I am grateful for the sensible recommendations and advice of my editor, Sheldon Meyer. Roland Marchand sent me the perfect magazine illustration and Zeph Makgetla helped me with photographic tasks. Tyler checked references for me, and, with Mark Ankcorn, helped prepare the final draft. Neva Makgetla rescued me from a serious jam on the word-processor. Sharon Widomski and Marilynn Lawrence somehow managed to make clean copy out of my writing and typing. This acknowledgment is but a small measure of my appreciation for their patience and confidence in my efforts. While tolerating my eccentricities, they nevertheless continued to give sound advice and solid support. Walters, Daniel Horowitz, and Helen Lefkowitz Horowitz. In this, as in many projects, I owe special thanks to Ronald G. Lemelle read the entire text and gave generously of his time and counsel. Walters and Curt Jerde provided insightful comments on the introduction and Chapter One, Pat Wasielewski noted several important misconceptions in Chapter Two, and Sidney J. Several people proofread and offered critiques of the manuscript. Hill, Tyrus Miller, Daniel Wilson, and Deanna Shemek read all or parts of the dissertation and I appreciate their encouragement. Walters and Vernon Lidtke, and committee members Yves-Alain Bois, Toby Ditz, Gillian Feeley-Harnick, and Daniel O. Consequently, I'd like to thank my supervisors Ronald G. I received many helpful commentsįrom members of my dissertation committee, although I was unable to incorporate all of their suggestions. The Jazz Revolution: Twenties America and the Meaning of Jazz began as my Ph.D. Eisenhower Library at The Johns Hopkins University, and the staff of the George Armacost Library at The University of Redlands also helped me track down sources. The inter-Library Loan, Special Collections, and Periodicals staff of the Milton S. Summer research grants from the University of Redlands made possible my trips to the archives. Robert Brubaker and the Prints and Photographs staff at the Chicago Historical Society gave me useful pointers about jazz photographs. The Special Collections staff of the University of California Library, Los Angeles, provided useful information about West Coast entertainment, particularly in the George P. Dan Morgenstern and the staff of the Rutgers University Institute for Jazz Studies, Newark, likewise guided me through the riches of their collection.
#Jookin to whoop that trick archive#
Curtis Jerde and the staff of the William Ransom Hogan Jazz Archive at Tulane University, New Orleans, helped me find oral histories and photographs. Most of my primary materials came from two outstanding jazz archives that contain valuable oral histories as well as other research materials. I have depended on contributions from others. Like most jazz performances, this book is not a solo act. Reprinted from The Weary Blues', by Langston Hughes, by permission of the publisher. United States-Popular culture-History-20th century. The Jazz Revolution: Twenties America and the meaning of jazz / Kathy J. Library of Congress Cataloging-in-Pnblication Data Ogren, Kathy J. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of Oxford University Press.
Ogren First published in 1989 by Oxford University Press, Inc., 198 Madison Avenue, New York, New York 10016-4314 First issued as an Oxford University Press paperback, 1992 Oxford is a registered trademark of Oxford University Press All rights reserved. Oxford University Press Oxford New York Toronto Delhi Bombay Calcutta Madras Karachi Kuala Lumpur Singapore Hong Kong Tokyo Nairobi Dar es Salaam Cape Town Melbourne Auckland and associated companies in Berlin IbadanĬopyright © 1989 by Kathy J. Ogrenįor my mother Kathleen Joanne Ogren and to the memory of my father Robert A.
The Jazz Revolution Twenties America £sf the Meaning of Jazz Kathy J.
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