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Subversive SoundsRace and the Birth of Jazz in New Orleans$
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Charles B. Hersch

Print publication date: 2008

Print ISBN-13: 9780226328676

Published to Chicago Scholarship Online: March 2013

DOI: 10.7208/chicago/9780226328690.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 28 September 2021

Introduction

Introduction

Chapter:
(p.4) Introduction
Source:
Subversive Sounds
Author(s):

Charles B. Hersch

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226328690.003.0002

In New Orleans, on a summer's day in 1892, a shoemaker by the name of Homer Plessy boarded a “white” railroad car and was arrested. Four years later, the United States Supreme Court ruled against him and placed a constitutional seal of approval on a series of Jim Crow laws meant to preserve the purity of the white race. Plessy confronted racial purity through his very identity: though Plessy is remembered as a “black” man fighting for civil rights, he was in fact a Creole of Color, of French and African descent. New Orleans in the 1890s saw the birth of a new music, designated “ratty” or, later, “jazz,” that was also viewed as a threat to racial purity. Early attacks on jazz centered on its association with African Americans and claimed the music would produce national impurity and degeneration. This book argues that jazz subverted racial segregation, musically enacting and abetting Plessy's assault on white purity. It examines the role of race in music as well as the effect of music on racial identity and politics.

Keywords:   jazz, New Orleans, Homer Plessy, Jim Crow, racial purity, racial segregation, African Americans, music, politics, racial identity

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