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Danger Sound Klaxon!
Danger Sound Klaxon! reveals the untold story of the Klaxon automobile horn, one of the first great electrical consumer technologies of the twentieth century. Although its metallic shriek at first shocked pedestrians, savvy advertising strategies convinced consumers across the United States and western Europe to adopt the shrill Klaxon horn as the safest signaling technology available in the 1910s. The widespread use of Klaxons in the trenches of World War I, however, transformed how veterans heard this car horn, and its traumatic association with gas attacks ultimately doomed this once ubiquitous consumer technology. By charting the meteoric rise and eventual fall of the Klaxon, Matthew Jordan highlights how perceptions of sound-producing technologies are guided by, manipulated, and transformed through advertising strategies, public debate, consumer reactions, and governmental regulations. Jordan demonstrates in this fascinating history how consumers are led toward technological solutions for problems themselves created by technology.
Le Jazz
In Le Jazz, Matthew F. Jordan deftly blends textual analysis, critical theory, and cultural history in a wide-ranging and highly readable account of how jazz progressed from a foreign cultural innovation met with resistance by French traditionalists to a naturalized component of the country's identity. Jordan draws on sources including ephemeral critical writing in the press and twentieth-century French literature to trace the country's reception of jazz, from the Cakewalk dance craze and the music's significance as a harbinger of cultural recovery after World War II to its place within French ethnography and cultural hybridity. Countering the histories of jazz's celebratory reception in Fra...
After Django
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.
Henry James Goes to the Movies
Why has a nineteenth-century author with an elitist reputation proved so popular with directors as varied as William Wyler, François Truffaut, and James Ivory? A partial answer lies in the way many of Henry James's recurring themes still haunt us: the workings of power, the position of women in society, the complexities of sexuality and desire. Susan Griffin has assembled fifteen of the world's foremost authorities on Henry James to examine both the impact of James on film and the impact of film on James. Anthony Mazella traces the various adaptations of The Turn of the Screw, from novel to play to opera to film. Peggy McCormack examines the ways the personal lives of Peter Bogdanovich and ...
Shaping Jazz
There are over a million jazz recordings, but only a few hundred tunes have been recorded repeatedly. Why did a minority of songs become jazz standards? Why do some songs--and not others--get rerecorded by many musicians? Shaping Jazz answers this question and more, exploring the underappreciated yet crucial roles played by initial production and markets--in particular, organizations and geography--in the development of early twentieth-century jazz. Damon Phillips considers why places like New York played more important roles as engines of diffusion than as the sources of standards. He demonstrates why and when certain geographical references in tune and group titles were considered more des...
Making Jazz French
DIVA history of jazz in interwar France, concentrating on the ways this originally American music was integrated into French culture./div
At Home in Our Sounds
"At Home in Our Sounds: Music, Race, and Cultural Politics in Interwar Paris shows how and why music became part of the social changes Europe faced in the aftermath of World War One. It focuses on the story of black music in Paris and the people who created it, enjoyed it, criticised it and felt at home when they heard it. African Americans, French Antilleans, and French West Africans wrote, danced, sang, and acted politically in response to the heightened visibility of racial difference in Paris during this era. They were consumed with questions that continue to resonate today. Could one be black and French? Was black solidarity more important than national and colonial identity? How could ...
Tracks on the Trail
From Bill Clinton playing his saxophone on The Arsenio Hall Show to Barack Obama referencing Jay-Z’s song “Dirt Off Your Shoulder,” politicians have used music not only to construct their personal presidential identities but to create the broader identity of the American presidency. Through music, candidates can appear relatable, show cultural competency, communicate values and ideas, or connect with a specific constituency. On a less explicit level, episodes such as Clinton’s sax-playing and Obama’s shoulder brush operate as aural and visual articulations of race and racial identity. But why do candidates choose to engage with race in this manner? And why do supporters and detract...
Afromodernisms
Makes a persuasive case for a black Atlantic literary renaissance & its impact on modernist studies. These 10 new chapters stretch and challenge current canonical configurations of modernism in two key ways: by considering the centrality of black artists, writers and intellectuals as key actors and core presences in the development of a modernist avant-garde; and by interrogating 'blackness' as an aesthetic and political category at critical moments during the twentieth century. This is the first book-length publication to explore the term 'Afromodernisms' and the first study to address together the cognate fields of modernism and the black Atlantic.
