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Satchmo blows up the world : jazz ambassadors play the Cold War

Author: Penny M Von Eschen
Publisher: Princeton, N.J. : Recording for the Blind & Dyslexic, 2005.
Edition/Format:   Audiobook : EnglishView all editions and formats
Summary:
At the height of the ideological antagonism of the Cold War, the U.S. State Department unleashed an unexpected tool in its battle against Communism: jazz. From 1956 through the late 1970s, America dispatched its finest jazz musicians to the far corners of the earth, from Iraq to India, from the Congo to the Soviet Union, in order to win the hearts and minds of the Third World and to counter perceptions of American  Read more...
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Details

Material Type: Audio book, etc.
Document Type: Sound Recording
All Authors / Contributors: Penny M Von Eschen
OCLC Number: 61330599
Notes: Originally published: Cambridge, Mass. : Harvard University Press, ©2004.
Description: 1 audio disc : digital, mono ; 3/4 in.
Contents: Ike gets dizzy --
Swinging into action, jazz to the rescue --
The real ambassador --
Getting the Soviets to swing --
Duke's diplomacy --
Jazz, gospel, and R & B, black power abroad --
Improvising détente --
Playing the international changes.
Responsibility: Penny M. Von Eschen.

Abstract:

At the height of the ideological antagonism of the Cold War, the U.S. State Department unleashed an unexpected tool in its battle against Communism: jazz. From 1956 through the late 1970s, America dispatched its finest jazz musicians to the far corners of the earth, from Iraq to India, from the Congo to the Soviet Union, in order to win the hearts and minds of the Third World and to counter perceptions of American racism. [In this book, the author] escorts us across the globe, backstage and onstage, as Dizzy Gillespie, Louis Armstrong, Duke Ellington, and other jazz luminaries spread their music and their ideas further than the State Department anticipated. Both in concert and after hours, through political statements and romantic liaisons, these musicians broke through the government's official narrative and gave their audiences an unprecedented vision of the black American experience. In the process, new collaborations developed between Americans and the formerly colonized peoples of Africa, Asia, and the Middle East--collaborations that fostered greater racial pride and solidarity. Though intended as a color-blind promotion of democracy, this unique Cold War strategy unintentionally demonstrated the essential role of African Americans in U.S. national culture. Through the tales of these tours, [the author] captures the ... interplay between the efforts of the State Department and the progressive agendas of the artists themselves, as all struggled to redefine a more inclusive and integrated American nation on the world stage.-Dust jacket.

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