LEADER 03616nam 2200697Ia 450 001 9910813981403321 005 20200520144314.0 010 $a1-282-35786-7 010 $a9786612357862 010 $a0-520-93787-2 010 $a1-59734-561-X 024 7 $a10.1525/9780520937871 035 $a(CKB)1000000000030698 035 $a(EBL)227289 035 $a(OCoLC)437144828 035 $a(SSID)ssj0000133498 035 $a(PQKBManifestationID)11129473 035 $a(PQKBTitleCode)TC0000133498 035 $a(PQKBWorkID)10045956 035 $a(PQKB)11238129 035 $a(MiAaPQ)EBC227289 035 $a(OCoLC)57516723 035 $a(MdBmJHUP)muse30479 035 $a(DE-B1597)518851 035 $a(OCoLC)1097110951 035 $a(DE-B1597)9780520937871 035 $a(Au-PeEL)EBL227289 035 $a(CaPaEBR)ebr10074093 035 $a(CaONFJC)MIL235786 035 $a(EXLCZ)991000000000030698 100 $a20040923d2005 ub 0 101 0 $aeng 135 $aurnn#---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aCultural moves $eAfrican Americans and the politics of representation /$fHerman S. Gray 205 $a1st ed. 210 $aBerkeley $cUniversity of California Press$d2005 215 $a1 online resource (258 p.) 225 1 $aAmerican crossroads ;$v15 300 $aDescription based upon print version of record. 311 0 $a0-520-24144-4 311 0 $a0-520-23374-3 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tAcknowledgments --$tIntroduction --$t1. The New Conditions Of Black Cultural Production --$t2. Jazz Tradition, Institutional Formation, And Cultural Practice --$t3. The Jazz Left --$t4. Where Have All The Black Shows Gone? --$t5. Television And The Politics Of Difference --$t6. Different Dreams, Dreams Of Difference --$t7. Cultural Politics As Outrage(Ous) --$t8. Is (Cyber) Space The Place? --$t9. Music, Identity, And New Technology --$tConclusion: Cultural Moves --$tNotes --$tBibliography --$tIndex 330 $aHerman Gray takes a sweeping look at black popular culture over the past decade to explore culture's role in the push for black political power and social recognition. In a series of linked essays, he finds that black artists, scholars, musicians, and others have been instrumental in reconfiguring social and cultural life in the United States and he provocatively asks how black culture can now move beyond a preoccupation with inclusion and representation. Gray considers how Wynton Marsalis and his creation of a jazz canon at Lincoln Center acted to establish cultural visibility and legitimacy for jazz. Other essays address such topics as the work of the controversial artist Kara Walker; the relentless struggles for representation on network television when those networks are no longer the primary site of black or any other identity; and how black musicians such as Steve Coleman and George Lewis are using new technology to shape and extend black musical traditions and cultural identities. 410 0$aAmerican crossroads ;$v15. 606 $aAfrican Americans on television 606 $aAfrican Americans$xMusic$xHistory and criticism 615 0$aAfrican Americans on television. 615 0$aAfrican Americans$xMusic$xHistory and criticism. 676 $a791.45/652996073 700 $aGray$b Herman$f1950-$0732703 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910813981403321 996 $aCultural moves$94023576 997 $aUNINA