Open Access (free)
Jazzing the Blues Spirit and the Gospel Truth in James Baldwin’s “Sonny’s Blues”
Steven C. Tracy

The webs of musical connection are essential to the harmony and cohesion of James Baldwin’s “Sonny’s Blues.” As a result, we must explore the spectrum of musical references Baldwin makes to unveil their delicate conjunctions. It is vital to probe the traditions of African-American music—Spirituals, Blues, Jazz, and Pop—to get a more comprehensive sense of how Baldwin makes use of music from the sacred and secular continuum in the African-American community. Looking more closely at the variety of African-American musical genres to which Baldwin refers in the story, we can discern even more the nuances of unity that Baldwin creates in his story through musical allusions, and shed greater light on Baldwin’s exploration of the complexities of African-American life and music, all of which have as their core elements of human isolation, loneliness, and despair ameliorated by artistic expression, hope, and the search for familial ties. Through musical intertextuality, Baldwin demonstrates not only how closely related seemingly disparate (in the Western tradition) musical genres are, but also shows that the elements of the community that these genres flow from and represent are much more in synchronization than they sometimes seem or are allowed to be. To realize kinship across familial (Creole), socio-economic (the brother), and most importantly for this paper appreciation and meanings of musical genres advances to Sonny the communal cup of trembling that is both a mode and an instance of envisioning and treating music in its unifying terms, seeing how they coalesce through a holistic vision.

James Baldwin Review
Louis James

largely middle class, and Brathwaite was sent to the island’s best school, Harrison College, where he received a rigorous education modelled on that of an English public school. 13 Early, however, he showed independent tastes. He formed a passion for jazz, music that the island ‘culture censors’ considered low and unsuited to a Harrison College boy. When, in the sixth form, he

in West Indian intellectuals in Britain
Open Access (free)
The Admirable Crichton and Look Back in Anger
Stephen Lacey

’s temporary lover – Helena and, briefly, Alison’s father). However, little of the film’s action remains within the Porter’s seedy bed-sit. The film opens, not in the flat, but in a jazz club/pub. As the narrative progresses, locations only mentioned in the play are represented directly on screen; we follow Jimmy and Cliff to the street market where they run a sweet stall; we see Jimmy attend the funeral of

in British cinema of the 1950s
Musical meaning and musical discourse in Ingmar Bergman’s films
Per F. Broman

). That domain was closely integrated with religion and religious experiences, an experiential sphere that seems to have stayed with him, despite his drift toward agnosticism. Although Bergman reminisced about a folk melody he heard as a child, in his films musical experiences are exclusively associated with Western art music from the eighteenth and nineteenth centuries. When he briefly talked about jazz in Sommar , it was as a means to connect with girls in the course of a summer vacation during his teens. And when

in Ingmar Bergman
Open Access (free)
Nazima Kadir

. Thus, there is a subtle process of mastery and rejection in which one understands the values of the Mainstream, masters them, and then rejects them to both conform to and reify the values of the alternative milieu (Bourdieu and Johnson 1993 ). To complement Bourdieu’s more theoretical work, Howard Becker’s study of jazz musicians ( 1963 ) and Sarah Thornton’s study of ravers in the UK (1996) use ethnography to describe the social worlds of subcultures, their particular values, the process of hierarchical

in The autonomous life?
Open Access (free)
Film festivals and the revival of Classic Hollywood
Julian Stringer

, October 7 1926’ and ‘Jazz Age Vitaphone Shorts’ (USA, 1927–29). The former includes Al Jolson in A Plantation Act (1926); ‘a full year before his triumph in The Jazz Singer . . . Withdrawn by Warner Bros., this short had been considered lost until the Library of Congress found the picture, and the Vitaphone Project located the only surviving copy of the Vitaphone disc – broken into four pieces and

in Memory and popular film
Open Access (free)
Classical music in the lms of Ingmar Bergman—a lecture-recital
Anyssa Neumann

‘metaphorically’ in Bergman’s otherwise largely silent films, does not preclude music from providing context, delineating structure, or increasing drama. Nor was music in Bergman’s earlier films used only to increase drama or build structure. Just as he occasionally used pre-existing music in his early films, he also continued to use soundtrack scores and non-classical genres later on. Amid the vast silences and concentrated dialogues, brief, intense moments of classical music stand alongside the occasional use of jazz

in Ingmar Bergman
Open Access (free)
Andrew Bowie

anything but simple. The main point of serious investigation of the significant products of Western culture – and this can include everything from Bach, to jazz, Shakespeare, to new forms of independent film – has become, for some recent theory, to explore the extent to which these products contribute to or escape from repressive discourses of race, gender, class, etc. Many approaches put in question by such theory aim, in contrast, to understand how great culture opens up worlds of the imagination which provide new resources of meaning in all kinds of different social

in The new aestheticism
Catherine Baker

informed the racial politics of Yugoslav popular music ( Chapter 1 ). Early 1950s Yugoslav Communists, like authorities in many European countries, expressed reservations about jazz, and some People's Youth reports about music considered ‘vulgar … black dances’ and jazz music inappropriate for the youth supposedly being remade as new socialist men and women – but they were not as concerned, Dean Vuletić ( 2015 : 29) argues, as similar moral guardians in the West (or the USSR), because Yugoslavia lacked any ‘significant black minority, colonialist tradition, and stationed

in Race and the Yugoslav region
Catherine Baker

of a global consumer culture that commercialises racialised gazes and desires into exotica (Gilroy 2000 ) and of the complex global imagination of ‘America’: indeed, African-American music and musicians were important for US cultural diplomacy during the Cold War (Von Eschen 2006 ), towards Non-Aligned Yugoslavia (Vučetić 2012 ) as well as the USSR. Sounds, songs, stars and genres deeply embedded in US racial politics, from jazz to Michael Jackson through Motown, were also cultural artefacts that entered Yugoslavia as symbols of Americanness, coolness and

in Race and the Yugoslav region