation also had the potential to

723

00:32:42,860 --> 00:32:49,240

bring him unwanted attention Hasan was

724

00:32:45,920 --> 00:32:52,430

an active leftist still he triumphed in

725

00:32:49,240 --> 00:32:55,760

1916 in 1916 he established Ben Barone

726

00:32:52,430 --> 00:32:57,740

and Hassan in Casablanca when the 1920s

727

00:32:55,760 --> 00:33:00,410

member-owned and Hassan counted at least

728

00:32:57,740 --> 00:33:02,300

10 branches in Morocco in Tunisia

729

00:33:00,410 --> 00:33:04,520

meanwhile member-owned grew steadily and

730

00:33:02,300 --> 00:33:07,010

the first decade after World War 1

731

00:33:04,520 --> 00:33:10,340

member-owned boasted 7 locations in

732

00:33:07,010 --> 00:33:13,040

Tunis alone in Algeria meanwhile in open

733

00:33:10,340 --> 00:33:16,720

stores of various size from Iran to

734

00:33:13,040 --> 00:33:19,490

Constantine the transnational

735

00:33:16,720 --> 00:33:21,980

distribution network pioneered by Ben

736

00:33:19,490 --> 00:33:23,900

Barone allowed for the entrance of other

737

00:33:21,980 --> 00:33:27,170

record labels to North Africa in the

738

00:33:23,900 --> 00:33:29,090

interwar period French authorities in

739

00:33:27,170 --> 00:33:31,670

fact encouraged this development

740

00:33:29,090 --> 00:33:33,860

believing that recorded music served as

741

00:33:31,670 --> 00:33:36,970

a distraction from a set of burgeoning

742

00:33:33,860 --> 00:33:40,520

anti colonial nationalist politics in

743

00:33:36,970 --> 00:33:43,370

1922 by the phone a label founded in

744

00:33:40,520 --> 00:33:46,040

Beirut around 1906 but which had long

745

00:33:43,370 --> 00:33:50,390

been headquartered in Berlin was invited

746

00:33:46,040 --> 00:33:52,700

into Tunisia to record by 1928 Columbia

747

00:33:50,390 --> 00:33:55,520

Records was asked to enter Morocco at

748

00:33:52,700 --> 00:33:57,580

decades and Parlophone poly phone and

749

00:33:55,520 --> 00:34:00,800

others moved in across the Maghreb

750

00:33:57,580 --> 00:34:04,130

almost always local Jews served as their

751

00:34:00,800 --> 00:34:07,490

A&R men by the time of you fields death

752

00:34:04,130 --> 00:34:10,040

in 1928 the industry he had built had

753

00:34:07,490 --> 00:34:12,500

exploded the press made note of his

754

00:34:10,040 --> 00:34:15,110

pioneering contribution celebrating new

755

00:34:12,500 --> 00:34:17,629

fields hand in producing over 2,000

756

00:34:15,110 --> 00:34:19,370

individual North African records as the

757

00:34:17,629 --> 00:34:22,129

crowning achievement of an otherwise

758

00:34:19,370 --> 00:34:24,169

astonishing career that same year

759

00:34:22,129 --> 00:34:26,270

gramophone reported that Ben Barone and

760

00:34:24,169 --> 00:34:29,120

Hassan in Morocco was selling tenfold

761

00:34:26,270 --> 00:34:31,730

more Arabic language records there than

762

00:34:29,120 --> 00:34:33,830

their French offerings these of course

763

00:34:31,730 --> 00:34:36,530

were just the figures for gramophone in

764

00:34:33,830 --> 00:34:38,629

Morocco when factoring in the dozen plus

765

00:34:36,530 --> 00:34:40,909

labels operating in North Africa at that

766

00:34:38,629 --> 00:34:43,040

point the extent numbers only begin to

767

00:34:40,909 --> 00:34:43,750

capture the booming commercial trade in

768

00:34:43,040 --> 00:34:46,060

phonograph

769

00:34:43,750 --> 00:34:51,550

birds there not to mention the disks

770

00:34:46,060 --> 00:34:53,320

that were passed around as much as the

771

00:34:51,550 --> 00:34:55,179

growth of the industry relied on a

772

00:34:53,320 --> 00:34:57,450

largely Jewish infrastructure of music

773

00:34:55,179 --> 00:35:01,600

purveyors it also continued to rest

774

00:34:57,450 --> 00:35:04,060

overwhelmingly on Jewish talent in 1928

775

00:35:01,600 --> 00:35:06,850

as Algerian Jews and Muslims mourned the

776

00:35:04,060 --> 00:35:11,340

loss of you feel publicly that talent

777

00:35:06,850 --> 00:35:11,340

had a name and it was Habiba Masika

778

00:35:11,370 --> 00:35:21,400

chapter 2 of 3 in April 1928 the 25 year

779

00:35:19,090 --> 00:35:23,230

old tunisian jewish Masika headed to

780

00:35:21,400 --> 00:35:26,170

berlin to record with the by the phone

781

00:35:23,230 --> 00:35:28,270

label that 1928 by the phone session

782

00:35:26,170 --> 00:35:30,700

would represent a number of firsts for

783

00:35:28,270 --> 00:35:33,180

the musician and actor described by

784

00:35:30,700 --> 00:35:36,220

Bosch Tarzi in his memoirs as the quote

785

00:35:33,180 --> 00:35:39,400

embodiment of the arab artist and quote

786

00:35:36,220 --> 00:35:41,740

in a german studio Masika would record

787

00:35:39,400 --> 00:35:44,590

electrically with a microphone instead

788

00:35:41,740 --> 00:35:46,810

of a horn for the first time it was also

789

00:35:44,590 --> 00:35:49,360

the first time that the manicott at arab

790

00:35:46,810 --> 00:35:51,880

the queen of musical ecstasy as she was

791

00:35:49,360 --> 00:35:54,760

known recorded beyond the bounds of the

792

00:35:51,880 --> 00:35:56,430

french protectorate of tunisia there she

793

00:35:54,760 --> 00:35:59,470

veered headlong into the political

794

00:35:56,430 --> 00:36:01,180

nearly a year after the great Syrian

795

00:35:59,470 --> 00:36:04,870

revolt had been suppressed by French

796

00:36:01,180 --> 00:36:07,210

forces Masika North Africa's first

797

00:36:04,870 --> 00:36:09,190

superstar and oft referred to as the

798

00:36:07,210 --> 00:36:12,070

quote second Sarah Bernhardt end quote

799

00:36:09,190 --> 00:36:14,800

made a record entitled in to Surya Villa

800

00:36:12,070 --> 00:36:17,140

de Syria you are my country indeed the

801

00:36:14,800 --> 00:36:19,330

Middle Eastern uprising even after its

802

00:36:17,140 --> 00:36:21,070

suppression continued to inspire anti

803

00:36:19,330 --> 00:36:25,480

colonial nationalists in North Africa

804

00:36:21,070 --> 00:36:28,890

including Masika although Masika was not

805

00:36:25,480 --> 00:36:31,870

the only artist to record in

806

00:36:28,890 --> 00:36:33,490

indiscernibl ad her interpretation was

807

00:36:31,870 --> 00:36:36,400

nonetheless among the most sought-after

808

00:36:33,490 --> 00:36:37,900

discs of the era beyond helping to

809

00:36:36,400 --> 00:36:39,820

establish by the phone among North

810

00:36:37,900 --> 00:36:42,370

Africans the record which traveled

811

00:36:39,820 --> 00:36:45,160

widely insured Masika a global arab

812

00:36:42,370 --> 00:36:48,190

audience including in the growing Syria

813

00:36:45,160 --> 00:36:50,890

Syrian Lebanese diaspora said spread

814

00:36:48,190 --> 00:36:52,630

from buenos RS to Detroit and you can

815

00:36:50,890 --> 00:36:55,060

see that this copy of the record in my

816

00:36:52,630 --> 00:36:56,450

possession was once owned by an

817

00:36:55,060 --> 00:37:01,070

individual

818

00:36:56,450 --> 00:37:03,730

Michigan again let's see if technology

819

00:37:01,070 --> 00:37:06,230

complies and I will play you some of it

820

00:37:03,730 --> 00:37:49,609

it's not by the phone except they have

821

00:37:06,230 --> 00:37:51,890

even thicker and history with its

822

00:37:49,609 --> 00:37:53,869

provocative title in lyrics the

823

00:37:51,890 --> 00:37:56,089

increasing appearance of the Syrian

824

00:37:53,869 --> 00:37:58,220

themed record across the Maghreb through

825

00:37:56,089 --> 00:38:00,290

French intelligence agents civil

826

00:37:58,220 --> 00:38:01,849

controllers and the residents general of

827

00:38:00,290 --> 00:38:04,520

Morocco and Tunisia

828

00:38:01,849 --> 00:38:07,520

and governor-general of Algeria into a

829

00:38:04,520 --> 00:38:09,710

panic that panic returned to terror in

830

00:38:07,520 --> 00:38:13,310

the aftermath of masika's murder by a

831

00:38:09,710 --> 00:38:16,520

male fan on February 21st 1930 On

832

00:38:13,310 --> 00:38:18,349

February 23rd 1930 the office of the

833

00:38:16,520 --> 00:38:20,000

resident general in Tunisia sent a

834

00:38:18,349 --> 00:38:22,760

hurried note to the Director of Public

835

00:38:20,000 --> 00:38:24,619

Security from the morning papers the

836

00:38:22,760 --> 00:38:27,440

office had gleaned that masika's funeral

837

00:38:24,619 --> 00:38:29,390

scheduled for February 24th just days

838

00:38:27,440 --> 00:38:30,890

before the end of Ramadan had been

839

00:38:29,390 --> 00:38:33,079

postponed from the morning to the

840

00:38:30,890 --> 00:38:35,440

afternoon by the Jewish community so

841

00:38:33,079 --> 00:38:38,089

that more Muslim mourners could attend

842

00:38:35,440 --> 00:38:40,099

not mentioned in the press however was a

843

00:38:38,089 --> 00:38:42,859

particularly actionable piece of

844

00:38:40,099 --> 00:38:45,740

intelligence as one minister stated in

845

00:38:42,859 --> 00:38:47,030

no uncertain terms quote Habiba Masika

846

00:38:45,740 --> 00:38:49,130

has been in the service of the

847

00:38:47,030 --> 00:38:52,069

disorients for the last few years

848

00:38:49,130 --> 00:38:54,020

end quote that Masika had found common

849

00:38:52,069 --> 00:38:56,030

cause with the anti colonial nationalist

850

00:38:54,020 --> 00:38:58,310

distort led the director of public

851

00:38:56,030 --> 00:39:00,770

security to call for quote the most

852

00:38:58,310 --> 00:39:04,010

serious observation of what was to take

853

00:39:00,770 --> 00:39:05,859

place at the funeral and po the day of

854

00:39:04,010 --> 00:39:08,599

five thousand jews and muslims

855

00:39:05,859 --> 00:39:09,790

accompanying Masika to her final resting

856

00:39:08,599 --> 00:39:12,580

place in the capital

857

00:39:09,790 --> 00:39:14,800

Jewish cemetery particularly worrisome

858

00:39:12,580 --> 00:39:17,980

was the fact that these Jews and Muslims

859

00:39:14,800 --> 00:39:20,680

quote belong to all classes of the

860

00:39:17,980 --> 00:39:23,110

population and quote as one official

861

00:39:20,680 --> 00:39:27,720

stated quote never before in Tunisia has

862

00:39:23,110 --> 00:39:31,660

such a funeral taken place in May 1930

863

00:39:27,720 --> 00:39:33,670

just months past masika's death by the

864

00:39:31,660 --> 00:39:36,340

phone sent a shipment of records from

865

00:39:33,670 --> 00:39:39,910

Germany to Ben Barone and Hassan in

866

00:39:36,340 --> 00:39:43,420

Morocco it was business as usual as far

867

00:39:39,910 --> 00:39:46,120

as the two companies were concerned the

868

00:39:43,420 --> 00:39:48,700

French security services however were

869

00:39:46,120 --> 00:39:52,480

still acclimating to a new reality on

870

00:39:48,700 --> 00:39:54,850

may 16th 1930 the civil controller of

871

00:39:52,480 --> 00:39:56,890

Morocco's weds M region wrote with

872

00:39:54,850 --> 00:40:00,100

trepidation to his superiors in Rabat

873

00:39:56,890 --> 00:40:02,560

that quote hidden in a batch of records

874

00:40:00,100 --> 00:40:05,710

of Arab Oh Andalusian music was a disc

875

00:40:02,560 --> 00:40:08,110

entitled the national anthem of Moroccan

876

00:40:05,710 --> 00:40:11,530

youth unquote recorded by the Moroccan

877

00:40:08,110 --> 00:40:13,360

Muslim musician - Hamid banal WA but

878

00:40:11,530 --> 00:40:15,880

civil control headquarters were already

879

00:40:13,360 --> 00:40:18,550

well aware of banal modest national

880

00:40:15,880 --> 00:40:20,470

anthem since been Barone and Hassan had

881

00:40:18,550 --> 00:40:22,390

begun selling it reports on the

882

00:40:20,470 --> 00:40:26,380

nationalist him had been flooding their

883

00:40:22,390 --> 00:40:28,630

office and by May 16th 1930 the stakes

884

00:40:26,380 --> 00:40:30,490

had been raised considerably that same

885

00:40:28,630 --> 00:40:32,920

day Morocco's resident general and

886

00:40:30,490 --> 00:40:35,080

sultan muhammad ben youssef promulgated

887

00:40:32,920 --> 00:40:36,730

the burger the head a decree which

888

00:40:35,080 --> 00:40:39,010

attempted to segregate burgers from

889

00:40:36,730 --> 00:40:41,200

Arabs through a bifurcated legal system

890

00:40:39,010 --> 00:40:44,230

a move seen by many as a violation of

891

00:40:41,200 --> 00:40:46,630

Islamic law the berber diode set off

892

00:40:44,230 --> 00:40:48,340

months of protests that fed a growing

893

00:40:46,630 --> 00:40:51,460

nationalist movement which had now

894

00:40:48,340 --> 00:40:53,830

possibly secured its anthem in fact the

895

00:40:51,460 --> 00:40:56,170

civil controller of what zem described

896

00:40:53,830 --> 00:40:58,860

an on Mars record as nothing less than a

897

00:40:56,170 --> 00:41:01,360

quote Moroccan Marseillaise and quote

898

00:40:58,860 --> 00:41:03,430

given the climate civil controllers

899

00:41:01,360 --> 00:41:06,820

redouble their efforts to seize copies

900

00:41:03,430 --> 00:41:09,490

of the harmful discs but even at its

901

00:41:06,820 --> 00:41:12,610

outset the search quickly shifted away

902

00:41:09,490 --> 00:41:15,220

from vanilla and toward Masika whose

903

00:41:12,610 --> 00:41:17,290

1928 recording of another anthem for by

904

00:41:15,220 --> 00:41:19,480

the phone the Egyptian national anthem

905

00:41:17,290 --> 00:41:22,840

proved enduringly enduringly popular

906

00:41:19,480 --> 00:41:23,860

among Moroccans on may 5th

907

00:41:22,840 --> 00:41:25,990

1930

908

00:41:23,860 --> 00:41:28,510

hot on the trail of banal modest

909

00:41:25,990 --> 00:41:32,350

Moroccan Marseillaise security agents

910

00:41:28,510 --> 00:41:34,420

zeroed in on Mustafa Lim Shafi a Muslim

911

00:41:32,350 --> 00:41:36,070

or a Muslim merchants who was found to

912

00:41:34,420 --> 00:41:39,100

be renting phonographs in the

913

00:41:36,070 --> 00:41:41,230

nationalist hotbed of Fez them chakras

914

00:41:39,100 --> 00:41:43,390

rentals included some twenty records

915

00:41:41,230 --> 00:41:45,400

many of which according to the author of

916

00:41:43,390 --> 00:41:47,770

an unsigned report had the effect of

917

00:41:45,400 --> 00:41:50,260

quote stirring up Arab feelings

918

00:41:47,770 --> 00:41:53,590

end quote an informant passed on a

919

00:41:50,260 --> 00:41:56,080

partial list of those discs each was by

920

00:41:53,590 --> 00:41:59,700

Masika including her Egyptian national

921

00:41:56,080 --> 00:42:02,410

anthem on May 30th 1930

922

00:41:59,700 --> 00:42:04,540

another civil controller sent an urgent

923

00:42:02,410 --> 00:42:06,250

message to headquarters the civil

924

00:42:04,540 --> 00:42:08,020

controller of duke allah wrote that

925

00:42:06,250 --> 00:42:10,210

quote it has been signaled to me

926

00:42:08,020 --> 00:42:12,160

that a record label in berlin has sent

927

00:42:10,210 --> 00:42:14,830

photographs to morocco phonograph

928

00:42:12,160 --> 00:42:16,900

records to morocco in favor of egyptian

929

00:42:14,830 --> 00:42:20,320

independence which are prone to provoke

930

00:42:16,900 --> 00:42:22,300

unrest in the muslim milieu unquote he

931

00:42:20,320 --> 00:42:24,970

identified the culprit as masika's

932

00:42:22,300 --> 00:42:27,400

egyptian national anthem but the

933

00:42:24,970 --> 00:42:30,240

characterization of her records as prone

934

00:42:27,400 --> 00:42:33,070

to wreak havoc was too little too late

935

00:42:30,240 --> 00:42:35,140

according to the same report masika's

936

00:42:33,070 --> 00:42:37,840

record was already quote a huge success

937

00:42:35,140 --> 00:42:40,420

among the natives of masaha and quote a

938

00:42:37,840 --> 00:42:43,360

muslim milieu that in fact held a

939

00:42:40,420 --> 00:42:45,010

sizable Jewish minority apparently

940

00:42:43,360 --> 00:42:47,320

Jewish and Muslim residents at Mozza

941

00:42:45,010 --> 00:42:50,050

Gong were quote excited by the rousing

942

00:42:47,320 --> 00:42:52,750

music and words hailing Liberty they

943

00:42:50,050 --> 00:42:54,370

sing it in groups full of energy in sync

944

00:42:52,750 --> 00:42:56,320

with the phonograph and accompany

945

00:42:54,370 --> 00:43:00,100

accompany themselves on guitar and

946

00:42:56,320 --> 00:43:02,230

mandolin and quote given the scale of

947

00:43:00,100 --> 00:43:04,330

the Masika problem the authorities

948

00:43:02,230 --> 00:43:07,120

concluded that by the phone needed

949

00:43:04,330 --> 00:43:10,960

reining in but the label was only part

950

00:43:07,120 --> 00:43:13,060

of the problem quote it is relatively

951

00:43:10,960 --> 00:43:14,860

easy to control the importation of

952

00:43:13,060 --> 00:43:18,010

records made by the large and

953

00:43:14,860 --> 00:43:19,960

medium-sized firms and quote wrote the

954

00:43:18,010 --> 00:43:22,740

director-general of the military cabinet

955

00:43:19,960 --> 00:43:25,900

in Morocco in February 27th 1931

956

00:43:22,740 --> 00:43:27,820

false confidence aside his concern

957

00:43:25,900 --> 00:43:30,820

instead was the mushrooming of small

958

00:43:27,820 --> 00:43:33,310

record labels of unknown origin engaged

959

00:43:30,820 --> 00:43:36,980

in the quote clandestine fabrication of

960

00:43:33,310 --> 00:43:40,520

records and quote one of those

961

00:43:36,980 --> 00:43:43,280

outfits called arabic record which

962

00:43:40,520 --> 00:43:47,570

curiously carried in english language

963

00:43:43,280 --> 00:43:50,750

name was particularly vexing according

964

00:43:47,570 --> 00:43:52,520

to lieutenant colonel marco director of

965

00:43:50,750 --> 00:43:55,250

the protectorates official arabic

966

00:43:52,520 --> 00:43:57,320

language newspaper some Arabic record

967

00:43:55,250 --> 00:44:00,200

releases had already quote whet the

968

00:43:57,320 --> 00:44:02,030

appetite of our Moroccans end quote by

969

00:44:00,200 --> 00:44:05,450

which he meant Moroccans taste for

970

00:44:02,030 --> 00:44:07,790

nationalism among those causing a stir

971

00:44:05,450 --> 00:44:12,230

were those that only listed the

972

00:44:07,790 --> 00:44:14,240

performer as Malik at a table using her

973

00:44:12,230 --> 00:44:17,060

sobriquet and place her for real name

974

00:44:14,240 --> 00:44:20,300

Arabic record was bootlegging masika's

975

00:44:17,060 --> 00:44:23,150

by the phone records or perhaps Arabic

976

00:44:20,300 --> 00:44:25,910

record was by the phone itself either

977

00:44:23,150 --> 00:44:28,520

way that a minor label of unclear

978

00:44:25,910 --> 00:44:30,290

provenance could sell masika's records

979

00:44:28,520 --> 00:44:33,080

years after her murder without

980

00:44:30,290 --> 00:44:35,720

inscribing her name anywhere signaled

981

00:44:33,080 --> 00:44:37,550

her enduring popularity and at the same

982

00:44:35,720 --> 00:44:39,920

time the scale of the nationalist

983

00:44:37,550 --> 00:44:41,900

problem in Morocco which was joining

984

00:44:39,920 --> 00:44:47,270

Jews and Muslims together with or

985

00:44:41,900 --> 00:44:49,880

without by the phone while civil

986

00:44:47,270 --> 00:44:52,369

controllers chased masika's records a

987

00:44:49,880 --> 00:44:55,700

more robust response to a problematic

988

00:44:52,369 --> 00:44:57,950

Discs was considered in the early 1930s

989

00:44:55,700 --> 00:44:59,810

a legislative committee attached the

990

00:44:57,950 --> 00:45:02,390

residence residence general and Morocco

991

00:44:59,810 --> 00:45:03,950

met thrice in an attempt to decide the

992

00:45:02,390 --> 00:45:06,440

fate of Records entering the

993

00:45:03,950 --> 00:45:08,440

protectorate the legislation however

994

00:45:06,440 --> 00:45:11,240

would wait approval for several years as

995

00:45:08,440 --> 00:45:14,450

as bureaucrats jostled over best

996

00:45:11,240 --> 00:45:16,700

censorship practices meanwhile other

997

00:45:14,450 --> 00:45:19,160

nationalist records this time made by

998

00:45:16,700 --> 00:45:23,470

Algerian Jews were again sounding the

999

00:45:19,160 --> 00:45:26,810

alarm in Morocco throughout 1930 and

1000

00:45:23,470 --> 00:45:28,790

over the next decade security agents

1001

00:45:26,810 --> 00:45:30,890

found that the Masika record story

1002

00:45:28,790 --> 00:45:33,170

national passion so was being

1003

00:45:30,890 --> 00:45:37,160

distributed in large part by moroccan

1004

00:45:33,170 --> 00:45:39,260

jews in november 1930 for example the

1005

00:45:37,160 --> 00:45:42,109

head of regional security in marrakech

1006

00:45:39,260 --> 00:45:44,690

cut naga dosha is simony trading in

1007

00:45:42,109 --> 00:45:47,180

masika's anthem from his shop adjacent

1008

00:45:44,690 --> 00:45:48,700

to the jewish quarter like others found

1009

00:45:47,180 --> 00:45:51,220

with the record at the

1010

00:45:48,700 --> 00:45:54,040

simony refused to incriminate Brule

1011

00:45:51,220 --> 00:45:59,140

Hasan from whom the subversive disk had

1012

00:45:54,040 --> 00:46:01,589

been purchased by 1937 faced with her

1013

00:45:59,140 --> 00:46:03,099

own Masika predicament in algeria

1014

00:46:01,589 --> 00:46:05,470

Bashevis mati

1015

00:46:03,099 --> 00:46:07,630

a muslim officer in the Bureau of Native

1016

00:46:05,470 --> 00:46:10,240

Affairs there delivered an impassioned

1017

00:46:07,630 --> 00:46:14,770

address on the subject of the quote

1018

00:46:10,240 --> 00:46:16,990

Arabic language record and quote in his

1019

00:46:14,770 --> 00:46:19,240

address Elam he lamented the fact that

1020

00:46:16,990 --> 00:46:21,910

quote Jewish merchants had become

1021

00:46:19,240 --> 00:46:24,820

auxiliaries most of the time unwittingly

1022

00:46:21,910 --> 00:46:27,580

of a form of anti-french propaganda

1023

00:46:24,820 --> 00:46:30,339

I mean propaganda by way of the disc in

1024

00:46:27,580 --> 00:46:33,010

favour of nationalist and pan Arabist

1025

00:46:30,339 --> 00:46:36,670

ideas of middle-eastern importation and

1026

00:46:33,010 --> 00:46:38,200

quote but that Jewish purveyors of music

1027

00:46:36,670 --> 00:46:40,660

or music makers themselves were

1028

00:46:38,200 --> 00:46:44,050

unwitting that mother Lucia is simony

1029

00:46:40,660 --> 00:46:46,270

member own and Hasan Habiba Masika and

1030

00:46:44,050 --> 00:46:48,670

those who sang along to her recordings

1031

00:46:46,270 --> 00:46:50,820

knew not of what they were doing there's

1032

00:46:48,670 --> 00:46:53,650

little evidence in the archival record

1033

00:46:50,820 --> 00:46:56,320

throughout the interwar period Jews

1034

00:46:53,650 --> 00:46:58,510

alongside Muslims endured harassment by

1035

00:46:56,320 --> 00:47:01,150

French officials confiscation of their

1036

00:46:58,510 --> 00:47:03,580

goods and worse all in the pursuit of

1037

00:47:01,150 --> 00:47:07,630

quote rousing music and words hailing

1038

00:47:03,580 --> 00:47:10,960

Liberty as the French in North Africa

1039

00:47:07,630 --> 00:47:15,250

moved into silence Masika other actors

1040

00:47:10,960 --> 00:47:16,980

filled the void in 1939 Nazi Germany

1041

00:47:15,250 --> 00:47:19,390

began broadcasting the Jewish musicians

1042

00:47:16,980 --> 00:47:22,450

interpretation of the Egyptian national

1043

00:47:19,390 --> 00:47:26,520

anthem as part of a radio war to win the

1044

00:47:22,450 --> 00:47:30,190

hearts and minds of the Makarovs Muslims

1045

00:47:26,520 --> 00:47:32,890

by way of conclusion then chapter three

1046

00:47:30,190 --> 00:47:35,740

we pick up just after World War two is

1047

00:47:32,890 --> 00:47:38,950

end this time with another emblematic

1048

00:47:35,740 --> 00:47:41,260

figure a Moroccan whose recordings may

1049

00:47:38,950 --> 00:47:43,510

very well permit us to alter the

1050

00:47:41,260 --> 00:47:52,420

post-war timeline for Jews and Muslims

1051

00:47:43,510 --> 00:47:56,260

in April 1948 Solomon tons that are 26

1052

00:47:52,420 --> 00:47:58,990

years old was tacked by la vara the head

1053

00:47:56,260 --> 00:48:01,760

of party in Morocco to make a series of

1054

00:47:58,990 --> 00:48:04,250

records for the label

1055

00:48:01,760 --> 00:48:07,280

since childhood and zaloog had been

1056

00:48:04,250 --> 00:48:10,280

singing first at the Sabbath table in

1057

00:48:07,280 --> 00:48:13,580

the coastal city of Safie then in the

1058

00:48:10,280 --> 00:48:15,650

capital Rabat later in the synagogue and

1059

00:48:13,580 --> 00:48:19,520

more recently for a growing number of

1060

00:48:15,650 --> 00:48:21,620

admirers in Casablanca but the girl

1061

00:48:19,520 --> 00:48:24,020

however did not just intend for the

1062

00:48:21,620 --> 00:48:27,140

young Moroccan Jewish musician to be but

1063

00:48:24,020 --> 00:48:29,510

one artist among many rather he believed

1064

00:48:27,140 --> 00:48:31,660

Amzallag to be the label's future in

1065

00:48:29,510 --> 00:48:33,650

post-war North Africa quote

1066

00:48:31,660 --> 00:48:35,990

indispensable to the effort of

1067

00:48:33,650 --> 00:48:40,490

revitalizing our Arab catalogue and

1068

00:48:35,990 --> 00:48:42,500

quote in 1948 then as forms of anti

1069

00:48:40,490 --> 00:48:45,020

colonial nationalism emerged that

1070

00:48:42,500 --> 00:48:47,330

increasingly circumscribed Moroccan and

1071

00:48:45,020 --> 00:48:49,880

Arab identity in ways that could exclude

1072

00:48:47,330 --> 00:48:52,340

Jews partes a little issue with a

1073

00:48:49,880 --> 00:48:54,920

Moroccan Jew serving as anchor to their

1074

00:48:52,340 --> 00:48:58,880

Arab catalogue nor would his Jewish and

1075

00:48:54,920 --> 00:49:00,800

Muslim audiences and just as 1948 the

1076

00:48:58,880 --> 00:49:02,720

year marking Israel's creation and the

1077

00:49:00,800 --> 00:49:04,820

Palestinian Nakba has often been

1078

00:49:02,720 --> 00:49:07,490

regarded by scholars as marking that

1079

00:49:04,820 --> 00:49:09,680

final exile that final separation of

1080

00:49:07,490 --> 00:49:12,230

Jews from Muslims the end of Iraq

1081

00:49:09,680 --> 00:49:15,380

Andrews in tsechow undreds than

1082

00:49:12,230 --> 00:49:17,450

thousands began to depart in 1948 a

1083

00:49:15,380 --> 00:49:20,720

Moroccan Jew was beginning his meteoric

1084

00:49:17,450 --> 00:49:23,480

ascent to national spotlight he did so

1085

00:49:20,720 --> 00:49:26,780

under the stage name of Sammy demography

1086

00:49:23,480 --> 00:49:29,000

Sammy the Moroccan making explicit his

1087

00:49:26,780 --> 00:49:34,370

identification with the nation at a most

1088

00:49:29,000 --> 00:49:37,880

critical moment either 1948 Norman

1089

00:49:34,370 --> 00:49:40,580

independence in 1956 were an end for

1090

00:49:37,880 --> 00:49:42,680

Sammy Almagro V who not only remained in

1091

00:49:40,580 --> 00:49:44,570

Morocco during there's those years as

1092

00:49:42,680 --> 00:49:47,900

did a hundred and sixty thousand other

1093

00:49:44,570 --> 00:49:49,370

Jews until 1960 but whose astonishing

1094

00:49:47,900 --> 00:49:52,820

climbed the national and transnational

1095

00:49:49,370 --> 00:49:53,990

stardom were measured by them how I

1096

00:49:52,820 --> 00:49:57,530

Connick was he

1097

00:49:53,990 --> 00:49:59,510

Samuel demography well by 1952 the

1098

00:49:57,530 --> 00:50:03,080

Jewish artists had become the official

1099

00:49:59,510 --> 00:50:06,580

voice of coca-cola in Morocco a good

1100

00:50:03,080 --> 00:50:06,580

metric as far as I'm concerned

1101

00:50:07,200 --> 00:50:12,240

his spoken dialogues and musical hooks

1102

00:50:09,930 --> 00:50:15,540

for the soft drink company were played

1103

00:50:12,240 --> 00:50:17,640

in heavy rotation on Moroccan radio over

1104

00:50:15,540 --> 00:50:19,589

the next several years during this

1105

00:50:17,640 --> 00:50:22,230

period the musician became the sound of

1106

00:50:19,589 --> 00:50:25,680

brands like Gillette Palmolive and shale

1107

00:50:22,230 --> 00:50:27,780

oil as well and one such ad for angel

1108

00:50:25,680 --> 00:50:29,460

chewing gum the artist his wife and

1109

00:50:27,780 --> 00:50:31,619

children saying the virtues of the

1110

00:50:29,460 --> 00:50:35,160

company's many flavors while backed by a

1111

00:50:31,619 --> 00:50:37,650

small orchestra by the end of 1952 then

1112

00:50:35,160 --> 00:50:39,540

every Moroccan within earshot of a radio

1113

00:50:37,650 --> 00:50:42,059

could hear an ma gonna be singing i

1114

00:50:39,540 --> 00:50:44,849

sweeten my palate with angel chewing gum

1115

00:50:42,059 --> 00:50:48,569

with the near universal residence of the

1116

00:50:44,849 --> 00:50:51,109

mid century radio jingle so we'll listen

1117

00:50:48,569 --> 00:50:51,109

to that now

1118

00:50:52,140 --> 00:51:08,730

[Music]

1119

00:51:19,430 --> 00:51:24,909

[Music]

1120

00:51:33,110 --> 00:51:36,739

[Music]

1121

00:51:37,280 --> 00:51:45,810

hard to say anything after that I will

1122

00:51:42,270 --> 00:51:47,940

nonetheless in the politically charged

1123

00:51:45,810 --> 00:51:50,490

transition from the colonial period to

1124

00:51:47,940 --> 00:51:53,670

the independence period independence era

1125

00:51:50,490 --> 00:51:55,320

as we just heard a mother and mother be

1126

00:51:53,670 --> 00:51:57,680

it was really providing Moroccans with

1127

00:51:55,320 --> 00:52:00,060

the soundtrack to their lives

1128

00:51:57,680 --> 00:52:02,340

Elmo gonna be whom one Tangiers

1129

00:52:00,060 --> 00:52:04,740

newspaper referred to in the 1950s as

1130

00:52:02,340 --> 00:52:06,240

quote the greatest Arab attraction of

1131

00:52:04,740 --> 00:52:08,580

all time end quote

1132

00:52:06,240 --> 00:52:10,650

arrived at that movement a moment by

1133

00:52:08,580 --> 00:52:13,410

prepared by pioneering what would come

1134

00:52:10,650 --> 00:52:16,140

to be known as modern Moroccan music and

1135

00:52:13,410 --> 00:52:18,780

by espousing what we might call Moroccan

1136

00:52:16,140 --> 00:52:20,910

ISM a mainstream variant of anti

1137

00:52:18,780 --> 00:52:22,890

colonial nationalism inclusive of

1138

00:52:20,910 --> 00:52:24,570

muslims and jews that place sultan

1139

00:52:22,890 --> 00:52:27,900

muhammad ben youssef at its ideological

1140

00:52:24,570 --> 00:52:30,270

center on Morocco's largest stages and

1141

00:52:27,900 --> 00:52:32,430

on its most symbolic ones like the royal

1142

00:52:30,270 --> 00:52:35,010

palace and mother be thus done the

1143

00:52:32,430 --> 00:52:37,740

national colours of red and green toured

1144

00:52:35,010 --> 00:52:40,680

alongside muslims and sang of and for

1145

00:52:37,740 --> 00:52:42,780

the nation that he was bringing Jews and

1146

00:52:40,680 --> 00:52:47,880

Muslims together was a point of pride

1147

00:52:42,780 --> 00:52:50,250

for him on August 24th 1951 three years

1148

00:52:47,880 --> 00:52:52,440

after his recording debut he wrote to

1149

00:52:50,250 --> 00:52:55,680

his brother Cemal in Marseilles with the

1150

00:52:52,440 --> 00:52:57,690

following quote my success in Morocco is

1151

00:52:55,680 --> 00:52:59,490

immense and I am recognized and

1152

00:52:57,690 --> 00:53:02,070

surrounded very quickly no matter which

1153

00:52:59,490 --> 00:53:04,890

city I'm in everyone points out Sammy

1154

00:53:02,070 --> 00:53:07,530

with their finger with a smile the great

1155

00:53:04,890 --> 00:53:09,990

success of the day is the song of the

1156

00:53:07,530 --> 00:53:12,450

millions who can and remain which is

1157

00:53:09,990 --> 00:53:13,619

hummed by Arabs and Jews the young and

1158

00:53:12,450 --> 00:53:15,720

old men

1159

00:53:13,619 --> 00:53:20,450

in women in all the cities of Morocco

1160

00:53:15,720 --> 00:53:20,450

and quote so we'll listen to that now

1161

00:53:24,560 --> 00:53:31,320

[Music]

1162

00:53:34,390 --> 00:53:37,500

[Music]

1163

00:53:40,180 --> 00:53:50,890

[Music]

1164

00:53:54,490 --> 00:53:57,620

[Music]

1165

00:53:58,069 --> 00:54:03,420

this is an aspirational song if I had

1166

00:54:01,259 --> 00:54:11,039

millions this is what I would do with

1167

00:54:03,420 --> 00:54:13,339

with them again in 1952 on the highly

1168

00:54:11,039 --> 00:54:16,440

symbolic occasion of throne day a

1169

00:54:13,339 --> 00:54:18,329

Holiday Inn created during the interwar

1170

00:54:16,440 --> 00:54:19,890

period which marked the anniversary of

1171

00:54:18,329 --> 00:54:21,749

sultan muhammad manouse its original

1172

00:54:19,890 --> 00:54:23,700

ascension to the throne the Sultan

1173

00:54:21,749 --> 00:54:27,329

himself requested the presence of Al

1174

00:54:23,700 --> 00:54:30,660

Maghrib as usual and Mugabe wrote to see

1175

00:54:27,329 --> 00:54:33,569

MoU with the sumptuous play-by-play just

1176

00:54:30,660 --> 00:54:35,670

after midnight on November 18th 1952 and

1177

00:54:33,569 --> 00:54:38,460

Mugabe saying two of his patriotic

1178

00:54:35,670 --> 00:54:41,279

compositions and other songs quote and

1179

00:54:38,460 --> 00:54:43,619

this is his own voice here before some

1180

00:54:41,279 --> 00:54:45,869

two thousand Muslims and before Crown

1181

00:54:43,619 --> 00:54:47,880

Prince Moulay Hasan who presided over

1182

00:54:45,869 --> 00:54:50,039

the soiree were the best musical troops

1183

00:54:47,880 --> 00:54:52,680

of Morocco he passed through and quote

1184

00:54:50,039 --> 00:54:54,930

and mother be beamed that quote my

1185

00:54:52,680 --> 00:54:55,980

success has exceeded the limits of my

1186

00:54:54,930 --> 00:54:58,170

wildest dreams

1187

00:54:55,980 --> 00:54:59,759

the ovations given to me by the public

1188

00:54:58,170 --> 00:55:02,190

was nothing like the simple applause

1189

00:54:59,759 --> 00:55:03,779

received by other artists then came the

1190

00:55:02,190 --> 00:55:06,109

congratulation of all the muslim

1191

00:55:03,779 --> 00:55:08,609

personalities which touched me in quote

1192

00:55:06,109 --> 00:55:10,920

that both Muslims and Jews were

1193

00:55:08,609 --> 00:55:14,460

coalescing around the Jewish artists was

1194

00:55:10,920 --> 00:55:16,950

noted by others as well in April 1953

1195

00:55:14,460 --> 00:55:18,809

French intelligence officials wrote to

1196

00:55:16,950 --> 00:55:21,269

their superiors of an animal Adobe

1197

00:55:18,809 --> 00:55:24,059

concert in maza Gong the same city where

1198

00:55:21,269 --> 00:55:26,489

masika's records had riled so describing

1199

00:55:24,059 --> 00:55:27,300

quote a Hall packed with an audience

1200

00:55:26,489 --> 00:55:29,910

composed

1201

00:55:27,300 --> 00:55:31,980

exclusively of Moroccans Muslims and

1202

00:55:29,910 --> 00:55:36,240

Jews who were very much pleased with the

1203

00:55:31,980 --> 00:55:38,340

event and quote H abdelkader writing in

1204

00:55:36,240 --> 00:55:40,620

the Algerian daily linda pesckow CDN

1205

00:55:38,340 --> 00:55:44,400

just after the start of the Algerian war

1206

00:55:40,620 --> 00:55:47,190

declared Mugabe's December 1954 concert

1207

00:55:44,400 --> 00:55:48,720

at the Opera of Algiers a triumph the

1208

00:55:47,190 --> 00:55:50,790

journalist was delighted that the

1209

00:55:48,720 --> 00:55:52,860

largely Muslim audience had included

1210

00:55:50,790 --> 00:55:56,880

quote many Jews who had come to applaud

1211

00:55:52,860 --> 00:55:59,700

their Idol and in the mid-1950s it

1212

00:55:56,880 --> 00:56:02,610

appeared that the jewish muslim past had

1213

00:55:59,700 --> 00:56:05,790

yet to pass even as war began to grip

1214

00:56:02,610 --> 00:56:11,430

Algeria the same was true for Morocco as

1215

00:56:05,790 --> 00:56:13,920

it navigated independence on May 15 1956

1216

00:56:11,430 --> 00:56:16,770

two months since Moroccan liberation

1217

00:56:13,920 --> 00:56:19,820

from France and Mugabe wrote to C Mon

1218

00:56:16,770 --> 00:56:22,530

with an update from Casablanca quote

1219

00:56:19,820 --> 00:56:24,620

Saturday night I recorded verses in

1220

00:56:22,530 --> 00:56:27,360

classical Arabic for radio maroc

1221

00:56:24,620 --> 00:56:28,740

including a military song extolling the

1222

00:56:27,360 --> 00:56:31,290

glory of his majesty

1223

00:56:28,740 --> 00:56:33,900

Moroccan freedom and the Royal Armed

1224

00:56:31,290 --> 00:56:36,000

Forces this was the only Moroccan song

1225

00:56:33,900 --> 00:56:38,280

presented to radio listeners on the

1226

00:56:36,000 --> 00:56:40,860

occasion of the Army's first parade and

1227

00:56:38,280 --> 00:56:42,510

quote and mother-to-be added that he had

1228

00:56:40,860 --> 00:56:44,550

been flooded by both compliments and

1229

00:56:42,510 --> 00:56:50,130

record orders since the broadcast of the

1230

00:56:44,550 --> 00:56:52,740

song ten days later he recorded Allah WA

1231

00:56:50,130 --> 00:56:55,050

Thani wa sultana god my country and my

1232

00:56:52,740 --> 00:56:58,440

Sultan the song that was causing a

1233

00:56:55,050 --> 00:57:00,510

frenzy across the country in this post

1234

00:56:58,440 --> 00:57:02,490

independence nationalist effort and

1235

00:57:00,510 --> 00:57:04,530

mother-to-be was joined by other Jewish

1236

00:57:02,490 --> 00:57:06,360

artists who recorded their support for

1237

00:57:04,530 --> 00:57:09,090

the Sultan and the Moroccan nation to

1238

00:57:06,360 --> 00:57:11,820

disk as well only a few of them however

1239

00:57:09,090 --> 00:57:14,460

were as expressly militaristic as an

1240

00:57:11,820 --> 00:57:16,410

Mugabe Aloha Tony was sultani

1241

00:57:14,460 --> 00:57:18,690

for example was a self-described

1242

00:57:16,410 --> 00:57:21,090

military March which you can also see

1243

00:57:18,690 --> 00:57:23,250

here refer to as in the sheet which not

1244

00:57:21,090 --> 00:57:25,620

only glorified the Sultan and the cause

1245

00:57:23,250 --> 00:57:30,200

of independence but so two Moroccans

1246

00:57:25,620 --> 00:57:30,200

whom we refer to throughout as soldiers

1247

00:57:30,470 --> 00:57:34,430

will take a listen to it now

1248

00:57:41,270 --> 00:57:54,469

[Music]

1249

00:57:56,780 --> 00:58:09,890

[Music]

1250

00:58:21,050 --> 00:58:28,259

[Music]

1251

00:58:23,150 --> 00:58:30,599

as durians in metropolitan France and in

1252

00:58:28,259 --> 00:58:36,509

Algeria itself soon adopted the Jewish

1253

00:58:30,599 --> 00:58:38,099

artists anthem that's not me as altruism

1254

00:58:36,509 --> 00:58:40,019

metropolitan France and Algeria itself

1255

00:58:38,099 --> 00:58:42,299

soon adopted the Jewish artists anthem

1256

00:58:40,019 --> 00:58:44,460

and Mugabe's brother wrote to him

1257

00:58:42,299 --> 00:58:46,739

warning that the military march was

1258

00:58:44,460 --> 00:58:48,900

quote causing a furor here and in the

1259

00:58:46,739 --> 00:58:51,329

Arab world end quote and that he need

1260

00:58:48,900 --> 00:58:54,690

exercise caution visa vie the French

1261

00:58:51,329 --> 00:58:56,960

authorities moving forward when Alma

1262

00:58:54,690 --> 00:59:00,569

Hruby did eventually leave Morocco in

1263

00:58:56,960 --> 00:59:03,529

1959 he did so for a set of complicated

1264

00:59:00,569 --> 00:59:07,739

reasons including one born of gossip on

1265

00:59:03,529 --> 00:59:11,970

March 1st 1959 he wrote to Simone that

1266

00:59:07,739 --> 00:59:13,650

quote rumors were circulating a rumors

1267

00:59:11,970 --> 00:59:16,079

were circulating about his final

1268

00:59:13,650 --> 00:59:19,559

departure following an expulsion order

1269

00:59:16,079 --> 00:59:20,759

and in the same breath he announced that

1270

00:59:19,559 --> 00:59:23,339

he intended to hold a press conference

1271

00:59:20,759 --> 00:59:26,369

in his apartment to dispel the false

1272

00:59:23,339 --> 00:59:28,349

charge before that can happen that could

1273

00:59:26,369 --> 00:59:31,380

happen however he wrote to Simone again

1274

00:59:28,349 --> 00:59:33,660

quote has become clear that the noise

1275

00:59:31,380 --> 00:59:35,460

bubbling up around me was due to an

1276

00:59:33,660 --> 00:59:36,859

erroneous interpretation of the truth

1277

00:59:35,460 --> 00:59:39,660

end quote

1278

00:59:36,859 --> 00:59:42,180

apparently the rumor mill had confused

1279

00:59:39,660 --> 00:59:45,509

and Mugabe for another palace favorite

1280

00:59:42,180 --> 00:59:48,620

the Algerian Jewish senem Holly who had

1281

00:59:45,509 --> 00:59:51,510

been forced out of Morocco days earlier

1282

00:59:48,620 --> 00:59:53,820

that a Darlene of the Moroccan monarch

1283

00:59:51,510 --> 00:59:56,790

could be summarily expelled in the

1284

00:59:53,820 --> 00:59:59,790

independence era understandably unnerved

1285

00:59:56,790 --> 01:00:01,440

the Jewish musician and Mulder we of

1286

00:59:59,790 --> 01:00:04,970

course was more than just an artist

1287

01:00:01,440 --> 01:00:07,650

however he was also a father of seven

1288

01:00:04,970 --> 01:00:09,840

furthermore the entire complication a

1289

01:00:07,650 --> 01:00:12,780

conflagration had surfaced in the midst

1290

01:00:09,840 --> 01:00:15,870

of a semi severe economic crisis in

1291

01:00:12,780 --> 01:00:18,180

Morocco at the same time a new Moroccan

1292

01:00:15,870 --> 01:00:20,910

customs regime was making the transient

1293

01:00:18,180 --> 01:00:23,100

transnational affairs of Sami phone his

1294

01:00:20,910 --> 01:00:26,190

brick-and-mortar stores and record label

1295

01:00:23,100 --> 01:00:28,260

ever more difficult to operate he made a

1296

01:00:26,190 --> 01:00:29,700

decision with his health with his family

1297

01:00:28,260 --> 01:00:32,370

in mind he left

1298

01:00:29,700 --> 01:00:35,880

other cultural figures were - at this

1299

01:00:32,370 --> 01:00:38,220

time months after his departure word had

1300

01:00:35,880 --> 01:00:40,440

reached Sami that the Muslim recording

1301

01:00:38,220 --> 01:00:43,290

artist a pledge of Iran had been jailed

1302

01:00:40,440 --> 01:00:46,680

by the regime soon thereafter Gibran

1303

01:00:43,290 --> 01:00:48,360

arrived an exile in Washington DC and

1304

01:00:46,680 --> 01:00:50,310

Margaret was concerned for the

1305

01:00:48,360 --> 01:00:51,960

well-being of him and his family

1306

01:00:50,310 --> 01:00:56,100

appear to have been well found

1307

01:00:51,960 --> 01:01:01,140

well-founded when he returned to Morocco

1308

01:00:56,100 --> 01:01:03,510

in 1967 to give a series of concerts the

1309

01:01:01,140 --> 01:01:07,200

press met the national icon on the

1310

01:01:03,510 --> 01:01:09,360

airport tarmac who are you saying elimo

1311

01:01:07,200 --> 01:01:12,090

gonna be a reporter asked provocatively

1312

01:01:09,360 --> 01:01:15,330

of the artist without missing a beat he

1313

01:01:12,090 --> 01:01:20,550

responded quote first of all Moroccan

1314

01:01:15,330 --> 01:01:23,390

end quote let me offer some brief final

1315

01:01:20,550 --> 01:01:25,740

thoughts before I take questions in

1316

01:01:23,390 --> 01:01:28,440

tracing the trajectories of but a

1317

01:01:25,740 --> 01:01:30,960

handful of musical figures and their

1318

01:01:28,440 --> 01:01:33,000

sounds I have endeavored to record a

1319

01:01:30,960 --> 01:01:34,800

different history of the Maghreb and the

1320

01:01:33,000 --> 01:01:38,190

Jewish Muslim past there through a

1321

01:01:34,800 --> 01:01:40,260

history of recording itself among other

1322

01:01:38,190 --> 01:01:42,180

things the sound approach has allowed us

1323

01:01:40,260 --> 01:01:44,460

to situate the early 20th century

1324

01:01:42,180 --> 01:01:46,350

Algerian figure of Edwin Netanya field

1325

01:01:44,460 --> 01:01:48,480

not in relation to his French

1326

01:01:46,350 --> 01:01:50,940

citizenship per se and not only as a

1327

01:01:48,480 --> 01:01:53,040

bridge to the past but as a sonic nation

1328

01:01:50,940 --> 01:01:55,050

builder of sorts who established an

1329

01:01:53,040 --> 01:01:57,420

industry dedicated to Arab music's

1330

01:01:55,050 --> 01:01:59,940

future which was largely grounded in a

1331

01:01:57,420 --> 01:02:01,670

Jewish base of a certain class enmeshed

1332

01:01:59,940 --> 01:02:04,040

in its surrounds

1333

01:02:01,670 --> 01:02:06,349

is also permitted us to tease out an

1334

01:02:04,040 --> 01:02:08,540

interwar moment in which the Tunisian

1335

01:02:06,349 --> 01:02:11,900

habima Masika and anti colonial

1336

01:02:08,540 --> 01:02:13,849

nationalist saying of Syria and Egypt to

1337

01:02:11,900 --> 01:02:16,339

the great delight of Iraq and Muslim and

1338

01:02:13,849 --> 01:02:18,799

Jewish audiences a phenomenon made

1339

01:02:16,339 --> 01:02:20,930

possible by Jewish merchants and which

1340

01:02:18,799 --> 01:02:23,210

held grave consequences for what could

1341

01:02:20,930 --> 01:02:26,420

be heard in the region until the end of

1342

01:02:23,210 --> 01:02:28,369

World War two and beyond finally it has

1343

01:02:26,420 --> 01:02:30,530

also enabled us to reanimate the

1344

01:02:28,369 --> 01:02:32,869

post-war life of the Moroccan Samuel

1345

01:02:30,530 --> 01:02:34,730

Mugabe whose voice brought Jews and

1346

01:02:32,869 --> 01:02:35,869

Muslims together in the push for his

1347

01:02:34,730 --> 01:02:38,089

country's independence

1348

01:02:35,869 --> 01:02:39,589

well after Jews and Muslims were

1349

01:02:38,089 --> 01:02:42,650

supposed to have gone their separate

1350

01:02:39,589 --> 01:02:44,720

ways there are other takeaways here for

1351

01:02:42,650 --> 01:02:47,420

scholars of the region and those focused

1352

01:02:44,720 --> 01:02:49,460

on modern Jewish history therein with

1353

01:02:47,420 --> 01:02:52,069

sound music and recordings for example

1354

01:02:49,460 --> 01:02:54,049

class is again surfaced cities and

1355

01:02:52,069 --> 01:02:54,680

regions that previously unconnected or

1356

01:02:54,049 --> 01:02:57,140

connected

1357

01:02:54,680 --> 01:02:59,809

horizontal movement is privileged women

1358

01:02:57,140 --> 01:03:01,640

quite literally take center stage forms

1359

01:02:59,809 --> 01:03:04,130

of nationalism outside of political

1360

01:03:01,640 --> 01:03:06,079

party manifest themselves in social

1361

01:03:04,130 --> 01:03:09,200

dynamics more generally especially

1362

01:03:06,079 --> 01:03:12,799

during the complicated transition to

1363

01:03:09,200 --> 01:03:14,869

decolonization or better understood the

1364

01:03:12,799 --> 01:03:16,730

question that remains now is whether all

1365

01:03:14,869 --> 01:03:19,910

of this should somehow be treated as

1366

01:03:16,730 --> 01:03:23,059

exceptional I believe to do so however

1367

01:03:19,910 --> 01:03:25,099

is to silence it is to silence the

1368

01:03:23,059 --> 01:03:27,410

musicians each a world unto themselves

1369

01:03:25,099 --> 01:03:29,990

and only a fraction of which were

1370

01:03:27,410 --> 01:03:32,089

mentioned tonight it is to silence as

1371

01:03:29,990 --> 01:03:34,790

well their vast audiences the large

1372

01:03:32,089 --> 01:03:37,099

numbers of historical actors for whom so

1373

01:03:34,790 --> 01:03:39,349

many of us are better as so many of us

1374

01:03:37,099 --> 01:03:41,390

are invested in better comprehending it

1375

01:03:39,349 --> 01:03:43,970

is to silence their music and the

1376

01:03:41,390 --> 01:03:46,250

meaning of that music nationalist and

1377

01:03:43,970 --> 01:03:49,339

otherwise but always of consequence

1378

01:03:46,250 --> 01:03:52,010

which set hearts aflame and continues to

1379

01:03:49,339 --> 01:03:54,500

do so in profane spaces in lgd de

1380

01:03:52,010 --> 01:03:57,200

formula Mazda GaN where Masika and

1381

01:03:54,500 --> 01:03:59,299

demography once perform two sacred ones

1382

01:03:57,200 --> 01:04:02,690

like M hominem here in the San Fernando

1383

01:03:59,299 --> 01:04:05,240

Valley to be sure this is a history not

1384

01:04:02,690 --> 01:04:07,910

of political culture but culture as

1385

01:04:05,240 --> 01:04:10,309

politics a history that sounds different

1386

01:04:07,910 --> 01:04:12,319

from its D vocalized analogues but one

1387

01:04:10,309 --> 01:04:14,210

that resonates deep into the present and

1388

01:04:12,319 --> 01:04:14,930

may very well change how we think about

1389

01:04:14,210 --> 01:04:17,529

the past

1390

01:04:14,930 --> 01:04:17,529

thank you