Manny Goodman Segregation

The Jazz Age was a period of radical behavior and care free living. This new music structure started the crazy decade that would change American life. “In the US during the 1920s, jazz was far more than a new musical style or genre”. A Focus on culture, fashion, and mostly freedom became huge. “The Jazz Age became a touchstone for a wide range of social and cultural issues.”1 Also the freedom during the period allowed for many different ethnicities, including African Americans, to gain freedom within society. This new music

The second generations of Jazz musicians were some like Joe “King” Oliver, Kid Ory, and Jelly Roll Morton. These people formed a small band and started to reshape the way the original Jazz music was played. They have made it into a different style with more complications and twists and turns. And so it became known as “Hot Jazz”. King Oliver found a young artist by the name of Louis Armstrong. He soon grew to become the greatest Jazz musician anyone has known. He is still a big star in the world today. By the 20th Century, African-American musical styles became the dominant force.

Jazz to me is one of the inherent expressions of Negro Life in America: the eternal tom-tom beating in the Negro soul—the tom-tom of revolt against weariness in a white world, a world of subway trains, and work, work, work; the tom-tom of joy and laughter, and pain swallowed in a smile. Yet the Philadelphia clubwoman… turns up her nose at jazz and all its manifestations—likewise almost anything else distinctly racial…She wants the artist to flatter her, to make the white world believe that all Negroes are as smug as near white in smug as she wants to be. But, to my mind, it is the duty of the younger Negro artist …to change through the hidden force of his art that old whispering “I want to be white,” hidden in the aspirations of his people, to “Why should I want to be white? I am Negro—and beautiful.”

Jazz to me is one of the inherent expressions of Negro life in America: the eternal tom-tom beating in the Negro soul-the tom-tom of revolt against weariness in a white world, a world of subway trains, and work, work; the tom-tom of joy and laughter, and pain swallowed in a smile. Yet the Philadelphia club woman , turns up her nose at jazz and all its manifetations-likewise almost anything else distinctly racial... She wants the artist to flatter her, to make the white world believe that all Negroes are as smug and as near white in soul as she wants to be. But, to my mind, it is the duty of the younger Negro artist, to change through the force of his art that old whispering "I want to be white, hidden in the aspirations of his people, to "Why should I want to he white? I am Negro-and beautiful"

expanding, sharing it’s enthusiasm throughout the world. The evolution of jazz aroused the curiosity of the nation. As Blacks received their freedom, they were able to

His brand flowed through many countries and continents. Ellington was not just a musician but he possessed creativity. Ellington was an innovator, a motivator, a composer, an arranger, a guide and a representative for the African American community in a period of history when they were voiceless. In1943, Ellington surpassed another milestone that many musicians would be thrilled to experience. He made his first performance in Carnegie Hall, Black, Brown, and Beige. The show lasted fifty minute. The show ran until 1950. The show was a great achievement for him. There were diverse reviews but it produced pleasant results. At this point, the members in the band started decreasing versus following the trend of growing that was seen in previous years. In 1950, Ellington experienced his first hurdle in his musical endeavor. A couple of prominent band members left and formed their own group. The World War also contributed to Ellington’s downfall. In 1956, business picked up for him. His performance at the Newport Jazz festival is where he performed a solo Diminuendo and Crescendo in Blue. This helped his musical career flourish to the top.It was almost a music revival for him. It gave him the opportunity to connect with supporters of a different

Before the WWI, Most blacks lived in the south, where segregation and discrimination still trapped majority in poverty. War- related orders created a huge need for labor. Many saw this as a opportunity to find better jobs, freedom and equality. Due to the Great Migration, in the 1920s, a flourishing center of African American Culture emerged on the east coast. The black arts movement is known as the Harlem Renaissance. However the glamour of 1920s ended on “Black Friday” 1929,when the over-inflated stock market crashed down. Millions of people lose their money and jobs.

In 1956 the United States sent “Interracial jazz bands overseas to portray an image of the nation progressing towards racial harmony,” a feat many considered “cold war propaganda,” as black were still being mistreated in America (Carletta, p. 116). Although it was clear to those living in the U.S during the 1950s, we had yet to reach racial harmony, this was still a major step forward in race relations. First, our government became to “appreciate jazz as an instrument of cultural diplomacy,” and decided to keep funding interracial jazz bands overseas (Carletta, p. 126). Secondly, in 1958 two years after Gillespie tour, Congress donated land for a Nation Cultural Center, due to the progress Gillespie and his band mates were making internationally. Gillespie influence through Jazz was slowly making progress in black

Between the two World Wars, jazz and swing were all the rage. Starting in the late 1910’s, jazz, an amalgamation of gospel, blues, ragtime and march, became the popular music of choice for African-American citizens – the descendants of slaves whose music influenced jazz. Jazz quickly caught on, and exploded during the 20’s, spreading to white citizens as well as black. In the 30’s, jazz music was supplemented by swing, a form of jazz which had larger bands, and which tended to focus more on a singer rather than a performer.

In Ken Burns’ documentary Jazz and Lewis Erenberg’s book Swingin the Dream: Big Band Jazz and The Rebirth of American Culture, there is a dialogue occurring in regards to the race politics of the time. Ken Burns through his archival footage would portray in some respects, a sanitized perspective on the racial tensions that occurred at the time. In some cases, Ken Burns would seem to suggest that whatever racial issues were simply waved away by both musicians and audiences alike and that swing was a genre that transcended race and color. Though Lewis Erenberg would diverge from Burns by portraying a more radical and holistic approach to the prominence of racial politics in the genre. Whether it be through stating the prominence of jazz magazines, the support of left-leaning groups, and the integration of jazz bands, there is a compelling case made by Erenberg that such politics were prevalent and confronted by musicians and critics alike at that time.

During the civil rights, one prominent music was jazz, Jazz played a huge role African American music and was even considered the’’ Classical music of America’. The popular Jazz artists include Buck Clayton, Sidney Bechet, Louis Armstrong.

“By 1935, swing had become a national popular music and a learnable style. It was dominated by white bands beginning with Benny Goodman’s Palomar ballroom appearances in the summer of 1935.” Hennessey asserts the fact popularity of jazz began because of Benny Goodman’s ballroom appearances. This occurred because Benny Goodman, being a Caucasian male, appealed to the white people of the 1930s society. Benny’s band and other bands transitioned from “primarily local music rooted in black folk traditions to the tightly managed product of a national industry controlled by white businessmen and aimed at a predominantly white mass

Benny Goodman the “King of Swing”. A man who owned the American Jazz and an amazing swing musician, clarinetist, and bandleader. This naming him as the infamous “King of Swing”. Goodman led the most popular musical groups known in America. Goodman was recognized as putting the most important jazz concert in history out to the public in 1938. Singlehandedly being the most recognized clarinet player for this era and doing it flawlessly. Many called him "The Professor", "Patriarch of the Clarinet", "Swing 's Senior Statesman". Who would have ever believed a man coming from a poverty ridden Jewish family could be so successful? Success was an understatement for a man with such musical talent.

This story was written in the era of segregation that gave life to the concept of “mobilizing jazz communities” in order to “develop and sustain socio-political movements” that were important to the civil rights

Ethnic and racial relations in 1920s America can be broadly categorised into movements of racial conflict counterpoised against notions of cultural hybridity. Specifically, though Americans of all ethnicities ultimately contributed to the new cultural landscape of America, and the very definition of ‘American’ was broadened and made more inclusive, separation and conflict between racial groupings was widespread, and integration and homogenisation never fully materialised. Alan Crosland’s The Jazz Singer (1927), notability as the first film to feature scenes with synchronised sound aside, is demonstrative of this relationship between racial conflict and cultural hybridity. The 1927 Al Jolson star vehicle’s depictions of the struggle between Jewish traditionalism and the allure of the stage, absence of African-American representation, and cinematic link forged between the Jewish and African-American experiences as racial outsiders, sketches an example of the contemporary cultural exchange which was newly minted in America’s Jazz Age.