Improvising Myth and Memory Downtown: Music Venues, Race, and the Potential of Place

References

• ‘About’. 2011. New York Amsterdam News. http://amsterdamnews.com/about/
   Google Scholar
• Adams, Annmarie. 1995. “The Eichler Home: Intention and Experience in Postwar Suburbia.” Perspectives in Vernacular Architecture 5: 164–178. https://doi.org/10.2307/3514253.
   Google Scholar
• ‘Art and Complicity’. 2016. “KCET. 20 July 2016”. https://www.kcet.org/shows/artbound/boyle-heights-gentrification-art-galleries-pssst.
   Google Scholar
• Atkinson, Paul. 2006. “Do it Yourself: Democracy and Design.” Journal of Design History 19 (1): 1–10. https://doi.org/10.1093/jdh/epk001.
   Google Scholar
• Bakhtin, Mikhail. 2010. “Forms of Time and of the Chronotope in the Novel.” In The Dialogic Imagination: Four Essays, translated by Michael Holquist and Caryl Emerson, edited by Michael Holquist, 84–258. Austin, TX: University of Texas Press.
   Google Scholar
• Baraka, Amiri. 1967. Black Music. New York: W. Morrow.
   Google Scholar
• Barzel, Tamar. 2013. “Subsidy, Advocacy, Theory: Experimental Music in the Academy, in New York City, and Beyond.” In People Get Ready: The Future of Jazz is Now!, edited by Ajay Heble, and Rob Wallace, 153–165. Durham, NC: Duke University Press.
   Google Scholar
• Barzel, Tamar. 2015. New York Noise: Radical Jewish Music and the Downtown Scene. Bloomington, IN: Indiana University Press.
   Google Scholar
• ‘BHAAAD: The Short History of A Long Struggle’. n.d. http://alianzacontraartwashing.org/en/coalition-statements/bhaaad-the-short-history-of-a-long-struggle/.
   Google Scholar
• Born, Georgina. 1995. Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde. Berkeley, CA: University of California Press.
   Google Scholar
• Bourdieu, Pierre. 1984. Distinction: A Social Critique of the Judgement of Taste. Translated by Richard Nice. Cambridge, MA: Harvard University Press.
   Google Scholar
• Boym, Svetlana. 2001. The Future of Nostalgia. New York, NY: Basic Books.
   Google Scholar
• Brackett, John. 2013. “Subsidizing the Experimental Muse: Rereading Ribot.” In People Get Ready: The Future of Jazz is Now!, edited by Ajay Heble, and Rob Wallace, 166–174. Durham, NC: Duke University Press.
   Google Scholar
• Brinner, Benjamin. 1995. Knowing Music, Making Music: Javanese Gamelan and the Theory of Musical Competence and Interaction. Chicago, IL: University Of Chicago Press.
   Google Scholar
• Burke, Patrick. 2014. “The Fugs, the Lower East Side, and the Slum Aesthetic in 1960s Rock.” Journal of the Society for American Music 8 (4): 538–566. https://doi.org/10.1017/S175219631400039X.
   Web of Science ®Google Scholar
• Bynum, Taylor Ho. 2010. Personal interview with the author, Middletown, CT.
   Google Scholar
• Byrd, Frank. 1938. ‘Harlem Rent Parties’. Federal Writer’s Project. New York. https://www.loc.gov/resource/wpalh2.21011010/?st=gallery.
   Google Scholar
• Cage, John. 1961. Silence: Lectures and Writings. Middletown: Wesleyan University Press.
   Google Scholar
• Casellas, Antònia, Esteve Dot-Jutgla, and Montserrat Pallares-Barbera. 2012. “Artists, Cultural Gentrification and Public Policy.” Urbani Izziv 23: S104–S114. https://doi.org/10.5379/urbani-izziv-en-2012-23-supplement-1-010.
   Google Scholar
• Chinen, Nate. 2007. Requiem for a Club: Saxophone and Sighs’. The New York Times, April 16, 2007.
   Google Scholar
• Chude-Sokei, Louis Onuorah. 2005. The Last ‘Darky’: Bert Williams, Black-on-Black Minstrelsy, and the African Diaspora. Durham, NC: Duke University Press.
   Google Scholar
• Cohen, Brigid. 2018. “Enigmas of the Third Space: Mingus and Varèse at Greenwich House, 1957.” Journal of the American Musicological Society 71 (1): 155. https://doi.org/10.1525/jams.2018.71.1.155.
   Web of Science ®Google Scholar
• Courvoisier, Sylvie. 2015. Email correspondence with the Author, May 19, 2015.
   Google Scholar
• Currid, Elizabeth. 2007. The Warhol Economy: How Fashion, Art, and Music Drive New York City. Princeton, NJ: Princeton University Press.
   Google Scholar
• Currie, Scott. 2009. Sound Visions: An Ethnographic Study of Avant-Garde Jazz in New York City. New York, NY: New York University.
   Google Scholar
• Cuscuna, Michael, Charlie Lourie, and Oscar Schnider. 1995. The Blue Note Years: The Jazz Photography of Francis Wolff. New York, NY: Rizzoli.
   Google Scholar
• Diner, Hasia. 2000. Lower East Side Memories: A Jewish Place in America. Princeton, NJ: Princeton University Press.
   Google Scholar
• Dowling, Robert M. 2007. Slumming in New York: From the Waterfront to Mythic Harlem. Urbana, IL: University of Illinois Press.
   Google Scholar
• Edwards, Clive. 2006. “‘Home is Where the Art is': Women, Handicrafts and Home Improvements 1750-1900.” Journal of Design History 19 (1): 11–21. https://doi.org/10.1093/jdh/epk002.
   Google Scholar
• Farley, Jeff. 2011. “Jazz as a Black American Art Form: Definitions of the Jazz Preservation Act.” Journal of American Studies 45 (1): 113–129. https://doi.org/10.1017/S0021875810001271.
   Web of Science ®Google Scholar
• Feld, Steven. 1987. “Dialogic Editing: Interpreting How Kaluli Read Sound and Sentiment.” Cultural Anthropology 2 (2): 190–210. https://doi.org/10.1525/can.1987.2.2.02a00020.
   Google Scholar
• Feld, Steven. 1996. “Waterfalls of Song: An Acoustemology of Place Resounding in Bosavi, Papua New Guinea.” In Senses of Place, edited by Keith H. Basso and Steven Feld, 91–135. Santa Fe, NM: School of American Research Press.
   Google Scholar
• Fitzell, Sean Patrick. 2005. The Stone: John Zorn’s Latest Downtown Venture’. All About Jazz, April 7. http://www.allaboutjazz.com/php/article.php?id = 16972
   Google Scholar
• Florida, Richard. 2014. The Rise of the Creative Class–Revisited: Revised and Expanded. New York: Basic Books.
   Google Scholar
• Gaffney, Nicholas L. 2013. ““HE WAS A MAN WHO WALKED TALL AMONG MEN”: Duke Ellington, African American Audiences, and the Black Musical Entertainment Market, 1927–1943.” The Journal of African American History 98 (3): 367–391. https://doi.org/10.5323/jafriamerhist.98.3.0367.
   Google Scholar
• Hastrup, Kirsten. 1990. “The Ethnographic Present: A Reinvention.” Cultural Anthropology 5 (1): 45–61. https://doi.org/10.1525/can.1990.5.1.02a00030.
   Google Scholar
• Hazzard-Gordon, Katrina. 1985. “African-American Vernacular Dance.” Journal of Black Studies 15 (4): 427–445. https://doi.org/10.1177/002193478501500405.
   Web of Science ®Google Scholar
• Heap, Chad. 2008. Slumming: Sexual and Racial Encounters in American Nightlife, 1885-1940. Chicago, IL: University of Chicago Press.
   Google Scholar
• Heller, Michael C. 2016. Loft Jazz: Improvising New York in the 1970s. Oakland, California: University of California Press.
   Google Scholar
• Isoardi, Steven L. 2006. The Dark Tree: Jazz and the Community Arts in Los Angeles. Berkeley: University of California Press.
   Google Scholar
• Jackson, Andrew. 2006. “Labour as Leisure--The Mirror Dinghy and DIY Sailors.” Journal of Design History 19 (1): 57–67. https://doi.org/10.1093/jdh/epk005.
   Google Scholar
• Jackson, Travis A. 2012. Blowin’ the Blues Away: Performance and Meaning on the New York Jazz Scene. Berkeley, CA: University of California Press.
   Google Scholar
• Jost, Ekkehard. 1994. Free Jazz. New York, NY: Da Capo Press.
   Google Scholar
• Kaplan, H. Roy. 2011. The Myth of Post-Racial America: Searching for Equality in the Age of Materialism. Lanham, MD: R&L Education.
   Google Scholar
• Kelley, Robin D.G. 2009. Thelonious Monk: The Life and Times of an American Original. New York, NY: Free Press.
   Google Scholar
• LaGrone, Kheven. 2016. “Fight or Flight: Oakland’s Homeless and African American Residents Face Uphill Battle Against Pro-Gentrification City Government.” Race, Poverty & the Environment 21 (1): 40–43.
   Google Scholar
• Ledwidge, Mark, Kevern Verney, and Inderjeet Parmar, eds. 2013. Barack Obama and the Myth of a Post-Racial America. New York, NY: Routledge.
   Google Scholar
• Lee, Okkyung. 2010. Interview with the author, New York.
   Google Scholar
• Lee, Okkyung. 2013. Interview with the author, Brooklyn, NY.
   Google Scholar
• Lewis, George E. 1996. “Improvised Music After 1950: Afrological and Eurological Perspectives.” Black Music Research Journal 16 (1): 91–122. https://doi.org/10.2307/779379.
   Web of Science ®Google Scholar
• Lewis, George E. 2004a. “Afterword to ‘Improvised Music After 1950’: The Changing Same.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, edited by Daniel Fischlin, and Ajay Heble, 163–172. Middletown, CT: Wesleyan University Press.
   Google Scholar
• Lewis, George E. 2004b. “Experimental Music in Black and White: The AACM in New York, 1970-1985.” In Uptown Conversations: The New Jazz Studies, edited by Robert O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin, 50–101. New York, NY: Columbia University Press.
   Google Scholar
• Lewis, George E. 2004c. “Gittin’ to Know Y’all: Improvised Music, Interculturalism, and the Racial Imagination.” Critical Studies in Improvisation 1 (1): 1–33.
   Google Scholar
• Lewis, George E. 2008. A Power Stronger Than Itself: The AACM and American Experimental Music. Chicago, IL: University of Chicago Press.
   Google Scholar
• Lipsitz, George. 2007. “The Racialization of Space and the Spatialization of Race: Theorizing the Hidden Architecture of Landscape.” Landscape Journal 26 (1): 10–23. https://doi.org/10.3368/lj.26.1.10.
   Google Scholar
• Litweiler, John. 1990. The Freedom Principle: Jazz After 1958. New York, NY: Da Capo Press.
   Google Scholar
• Litweiler, John. 1992. Ornette Coleman: A Harmolodic Life. New York, NY: William Morrow and Company, Inc.
   Google Scholar
• Lloyd, Richard. 2006. Neo-Bohemia: Art and Commerce in the Postindustrial City. New York, NY: Routledge.
   Google Scholar
• Looker, Benjamin. 2004. Point from Which Creation Begins: The Black Artists’ Group of St. Louis. St. Louis, MO: Missouri History Museum Press.
   Google Scholar
• Lopes, Paul. 2002. The Rise of a Jazz Art World. Cambridge: Cambridge University Press.
   Google Scholar
• Mele, Christopher. 2000. Selling the Lower East Side: Culture, Real Estate, and Resistance in New York City. Minneapolis, MN: University of Minnesota Press.
   Google Scholar
• Mori, Ikue. 2015. Email Correspondence with the Author, 22 May.
   Google Scholar
• Moshe, Ras. 2010. Interview with the author, telephoneDigital audio recording.
   Google Scholar
• Muller, Carol Ann, and Sathima Bea Benjamin. 2011. Musical Echoes: South African Women Thinking in Jazz. Durham, NC: Duke University Press.
   Google Scholar
• ‘Nightclubs and Other Venues’. n.d. The New Grove Dictionary of Jazz, 2nd ed., Grove Music Online. Oxford Music Online. Oxford University Press. Accessed September 18, 2015. http://www.oxfordmusiconline.com/subscriber/article/grove/music/J330000pg38.
   Google Scholar
• Nyman, Michael. 1999. Experimental Music: Cage and Beyond. 2nd edition. New York: Cambridge University Press.
   Google Scholar
• ‘On Musical Multiplicity: Tyshawn Sorey Speaks’. 2014. Jazz Speaks (blog). 14 October 2014. http://www.jazzspeaks.org/tyshawn-sorey-speaks-on-musical-multiplicity/.
   Google Scholar
• Piekut, Benjamin. 2009. “Race, Community, and Conflict in the Jazz Composers Guild.” Jazz Perspectives 3 (3): 191–231. https://doi.org/10.1080/17494060903454529.
   Google Scholar
• Piekut, Benjamin. 2011. Experimentalism Otherwise: The New York Avant-Garde and its Limits. Berkeley: University of California Press.
   Google Scholar
• Pinson, K. Heather. 2014. The Jazz Image: Seeing Music Through Herman Leonard’s Photography. Reprint edition. Jackson, MI: University Press of Mississippi.
   Google Scholar
• Porter, Eric. 2002. What is This Thing Called Jazz?: African American Musicians as Artists, Critics, and Activists. Berkeley, CA: University of California Press.
   Google Scholar
• ‘Rent Party, n.’. 2015. Oxford English Dictionary Online. New York, NY: Oxford University Press.
   Google Scholar
• Ribot, Marc. 2013. “Days of Bread and Roses.” In People Get Ready: The Future of Jazz is Now!, edited by Ajay Heble, and Rob Wallace, 141–152. Durham, NC: Duke University Press.
   Google Scholar
• Ribot, Marc. n.d. ‘Marc Ribot: The Care and Feeding of a Musical Margin’. All About Jazz. http://www.allaboutjazz.com/marc-ribot-the-care-and-feeding-of-a-musical-margin-marc-ribot-by-aaj-staff.php.
   Google Scholar
• Roberts, Tamara. 2016. Resounding Afro Asia: Interracial Music and the Politics of Collaboration. New York, NY: Oxford University Press.
   Google Scholar
• Robinson, Charles L., and Al Young. 2008. Jazz Idiom: Blueprints, Stills, and Frames: The Jazz Photography of Charles L. Robinson. Berkeley, CA: Heyday.
   Google Scholar
• Sakakeeny, Matt. 2010. “‘Under the Bridge’: An Orientation to Soundscapes in New Orleans.” Ethnomusicology 54 (1): 1–27. https://doi.org/10.5406/ethnomusicology.54.1.0001.
   Web of Science ®Google Scholar
• Schaffer, Richard, and Neil Smith. 1986. “The Gentrification of Harlem?” Annals of the Association of American Geographers 76 (3): 347–365. https://doi.org/10.1111/j.1467-8306.1986.tb00124.x.
   Web of Science ®Google Scholar
• Scherbenske, Amanda L. 2017. “On the Production of Alternative Music Places: Im-Materiality, Labor, and Meaning.” Popular Music and Society 0 (0): 1–16.
   Google Scholar
• Smith, Neil. 1996. The New Urban Frontier: Gentrification and the Revanchist City. New York, NY: Routledge.
   Google Scholar
• Sorey, Tyshawn. 2010. Personal communication with the author.
   Google Scholar
• Spellman, A. B. 1966. Four Jazz Lives. Ann Arbor, MI: The University of Michigan Press.
   Google Scholar
• Stanbridge, Alan. 2013. “Somewhere There: Contemporary Music, Performance Spaces, and Cultural Policy.” In People Get Ready: The Future of Jazz is Now!, edited by Ajay Heble, and Rob Wallace, 184–196. Durham: Duke University Press.
   Google Scholar
• Szwed, John. 1998. Space is the Place: The Lives and Times of Sun Ra. New York, NY: Da Capo Press.
   Google Scholar
• Tanner, Lee. 2006. The Jazz Image: Masters of Jazz Photography. Edition Unstated edition. New York, NY: Harry N. Abrams.
   Google Scholar
• Tate, Greg. 2003. Everything But the Burden: What White People Are Taking from Black Culture. New York: Broadway Books.
   Google Scholar
• Teal, Kimberly Hannon. 2014. “Posthumously Live: Canon Formation at Jazz at Lincoln Center Through the Case of Mary Lou Williams.” American Music 32 (4): 400–422. https://doi.org/10.5406/americanmusic.32.4.0400.
   Web of Science ®Google Scholar
• Teasley, Martell, and David Ikard. 2010. “Barack Obama and the Politics of Race.” Journal of Black Studies 40 (3): 411–425. https://doi.org/10.1177/0021934709352991.
   Web of Science ®Google Scholar
• Tesler, Michael, and David O. Sears. 2010. Obama’s Race: The 2008 Election and the Dream of a Post-Racial America. Chicago Studies in American Politics edition. Chicago, IL: University Of Chicago Press.
   Google Scholar
• ‘The Stone Website’. n.d. http://thestonenyc.com.
   Google Scholar
• Thompson, George. 2001. “The Community Role and Management of a Not-For-Profit Music Centre.” International Journal of Arts Management 4 (1): 12–25.
   Google Scholar
• Thomson, Scott. 2013. “One Musician Writes About Creative Music Venues in Toronto.” In People Get Ready: The Future of Jazz is Now!, edited by Ajay Heble, and Rob Wallace, 175–183. Durham: Duke University Press.
   Google Scholar
• Vargas, João H. Costa. 2008. “Exclusion, Openness, and Utopia in Black Male Performance at the World Stage Jazz Jam Sessions.” In Big Ears: Listening for Gender in Jazz Studies, edited by Nichole T. Rustin, and Sherrie Tucker, 320–347. Durham, NC: Duke University Press.
   Google Scholar
• Wilf, Eitan Y. 2014. School for Cool: The Academic Jazz Program and the Paradox of Institutionalized Creativity. Chicago, IL: University of Chicago Press.
   Google Scholar
• Wilmer, Valerie. 1981. As Serious as Your Life: The Story of the New Jazz. Westport, CT: Lawrence Hill & Co.
   Google Scholar
• Winograd, Michael. 2007. Email to Jewish Music List listserv.
   Google Scholar
• Zorn, John. 2011. Correspondence with the Author, February 2.
   Google Scholar