Any account of the history of jazz that does not include a discussion about race would be incomplete. Jazz as a communication of Black life was integral to the genre’s genesis in New Orleans as well as its development and growth across the country over time. However it was not until the 1930s that the subject of race within jazz was explicitly written and talked about. Race coming to the fore at this time in particular was largely due to the increased interracial relations as a result of the larger prominence of Whites in jazz, and the asymmetric power balance contained within.
The advent of radio in the 20s was one of the great technological feats of the period, and by the decade’s close annual radio sales “had skyrocketed to over $850 million” [Gioia, 128]. The spread of this technology had inevitable effects on the industry of jazz as a whole. It created an expansive, national market for jazz, causing an explosion in the popularity of Swing. However, with radio, “supply and demand were brought further out of alignment,” for one band could entertain listeners all across the country—the work previously done by thousands of jazz bands could now be done by only a few [Gioia, 128].
Access to the supply side of jazz was controlled by White businessmen in the recording and broadcasting industries. Because access was so limited, these businessmen had unprecedented leverage over the musicians vying for the distribution of their music, and White presence and influence in jazz was bigger than ever. The period’s great musicians are historically linked to the powerful agents that they had relationships with, including “Louis Armstrong and Joe Glaser, Duke Ellington and Irving Mills, [and] Benny Goodman and John Hammond” [Gioia, 128]. The dire economic climate of the Depression gave these businessmen even more leverage. Even great, proud musicians such as Duke Ellington were forced to make concessions in order to maintain success and prominence during this period.
This increased influence and control of Whites in jazz during the 30s Swing period also involved a larger number of white musicians playing to white audiences, which “marginalized black bands during a period of segregation” [Stewart, 02/10/15]. Unfortunately, though not unexpected of the time, White musicians were afforded an unfair advantage with regards to access to resources and opportunities creating a racial competition. This competition was only exacerbated by the Depression economy—both Blacks and Whites struggled in poverty.
The increased interracial relations during this period was a critical juncture for the dialogue about race contained within jazz’s history. The racial dynamic between Blacks and Whites within jazz was not unlike the dynamic between the two groups in society as a whole—“the hegemonic role of Whites remains” [Stewart, 02/12/15]. In a racialized society, this racialization of jazz was inevitable.
Commented on Sam Karlin's blog.
Commented on Sam Karlin's blog.
I really liked that you went into depth about the effect of the radio and how the change in economy affected people's thinking about race. I would suggest that you mention John Hammond and how the increased presence of critics in the 1930's significantly impacted the way society thought about jazz because it brought racial injustice to the forefront of popular media. However your argument was well organized and easy to follow, which really helped. Thanks for sharing!
ReplyDeleteI like how you both addressed the effect radio had alone, and then effects it had in the power it gave to white business men. This was hammered home by providing Duke Ellington as an example. You did a great job detailing the causes and effects of the competition between black and white musicians. I think your point could have been even stronger by alluding to the fact that swing was written about by primarily white critics. Like taylor said though, your argument was clear, thorough, and easy to read. Well done.
ReplyDeleteI like how you addressed the fact that although many of the great artists were black most of the businessmen, which jazz is growing into, were white. I think the fourth paragraph may benefit from more textual support because it could be argued that whites have always had an unfair advantage, which would leave the racial aspect of that paragraph moot. Written very well though! Great job!
ReplyDeleteYour argument is very thorough and concise. I like how you focused on the radio being a primary driving force during the time periods and its affects on race during the time. Like Taylor said, it would have been advantageous to discuss people such as John Hammond as an influential critic during the time. Overall very good post.
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