The Music Of The Man Essay

The article “Jazz and White Critic” by Amiri Baraka brings light to an element of jazz criticism that he is frustrated by. Baraka finds controversy in the ideas white critics write about regarding jazz music. Baraka states, “Most jazz critics have been white Americans, but most important jazz musicians have not been.” In the 1960’s, when Baraka made this statement, jazz was becoming more popularized and socially accepted. African American jazz musicians took a long, strenuous journey over decades to push their music into the spotlight to become one of the most popular music styles in society internationally. The special element of jazz is its raw emotion. Baraka distinguishes between “White Jazz”, music

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 birth of jazz music is often credited to African Americans, though it didn’t take long to expanded to America's white middle class. Jazz, therefore, was characterised by a meshing of African American traditions and ideals with white middle class societies. Big cities like New York and Chicago were

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"

There are many important women who significantly contributed to Jazz and left a legacy of women artists. In the early years of Jazz, it was considered a male professional and women who tried to be part of Jazz faced obstacles. This was from male musicians, critics, record producers, club-owners, concerts and also racism. Despite the obstacles, women forced their way to be part of Jazz and pushed for equality and visibility (“Gender Discrimination, 2014).

Not all whom listened to the music, will agree. The statement whereas jazz was a “moral disaster” to young girls is inaccurate because teenagers will choose to do whatever they want if it is morally wrong as a result of growing up and experiencing life. Regardless of what kind of music is playing, young teens will go as they please. As for the origins issue, people need to stop believing everything they hear. That issue was developed by a music critic of the New York Herald Tribune. How can everyone be so sure what that critic is saying is entirely true?  III. Conclusion d. Both arguments of this catastrophic impact that jazz has had on all American people are very strong. Unfortunately, one side being stronger than the other. Opponents that opposed this argument had some valid points. Their strongest being- a moral disaster on young women. When they say young girls and guys have been spiraling out of their bodie’s sexual or emotional control, they are correct. The love of the genre might be pulling all types of different people together, that including of boys and girls. A girl and a boy find that they both have the same interest in jazz music, so they might get to know each other and so on. But, is that argument really an entire convincing explanation as to jazz being an annoyance or threat to the American people? This time period being the Great Depression, people struggle

Out of the streets of New Orleans, a new form of music arose. This new type of music was not known as African or European, but simply American. It was jazz. In 1900 jazz first developed, but it wasn’t until the

This also affected the conservative populace of the suburbs who were afraid their young girls were mesmerized by the "black music." Jazz was so closely tied with to African American culture that it was often referred to as being "the accompaniment of the voodoo dancer" (Roaring 2). By referring to jazz in this manner, critics were trying to degrade and undermine everything that it meant to the black community. They were also trying to lure white Americans into their train of thought and trying to get them agree with their mind mapping accusations. "Many […] Americans were appalled to see their children dancing to music that was believed to have emerged from […] [the] Negro brothels of the south"(Roaring 2). In addition, a plethora of jazz critics became famous for voicing their dislike of jazz. But in fact, they hid behind their critiques of jazz in order to express, not the dislike of the music, "but the social and political dislike of the black population" (Anderson 135). The problem that worried white conservatives the most was interbreeding between black and white young people who were really into jazz mainly because it belonged to the new counter-culture. Jazz served as the highway that joined blacks and whites. Whites were not only racists towards blacks emotionally, but their prejudice expanded to influencing their physical behavior as well.

In the article, “Birthplace of Jazz,” Naydja Bynum writes that jazz “...is not an invention. It's alive. It grows, it dies, it changes, it stays the same” (Bynum). Many aspects of society in the 1920’s contributed to the life jazz music brought to the world and the impact it continues to have on modern music today. Post-war strains, racial segregation, and the wild, carefree life of the of the era had the greatest influence on the music of the 1920’s.

At my school, I am one of two women in the jazz program. In high school, I went to Birch Creek: one of the finest summer jazz academies in the country. In attendance, there were four girls and forty-eight boys. Even though I was outnumbered at the camp, I returned there three consecutive years, once earning their most-improved student award. In total, I attended twelve summer music camps between seventh grade and my enrollment at Northern Illinois University. Unfortunately, the boys always greatly outnumbered the girls. The jazz music scene in particular is male-dominated, and women need to fight for their place on stage. As a woman in jazz, I have, among others, been viewed as an outsider, a lesser musician, and an object. Women in jazz should feel welcome in this industry without facing discrimination.

alcohol. Well this is not always the case. Count Basie was from New Jersey and played

While Jim Crow laws were reeking havoc on the lives of African Americans in the South, a massed exodus of Southern musicians, particularly from New Orleans, spread the seeds of Jazz as far north as New York City. A new genre of music produced fissures in the walls of racial discrimination thought to be impenetrable. Musicians such as Louis Armstrong, Duke Ellington, "King" Oliver and Fletcher Henderson performed to the first desegregated audiences. Duke Ellington starred in the first primetime radio program to feature an African American artist. And a quirky little girl from Missouri conquered an entire country enthralled by her dark skin, curvaceous body and dynamic personality. Josephine Baker was more than

African Americans were responsible for bringing jazz music to Europe. Due to the fact that the people in Paris were far more excepting of colored people, many African American singer and dancers made their way to Paris to start their careers and a make a name for themselves. There are few cities in the world that are more associated with jazz than Paris (Pelzer). Most of the time, African American’s in Paris were just looked at by Parisians as entertainers (Stovall). These African American were objects of Parisian curiosity and fantasy, and the audiences were very much intrigued by the exoticism that went into so many performances. These foreign entertainers became the backbones of the Paris Jazz Age (Pelzer).

Even though Jazz music was predominantly of African-American audiences, it grew to all listeners of music regardless of their race. But, if we look at the audience of today, the listeners of Jazz music are white. Jazz was also able to grow during its height because of the fact that music was able to be recorded. This gave everyone the ability to hear this genre of music, even if they were not able to go out and enjoy it live. Also during this time and through the mid-century Jazz was the dance music of Americans. Jazz in fact influenced the younger crowds in how they dressed, their language, as well as a certain attitude. Most of all, Jazz, more than most other music, has been firmly related with the societal, political, and financial impacts of American urban communities and in addition the changing status of American workmanship and music all through the