Jazz on the River' describes how musical entrepreneurs gave the music of New Orleans to mainstream America in the 1920s, by quite literally sending their musicians upstream, aboard riverboats that plied the Mississippi waterways every summer.
Now comes an in-depth cultural history of the phonograph in the United States from 1890 to 1945. William Howland Kenney offers a full account of what he calls "the 78 r.p.m. era"--The formative early decades in which the giants of the record industry reigned supreme in the absence of radio, to the postwar proliferation of independent labels, disk jockeys, and changes in popular taste and opinion.
The setting is the Royal Gardens Cafe. It's dark, smoky. The smell of gin permeates the room. People are leaning over the balcony, their drinks spilling on the customers below. On stage, King Oliver and Louis Armstrong roll on and on, piling up choruses, the rhythm section building the beat until tables, chairs, walls, people, move with the rhythm. The time is the 1920s. The place is South Side Chicago, a town of dance halls and cabarets, Prohibition and segregation, a town where jazz would flourish into the musical statement of an era. In Chicago Jazz, William Howland Kenney offers a wide-ranging look at jazz in the Windy City, revealing how Chicago became the major center of jazz in the 1920s, one of the most vital periods in the history of the music. He describes how the migration of blacks from the South to Chicago during and after World War I set the stage for the development of jazz in Chicago; and how the nightclubs and cabarets catering to both black and white customers provided the social setting for jazz performances. Kenney discusses the arrival of King Oliver and other greats in Chicago in the late teens and the early 1920s, especially Louis Armstrong, who would become the most influential jazz player of the period. And he travels beyond South Side Chicago to look at the evolution of white jazz, focusing on the influence of the South Side school on such young white players as Mezz Mezzrow (who adopted the mannerisms of black show business performers, an urbanized southern black accent, and black slang); and Max Kaminsky, deeply influenced by Armstrong's "electrifying tone, his superb technique, his power and ease, his hotness and intensity, his complete mastery of the horn." The personal recollections of many others--including Milt Hinton, Wild Bill Davison, Bud Freeman, and Jimmy McPartland--bring alive this exciting period in jazz history. Here is a new interpretation of Chicago jazz that reveals the role of race, culture, and politics in the development of this daring musical style. From black-and-tan cabarets and the Savoy Ballroom, to the Friars Inn and Austin High, Chicago Jazz brings to life the hustle and bustle of the sounds and styles of musical entertainment in the famous toddlin' town.
This book is the first to concentrate on the structure and function of black skin. There are some physiological and structural differences between black and white skin; an area of intense interest is that of differences in response to sunlight and other damaging agents. An understanding of response to damaging agents is central to the problems of preventing or forestalling the early effects of aging in skin (a goal that is responsible for the current expansion in dermatological research). This book provides a concise multi-disciplinary insight into the biology, physiology, and chemistry of black skin. Primary emphasis is on the nature and origin of the pigmentary color and how this is related to specific properties of black skin, such as photoprotection and low incidence of skin cancers, that are lacking in white skin. Other topics covered include dermatology and cosmetics of black skin from a practical viewpoint of skin care and current treatments of pigmentary disorders. Black Skin is accessible to a broad range of readers from graduate students to specialists in physical anthropology, skin biology, dermatology, and cosmetology, as well as medical practitioners. Explains the molecular basis of racial color differences and the chemistry of melanin Covers the biologic uniqueness of black skin, including: Lack of elastosis in young skin; Keloid formation Includes pigmentary disorders of black skin Addresses the cosmetics of black skin
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