The Problem with White Hippies, Race, Gender and Cultural Conception in Jazz Historical Discourse. The Idea of African American music and hippies as cultural critique has detached Itself over the past from the circulated Internationally, particular historical context of bebop: it has inspired many young generations of white people to adopt both the style of hippies, which have shifted to changes in sartorial style, and African American musical, and the social attitude that hippies has been trying to signify (Lott 16).
Indeed the idea off subcultures resistance and politics of style has been central to cultural studies, Including classic Subculture: “The Meaning of Style. ” There has been a struggle over meaning In Jazz that we have learned In class and from my group wick. I will show you the similarities between what we learned in class from Scott Devalue and Bernard Genders and my cartoon group wick and Ashley wick such as, races, sex gender and music style. Race is the aspect off struggle over meaning of Jazz that our group wick have focused on as same as the article from Scott Devalue.
For example, “White Hippies”, is about the interrelationships among the gender, class, music, and social diversity of African American. White people symbolizes African Americans as a sexual freedom, social conscience, and resistance to the dominant order in the imagination of white Americans. White Americans have confused the most “transgression” aspects of the culture of African American with true character, they fall into the trap of viewing blackness as absence.
The view of blackness falls into its concomitant exoticism and he legacy of historical primitivism of “the other”, whether conceived as an absence of bourgeois pretensions or morality (Scott 298). After I learned the Idea of race and gender from Scott and Veer’s walk, I think the Intersection of racial stereotypes and gender in the concept of hippies deserves more attention: for the “subcultures” image of bebop was nourished by a conflation of the music with a style of black masculinity that held, great appeal for white musicians and audiences.
In my opinion, I think that the frequency with which white musicians emulated the style n their African American heroes has received much comment; the question Is whether white Identification with jazz has been primarily a “dialectic of misrecognition and identification. ” We also learned from the article of Scott Devalue in class about the sex and gender. Moreover, Veer’s wick also discusses how white people interact with sex and gender that relates to black people in the sass.
African American musicians generally have come to symbolize sensual intensity, and emotional depth, white people must examine the logic of race and gender that has heaped their understandings of African American culture and music (Scott 302). The who interested in culture and gender difference. Scott Devalue research is one of the most successful interpretations of gender, sexuality, and race. For example, when sexuality is conceived as an instinct, more expressive sexual cultures are presumed to be more primitive.
According to Veer’s wick, I think the issue from an anthropological perspective on a theory of sexual desire could lead us to a better understanding of the ships among gender, race, and sexuality (Scott 398). In ERM of music and style Ashley wick does a really good Job to support Bernard Gudgeon’s argument on the “traditional versus modern”. They both think it must be understood within the debate about swing in the early forties versus New Orleans jazz.
The “moldy figs,” as the advocates for older Jazz were called, denounced swing as “modern,” commercialism music. Later on, bebop and swing Jazz musicians were reunited again in their disdain for the “traditionalists” (Genders 130). While bebop became more controversial, however, battle lines were drawn between the musicians OTOH swing and bebop as well. Genders addresses that, there are two main aspects to the concept of “modern” among Jazz fans and musicians. First they use the word to describe artistic and structural elements of the music.
For example, the use of flatted fifths, the interjection of rhythmic bombs into the texture of rhythm, the whole-tone scales, complicated re-harmonistic of popular tunes, rhythmic articulation and phrasing, technical virtuosity and really fast tempos: these were among musical style called as “modern” by the Jazz press and musicians (Genders 31). The second aspect has to do with the meaning of “modern” in relation to social and political opposition to racial discrimination in the world of entertainment.
Young “modern” generations of musicians sought not only to change the sound of Jazz, but to reject the legacy of the minstrel mask by emphasizing “art” instead of “entertainment”(Genders 132). In conclusion, the conflation of modern artistic and musical traits with the modern struggle segregation against and racial discrimination characterizes the r meaning of “modern” within the Jazz community. As you can see there has always been a struggle over a meaning of Jazz in the past whether or not who truly understood the true Jazz.
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