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| Author | : Jeffrey H. Jackson |
| Publisher | : Duke University Press |
| Total Pages | : 284 |
| Release | : 2003-08-05 |
| Genre | : History |
| ISBN | : 9780822331247 |
DIVA history of jazz in interwar France, concentrating on the ways this originally American music was integrated into French culture./div
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| Release | : 2009 |
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DIVA history of jazz in interwar France, concentrating on the ways this originally American music was integrated into French culture./div
| Author | : Jeffrey H. Jackson |
| Publisher | : Duke University Press |
| Total Pages | : 281 |
| Release | : 2003-08-05 |
| Genre | : Music |
| ISBN | : 0822385082 |
Between the world wars, Paris welcomed not only a number of glamorous American expatriates, including Josephine Baker and F. Scott Fitzgerald, but also a dynamic musical style emerging in the United States: jazz. Roaring through cabarets, music halls, and dance clubs, the upbeat, syncopated rhythms of jazz soon added to the allure of Paris as a center of international nightlife and cutting-edge modern culture. In Making Jazz French, Jeffrey H. Jackson examines not only how and why jazz became so widely performed in Paris during the 1920s and 1930s but also why it was so controversial. Drawing on memoirs, press accounts, and cultural criticism, Jackson uses the history of jazz in Paris to illuminate the challenges confounding French national identity during the interwar years. As he explains, many French people initially regarded jazz as alien because of its associations with America and Africa. Some reveled in its explosive energy and the exoticism of its racial connotations, while others saw it as a dangerous reversal of France’s most cherished notions of "civilization." At the same time, many French musicians, though not threatened by jazz as a musical style, feared their jobs would vanish with the arrival of American performers. By the 1930s, however, a core group of French fans, critics, and musicians had incorporated jazz into the French entertainment tradition. Today it is an integral part of Parisian musical performance. In showing how jazz became French, Jackson reveals some of the ways a musical form created in the United States became an international phenomenon and acquired new meanings unique to the places where it was heard and performed.
| Author | : William A. Shack |
| Publisher | : Univ of California Press |
| Total Pages | : 214 |
| Release | : 2001-09-04 |
| Genre | : Music |
| ISBN | : 0520225376 |
Illuminates the expatriate African American community of jazz musicians that thrived in the Montmartre district of Paris in the '20s and '30s and helped turn the "city of lights" into the major jazz capital it remains today.
| Author | : Tom Perchard |
| Publisher | : University of Michigan Press |
| Total Pages | : 309 |
| Release | : 2015-01-12 |
| Genre | : History |
| ISBN | : 047205242X |
How did French musicians and critics interpret jazz--that quintessentially American music--in the mid-twentieth century? How far did players reshape what they learned from records and visitors into more local jazz forms, and how did the music figure in those angry debates that so often suffused French cultural and political life? After Django begins with the famous interwar triumphs of Josephine Baker and Django Reinhardt, but, for the first time, the focus here falls on the French jazz practices of the postwar era. The work of important but neglected French musicians such as Andr Hodeir and Barney Wilen is examined in depth, as are native responses to Americans such as Miles Davis and Thelonious Monk. The book provides an original intertwining of musical and historical narrative, supported by extensive archival work; in clear and compelling prose, Perchard describes the problematic efforts towards aesthetic assimilation and transformation made by those concerned with jazz in fact and in idea, listening to the music as it sounded in discourses around local identity, art, 1968 radicalism, social democracy, and post colonial politics.
| Author | : Siv B. Lie |
| Publisher | : University of Chicago Press |
| Total Pages | : 275 |
| Release | : 2021-10-22 |
| Genre | : History |
| ISBN | : 022681095X |
Django Generations shows how relationships between racial identities, jazz, and national belonging become entangled in France. Jazz manouche—a genre known best for its energetic, guitar-centric swing tunes—is among France’s most celebrated musical practices of the twentieth and twenty-first centuries. It centers on the recorded work of famed guitarist Django Reinhardt and is named for the ethnoracial subgroup of Romanies (also known, often pejoratively, as “Gypsies”) to which Reinhardt belonged. French Manouches are publicly lauded as bearers of this jazz tradition, and many take pleasure and pride in the practice while at the same time facing pervasive discrimination. Jazz manouche uncovers a contradiction at the heart of France’s assimilationist republican ideals: the music is portrayed as quintessentially French even as Manouches themselves endure treatment as racial others. In this book, Siv B. Lie explores how this music is used to construct divergent ethnoracial and national identities in a context where discussions of race are otherwise censured. Weaving together ethnographic and historical analysis, Lie shows that jazz manouche becomes a source of profound ambivalence as it generates ethnoracial difference and socioeconomic exclusion. As the first full-length ethnographic study of French jazz to be published in English, this book enriches anthropological, ethnomusicological, and historical scholarship on global jazz, race and ethnicity, and citizenship while showing how music can be an important but insufficient tool in struggles for racial and economic justice.
| Author | : Jessica Herthel |
| Publisher | : Penguin |
| Total Pages | : 28 |
| Release | : 2014-09-04 |
| Genre | : Juvenile Nonfiction |
| ISBN | : 0698176731 |
The story of a transgender child based on the real-life experience of Jazz Jennings, who has become a spokesperson for transkids everywhere "This is an essential tool for parents and teachers to share with children whether those kids identify as trans or not. I wish I had had a book like this when I was a kid struggling with gender identity questions. I found it deeply moving in its simplicity and honesty."—Laverne Cox (who plays Sophia in “Orange Is the New Black”) From the time she was two years old, Jazz knew that she had a girl's brain in a boy's body. She loved pink and dressing up as a mermaid and didn't feel like herself in boys' clothing. This confused her family, until they took her to a doctor who said that Jazz was transgender and that she was born that way. Jazz's story is based on her real-life experience and she tells it in a simple, clear way that will be appreciated by picture book readers, their parents, and teachers.
| Author | : Jeffrey H. Jackson |
| Publisher | : Algonquin Books |
| Total Pages | : 353 |
| Release | : 2021-11-02 |
| Genre | : Art |
| ISBN | : 1643752057 |
"The true story of an audacious resistance campaign undertaken by an unlikely pair: two French women -- Lucy Schwob and Suzanne Malherbe -- who drew on their skills as Parisian avant-garde artists to write and distribute wicked insults against Hitler and calls to desert, a PSYOPs tactic known as "paper bullets," designed to demoralize Nazi troops occupying their adopted home of Jersey in the British Channel Islands"--
| Author | : Elizabeth Vihlen McGregor |
| Publisher | : Lexington Books |
| Total Pages | : 291 |
| Release | : 2016-06-23 |
| Genre | : Music |
| ISBN | : 1498528775 |
In the context of a shifting domestic and international status quo that was evolving in the decades following World War II, French audiences used jazz as a means of negotiating a wide range of issues that were pressing to them and to their fellow citizens. Despite the fact that jazz was fundamentally linked to the multicultural through its origins in the hands of African-American musicians, happenings within the French jazz public reflected much about France’s postwar society. In the minds of many, jazz was connected to youth culture, but instead of challenging traditional gender expectations, the music tended to reinforce long-held stereotypes. French critics, musicians, and fans contended with the reality of American superpower strength and often strove to elevate their own country’s stature in relation to the United States by finding fault with American consumer society and foreign policy aims. Jazz audiences used this music to condemn American racism and to support the American civil rights movement, expressing strong reservations about the American way of life. French musicians lobbied to create professional opportunities for themselves, and some went so far as to create a union that endorsed preferential treatment for French nationals. As France became more ethnically and religiously diverse due immigration from Africa, Asia, and the Caribbean, French jazz critics and fans noted the insidious appearance of racism in their own country and had to contend with how their own citizens would address the changing demographics of the nation, even if they continued to insist that racism was more prevalent in the United States. As independence movements brought an end to the French empire, jazz enthusiasts from both former colonies and France had to reenvision their relationship to jazz and to the music’s international audiences. In these postwar decades, the French were working to preserve a distinct national identity in the face of weakened global authority, most forcefully represented by decolonization and American hegemony. Through this originally African American music, French listeners, commentators, and musicians participated in a process that both challenged and reinforced ideas about their own culture and nation.
| Author | : Deborah Mawer |
| Publisher | : Cambridge University Press |
| Total Pages | : 321 |
| Release | : 2014-12-04 |
| Genre | : Music |
| ISBN | : 1316194612 |
French concert music and jazz often enjoyed a special creative exchange across the period 1900–65. French modernist composers were particularly receptive to early African-American jazz during the interwar years, and American jazz musicians, especially those concerned with modal jazz in the 1950s and early 1960s, exhibited a distinct affinity with French musical impressionism. However, despite a general, if contested, interest in the cultural interplay of classical music and jazz, few writers have probed the specific French music-jazz relationship in depth. In this book, Deborah Mawer sets such musical interplay within its historical-cultural and critical-analytical contexts, offering a detailed yet accessible account of both French and American perspectives. Blending intertextuality with more precise borrowing techniques, Mawer presents case studies on the musical interactions of a wide range of composers and performers, including Debussy, Satie, Milhaud, Ravel, Jack Hylton, George Russell, Bill Evans and Dave Brubeck.
