By Pete Frame

It was once our model of a Hollywood epic, shot in black and white over a 10 12 months interval, with out script and a forged of millions who needed to make it up as they went alongside. Tommy Steele, Cliff Richard, Lonnie Donegan, Terry Dene, Marty Wilde, Mickie so much, Lionel Bart, Tony Sheridan, Billy Fury, Joe Brown, Wee Willie Harris, Adam religion, John Barry, Larry web page, Vince keen, Johnny mild, Jim Dale, Duffy energy, Dickie delight, Georgie repute and Johnny Kidd have been quite a few of these hoping to work out their identify in lighting.

From the widescreen standpoint of 1 who watched the tale spread, Pete body strains the emergence of rock song in Britain, from the 1st stirrings of skiffle in suburban pubs and jazz golf equipment, throughout the primitive experimentation of youngster revolutionaries within the espresso bars of Soho, to the moulding and advertising of the 1st new release of tv idols, and the eventual leap forward of such worldwide stars because the Beatles and the Rolling Stones. Castic and irreverent, yet authoritative and sincere, this is often the definitive tale.

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England’s “God Save the Queen” has been in use since 1840, reflecting New Zealand’s colonial history. However, the lyrics to its original second verse have long been replaced with a “Commonwealth verse” that is considered to be better suited to the environment of New Zealand. Despite this significant modification, “God Save the Queen” is sung only rarely, because most Kiwis consider the indigenous song “God Defend New Zealand” to be their true national anthem: God Defend New Zealand God of Nations at Thy feet, In the bonds of love we meet, Hear our voices, we entreat, God defend our free land.

It was designated the national song in 1940, and in 1976 the government moved to declare the song a national anthem. A careful reading of “God Defend New Zealand” reveals that it consists of a prayer for peace, prosperity, fulfillment, and harmony between races. It also calls for honor and integrity within the government. Either of the two anthems may be heard at major public events, but outside the brief flourishes of patriotic remembrance on Anzac Day, Kiwis currently see little need to emphasize national identity in the daily life of schools.

We are hopeful that this international discussion will bring greater clarity to the issues surrounding this topic, leading to improvements in global music education practice. References Abril, Carlos, “Functions of a National Anthem in Society and Education: A Sociocultural Perspective,” Bulletin of the Council for Research in Music Education, 172 (2007): 69–87. Anderson, Benedict, Imagined Communities: Reflections on the Origin and Spread of Nationalism (London: Verso, 2002). Apple, Michael, “Patriotism, Pedagogy, and Freedom: On the Educational Meanings of September 11th,” Teachers College Record, 104 (2002): 1760–72.

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