What is this thing called jazz? [[electronic resource] ] : African American musicians as artists, critics, and activists / / Eric Porter

• Record Nr.: UNINA9910449880903321
• Autore: Porter Eric (Eric C.)
• Pubbl/distr/stampa: Berkeley, Calif., : University of California Press, c2002
• ISBN: 1-282-75904-3; 9786612759048; 0-520-92840-7; 1-59734-997-6
• Descrizione fisica: 1 online resource (442 p.)
• Collana: Music of the African diaspora ; ; 6
• Disciplina: 781.65/089/96073
• Soggetti: Jazz - History and criticism; African American jazz musicians; African Americans - Intellectual life - 20th century; Electronic books.
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Note generali: Description based upon print version of record.
• Nota di bibliografia: Includes bibliographical references (p. 337-382) and index.
• Nota di contenuto: A marvel of paradox : jazz and African American modernity -- Dizzy atmosphere : the challenge of bebop -- Passions of a man : the poetics and politics of Charles Mingus -- Straight ahead : Abbey Lincoln and the challenge of jazz singing -- Practicing "creative music" : the black arts imperative in the jazz community -- Writing "creative music" : theorizing the art and politics of improvisation -- The majesty of the blues : Wynton Marsalis's jazz canon.
• Sommario/riassunto: Despite the plethora of writing about jazz, little attention has been paid to what musicians themselves wrote and said about their practice. An implicit division of labor has emerged where, for the most part, black artists invent and play music while white writers provide the commentary. Eric Porter overturns this tendency in his creative intellectual history of African American musicians. He foregrounds the often-ignored ideas of these artists, analyzing them in the context of meanings circulating around jazz, as well as in relationship to broader currents in African American thought. Porter examines several crucial moments in the history of jazz: the formative years of the 1920's and ; 1930's; the emergence of bebop; the political and experimental projects of the 1950's, 1960's and 1970's; and the debates surrounding Jazz at Lincoln Center under the direction of Wynton Marsalis. Louis Armstrong, Anthony Braxton, Marion Brown, Duke Ellington, W.C. Handy, Yusef Lateef, Abbey Lincoln, Charles Mingus, Archie Shepp, Wadada Leo Smith, Mary Lou Williams, and Reggie Workman also feature prominently in this book. The wealth of information Porter uncovers shows how these musicians have expressed themselves in print; actively shaped the institutional structures through which the music is created, distributed, and consumed, and how they aligned themselves with other artists and activists, and how they were influenced by forces of class and gender. What Is This Thing Called Jazz? challenges interpretive orthodoxies by showing how much black jazz musicians have struggled against both the racism of the dominant culture and the prescriptive definitions of racial authenticity propagated by the music's supporters, both white and black.

Transactions, transgressions, transformations : American culture in Western Europe and Japan / / edited by Heide Fehrenbach and Uta G. Poiger

• Record Nr.: UNINA9910814531503321
• Pubbl/distr/stampa: New York ; ; Oxford : , : Berghahn Books, , 2000
• ISBN: 1-78533-004-7; 1-57181-107-9
• Descrizione fisica: 1 online resource (xl, 258 p. ) : ill.
• Disciplina: 303.48/24073
• Soggetti: Popular culture - United States; Popular culture - Europe; Popular culture - Japan; Europe Civilization American influences; Japan Civilization American influences
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Note generali: Bibliographic Level Mode of Issuance: Monograph
• Nota di bibliografia: Includes bibliographical references (pages [237]-246) and index.
• Nota di contenuto: Frontmatter -- CONTENTS -- LIST OF ILLUSTRATIONS -- ACKNOWLEDGMENTS -- NOTES ON CONTRIBUTORS -- INTRODUCTION Americanization Reconsidered -- Part I TWENTIETH-CENTURY MODERNITIES -- 1. America in the German Imagination -- 2. Comparative Anti-Americanism in Western Europe -- 3. Surface above All? American Influence on Japanese Urban Space -- Part II DRAWING CULTURAL BOUNDARIES, FORGING THE NATIONAL -- 4. Persistent Myths of Americanization: German Reconstruction and the Renationalization of Postwar Cinema, 1945–1965 -- 5. No More Song and Dance: French Radio Broadcast Quotas, Chansons, and Cultural Exceptions -- Part III TRANSNATIONAL STYLINGS: AMERICAN MUSIC AND THE POLITICS OF IDENTITY -- 6. American Music, Cold War Liberalism, and German Identities -- 7. Jukebox Boys: Postwar Italian Music and the Culture of Covering -- 8. The Social Production of Difference: Imitation and and Authenticity in Japanese Rap Music -- Part IV DE-ESSENTIALIZING “AMERICA” AND THE “NATIVE” -- 9. Learning from America: Postwar Urban Recovery in West Germany -- 10. The French Cinema and Hollywood: A Case Study of Americanization -- 11. Waiting for Godzilla: Chaotic Negotiations between Post-Orientalism and Hyper-Occidentalism -- SELECT BIBLIOGRAPHY -- INDEX
• Sommario/riassunto: American culture has been one of the most controversial exports of the United States: greeted with enthusiasm by some, with hostility by others. Yet, few societies escape its influence. However, not all changes should be interpreted simply as "Americanization." The shaping of the postwar world has been much more complex than this term implies as is shown in this volume that explores the links between Americanization and modernity in Western Europe and Japan. In considering the impact of products and images ranging from movies and music to fashion and architecture, a multi-disciplinary group of contributors asks how American culture has been employed internationally in the articulation of postwar identities - be they national or subnational,socially sanctioned or socially transgressive. Their essays on France, Italy, Germany and Japan move beyond the simple paradigms of colonization and democratic modernization, yet retain a sensitivity to the asymmetries in the postwar power relationships between these countries and the United States. An extensive introduction historically locates changing interpretations of American influences abroad and suggests the problems and promises of "Americanization" as an analytical tool. Its comparative focus and interdisciplinary scope will appeal to a wide range of students and scholars of cold war and post-cold war history.