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Jon Panish - The Color of Jazz: Race and Representation in Postwar American Culture

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Although now sometimes called Americas classical music, jazz has not always been accorde favorable appellations. Accurate though these encomiums may be, they obscure the complex and fractious history of jazzs reception in the U. S. Developing out of the African American cultural tradition, jazz has always been variously understood by black and white audiences. This penetrating study of Americas attitudes toward jazz focuses on a momentous period in postwar history -- from the end of World War II to the beginning of the Black Power Movement. Exploring the diverse representations of jazz and jazz musicians in literature and popular culture, it connects this uneven reception, and skewed use of jazz with the eras debates about race and racial difference. Its close scrutiny of literature, music criticism, film, and television reveals fundamental contrasts between black and white cultures as they regard jazz. To the detriment of concepts of community and history, white writers focus on the individualism that they perceive in jazz. Black writers emphasize the aspects of musicianship, performance, and improvisation. White approaches to jazz tend to be individualistic and ahistorical, and their depictions of musicians accent the artists suffering and victimization. Black texts treating similar subject matter stress history, communitarianism, and socio-personal experience. This study shows as well how black and white dissenters such as the Beats and various African-American writers have challenged the mainstreamss definition of this African-American resource. It explores such topics as racial politics in bohemian Greenwich Village, the struggle of the image of Charlie Parker, the cultural construction of jazz performance, and literature imitation of jazz improvisation. As a cultural history with relevance for contemporary discussions of race and representation, The Color of Jazz offers an innovative and compelling perspective on diverse, well-known cultural materials. Jon Panish is a lecturer at the University of California, Irvine.

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title The Color of Jazz Race and Representation in Postwar American - photo 1

title:The Color of Jazz : Race and Representation in Postwar American Culture
author:Panish, Jon.
publisher:University Press of Mississippi
isbn10 | asin:1578060338
print isbn13:9781578060337
ebook isbn13:9780585180052
language:English
subjectJazz in literature, Jazz--Social aspects--United States, Race in literature, United States--Race relations.
publication date:1997
lcc:ML3849.P27 1997eb
ddc:306.4/84
subject:Jazz in literature, Jazz--Social aspects--United States, Race in literature, United States--Race relations.
Page iii
The Color of Jazz
Race and Representation in Postwar American Culture
Jon Panish
University Press of Mississippi
Jackson
Page iv
Copyright 1997 by University Press of Mississippi
All rights reserved
Manufactured in the United States of America
99 98 97 4 3 2 1
The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book
Longevity of the Council on Library Resources.
Library of Congress Cataloging-in-Publication Data
Panish, Jon.
The color of jazz: race and representation in postwar American culture /Jon Panish.
p. cm.
Includes bibliographical references (p. ) and index.
ISBN 1-57806-030-4 (cloth: alk. paper) ISBN 1-57806-033-8 (pbk.: alk. paper)
1. Jazz in literature. 2. JazzSocial aspectsUnited States. 3. Race in literature.
4. Music and societyUnited States. 5. United StatesRace relations.
ML3849.P27 1997
306.4'84dc21 97-11364
CIP
MN
British Library Cataloging-in-Publication Data available
Page v
Contents
Acknowledgments
vii
Introduction
ix
Picture 2
1. Blinded by the White
The Hidden History of Postwar Racial Politics
3
Picture 3
2. Racing the Village People
Euro American and African American Cultural and Social Interaction in Greenwich Village, 1945-1966
23
Picture 4
3. Caging Bird
Charlie Parker Meets the Postwar Construction of the Jazz Musician
42
Picture 5
4. (Up)Staging Jazz
Representations of Jazz Performance
79
Picture 6
5. Improvising the Text
Euro American and African American Approaches to Jazz Narrative
117
Epilogue
141
Notes
147
Works Cited
153
Index
161

Page vii
Acknowledgments
I gratefully acknowledge the many heavy debts I incurred while completing this project. Since this work began its life as a dissertation, the members of my UC Irvine committeeProfessors Dickran Tashjian, Dave Bruce, and John Liudeserve my first thanks for their encouragement, criticism, and insight. Professor Raul Fernandez also helped me greatly in my extended graduate career by providing intellectual, moral, and financial support. Thanks also to Professor Lorenzo Thomas, who supported my work at crucial times.
Several friends inside and outside the academic world were essential to the creation and completion of this book. Jennifer Reed and Charles Krinsky were most influential during the planning, writing, and revising of this work. More important, each has greatly affected who I am and how I live my life. I am also grateful to the following individuals who, at various times throughout my academic career, have powerfully affected my perceptions, ideas, and knowledge: Robin Reynolds, Anthony Bernier, Curtiss Rooks, and Gary Cale.
My extended family has always supported my work, although they haven't always known just what I was up to. Barbara Seebart and David Elliott have been especially generous with their advice, encouragement, and criticism. For everything they've done, I also thank Lee Schullinger; Greta, Jay, Debbie, and Adam Panish; and Joyce and Don Seebart.
I thank everyone at the University Press of Mississippi for their helpespecially Seetha A-Srinivasan for her early and continued support, Anne Stascavage for paying attention to the details, Evan Young for his excellent copyediting, and the anonymous reader whose insightful comments increased the clarity, logic, and persuasiveness of my argument.
My apologies to Emma and Lily for all the time I spent "at the computer" during the seemingly endless writing and rewriting of this book; in the competition between parenting and scholarship for my time and energy, this book almost (and maybe should have) lost out. Finally, without Virginia none of this would have been possible.
Page ix
Introduction
Picture 7
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