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During the 1930s, swing bands combined jazz and popular music to create large-scale dreams for the Depression generation, capturing the imagination of America's young people, music critics and the music business. This book explores that world, looking at the racial mixing-up and musical swinging-out that shook the nation and has kept people dancing ever since. The text is a study of the big band era, chiefly during its golden hours in the 1930s; Lewis A. Erenberg places the music within a larger context and makes his case for its importance.

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Book Details

ISBN: 9780226215174
ISBN-10: 0226215172
Format: Paperback
(230mm x 150mm x 21mm)
Pages: 340
Imprint: University of Chicago Press
Publisher: The University of Chicago Press
Publish Date: 27-Oct-1999
Country of Publication: United States

Other Editions

Reviews

US Kirkus Review » Erenberg (History/Loyola Univ.) picks up the history of American popular culture where he left off at the end of his previous book, Steppin' Out: NY Nightlife and the Transformation of American Culture (not reviewed). From the middle of the 1930s through the early years of the postwar period, the so-called swing era, American popular music was dominated by the sound of the big bands, both jazz bands and "sweet" bands. For the first time in the history of American popular culture, African-American forms came to the fore, and the success of big-band jazz made it possible, albeit with considerable difficulty, for some musicians to push a pioneering racial integration on the bandstand and even in the audience. At the same time, Erenberg argues, swing helped revive a potentially moribund youth culture, verdant in the '20s but battered by the economic realities of the Depression. A combination of forces, particularly the repeal of Prohibition and the rise of radio, made the brief triumph of swing possible. And a brief triumph it was - the war and the social forces it unleashed, the Red scare of the post-WW II era and a series of rapid socioeconomic changes doomed the big bands. This story has been told many times before, and Erenberg does make some significant contributions to enriching the picture, most notably in his occasional focus on audience reaction and participation. But overall this is a disconnected and often repetitive collection of essays. Moreover, the book is marred by numerous errors, such as attributing "Bidin' My Time" to Hoagy Carmichael. The most egregious error, however, points up the major source of its failure. Erenberg repeats the tale that Bessie Smith "died as a result of segregation in medical facilities." Recent scholarship has disproved this version. A perusal of his footnotes reveals that while Erenberg is knowledgeable in his own academic field, he has failed to keep up with the literature of jazz. A disappointing and, frankly, rather dully written effort. (Kirkus Reviews)


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