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"Music and race New York (State) New York 20th century."
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Modern moves : dancing race during the ragtime and jazz eras
\"Modern Moves examines the movement of social dances between \"black\" and \"white\" cultural groups and immigrant and migrant communities during the early twentieth century. It focuses on Manhattan, a Black Atlantic capital into which diverse people and dances flowed and intermingled, and out of which new dances were marketed globally\"-- Provided by publisher.
Book
Reds, whites, and blues
Music, and folk music in particular, is often embraced as a form of political expression, a vehicle for bridging or reinforcing social boundaries, and a valuable tool for movements reconfiguring the social landscape.Reds, Whites, and Bluesexamines the political force of folk music, not through the meaning of its lyrics, but through the concrete social activities that make up movements. Drawing from rich archival material, William Roy shows that the People's Songs movement of the 1930s and 40s, and the Civil Rights Movement of the 1950s and 60s implemented folk music's social relationships--specifically between those who sang and those who listened--in different ways, achieving different outcomes.
Roy explores how the People's Songsters envisioned uniting people in song, but made little headway beyond leftist activists. In contrast, the Civil Rights Movement successfully integrated music into collective action, and used music on the picket lines, at sit-ins, on freedom rides, and in jails. Roy considers how the movement's Freedom Songs never gained commercial success, yet contributed to the wider achievements of the Civil Rights struggle. Roy also traces the history of folk music, revealing the complex debates surrounding who or what qualified as \"folk\" and how the music's status as racially inclusive was not always a given.
Examining folk music's galvanizing and unifying power,Reds, Whites, and Bluescasts new light on the relationship between cultural forms and social activity.
eBook
Blowin’ the Blues Away
New York City has always been a mecca in the history of jazz, and in many ways the city's jazz scene is more important now than ever before. Blowin' the Blues Away examines how jazz has thrived in New York following its popular resurgence in the 1980s. Using interviews, in-person observation, and analysis of live and recorded events, ethnomusicologist Travis A. Jackson explores both the ways in which various participants in the New York City jazz scene interpret and evaluate performance, and the criteria on which those interpretations and evaluations are based. Through the notes and words of its most accomplished performers and most ardent fans, jazz appears not simply as a musical style, but as a cultural form intimately influenced by and influential upon American concepts of race, place, and spirituality.
eBook
Smack
Why do the vast majority of heroin users live in cities? In his provocative history of heroin in the United States, Eric C. Schneider explains what is distinctively urban about this undisputed king of underworld drugs. During the twentieth century, New York City was the nation's heroin capital-over half of all known addicts lived there, and underworld bosses like Vito Genovese, Nicky Barnes, and Frank Lucas used their international networks to import and distribute the drug to cities throughout the country, generating vast sums of capital in return. Schneider uncovers how New York, as the principal distribution hub, organized the global trade in heroin and sustained the subcultures that supported its use. Through interviews with former junkies and clinic workers and in-depth archival research, Schneider also chronicles the dramatically shifting demographic profile of heroin users. Originally popular among working-class whites in the 1920s, heroin became associated with jazz musicians and Beat writers in the 1940s. Musician Red Rodney called heroin the trademark of the bebop generation. \"It was the thing that gave us membership in a unique club,\" he proclaimed.Smacktakes readers through the typical haunts of heroin users-52nd Street jazz clubs, Times Square cafeterias, Chicago's South Side street corners-to explain how young people were initiated into the drug culture.Smackrecounts the explosion of heroin use among middle-class young people in the 1960s and 1970s. It became the drug of choice among a wide swath of youth, from hippies in Haight-Ashbury and soldiers in Vietnam to punks on the Lower East Side. Panics over the drug led to the passage of increasingly severe legislation that entrapped heroin users in the criminal justice system without addressing the issues that led to its use in the first place. The book ends with a meditation on the evolution of the war on drugs and addresses why efforts to solve the drug problem must go beyond eliminating supply.
eBook
The call of the jitterbug
Documentary on the jitterbug and lindy hop, a dance craze that swept the nation beginning in Harlem in the 1930s. Delilah Jackson, Mama Lu Parks, George Lloyd, Sugar Sullivan-Niles, Frank Manning, Sandra Gibson, and musicians Bill Dillard and Dizzy Gillespie also reminisce about dancing at the Savoy Ballroom and other popular clubs, which are seen in historical film footage. Parks and Manning are shown teaching the dance, which continues to be performed in clubs and on stage.
Streaming Video
Black Theatre and Performance Studies: Seminal Critical Essays and Articles
This collection of essays and articles provides a survey of cultural criticism, theory, and commentary that specifically focuses on the evolution of black theatre, performance, and the performing arts from the nineteenth century to the present day. The fields of black theatre criticism and performance studies encompass a heterogeneous array of critical methodologies, theoretical paradigms, and journalistic, literary, and historical writings. This collection therefore brings together a combination of period-specific articles, aesthetic essays, and academic criticism in order to chart the development of a discursive tradition that evolved alongside pathbreaking innovations in black performance culture. Because formal theatre and dramatic productions historically served as central forms of employment, social exchange, and cultural representation for African Americans from the Reconstruction era through the mid-twentieth century, this volume places a particular emphasis on examining critical writing that focuses on drama and theatre. The collection includes essays and articles that explore cultural themes, early goals, and the long-term influences of key players in the field.This introductory essay provides an overview of black theatre and performance studies by contextualizing the development of these fields both chronologically and thematically. For each period, seminal work crucial to understanding the fields of black theatre and performance studies is included. The collection pays special attention to minstrelsy, vernacular folk culture, civil rights activism and cultural history, black nationalism, black feminism, and experimental and avant-garde theatre movements.
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