Status Updates From Dangerous Rhythms: Jazz and...

Using bread-and-butter provisions to position an organisation as the people’s friend to ensure their silent compliance with injustices carried out against “others” sounds kind of familiar

[Mary Lou’s Mass] was part of Williams’s belief that jazz needed to be elevated out of the basement clubs run by mobsters, where alcohol, drugs, and sexual transactions were part of the draw, and performed in concert halls, conservatories, and cathedrals. Jazz was an art form, and it needed to start being treated like one.

“If properly managed, a casino was a license to print money.”

Prohibition created a framework for the music that would otherwise not have existed…There was something about the Roaring Twenties itself- the clandestine social interactions, the posing of racial boundaries, the hoodlums, the musicians- that turned jazz from a subculture into a telling representation of the national psyche.