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"Dangerous Rhythms tells the symbiotic story of jazz and the underworld: a relationship fostered in some of 20th century America's most notorious vice districts. For the first half of the century mobsters and musicians enjoyed a mutually beneficial partnership. By offering artists like Louis Armstrong, Earl "Fatha" Hines, Fats Waller, Duke Ellington, Billie Holiday, Lena Horne, and Ella Fitzgerald a stage, the mob, including major players Al Capone, Meyer Lansky, and Charlie "Lucky" Luciano, provided opportunities that would not otherwise have existed. Even so, at the heart of this relationship was a festering racial inequity. The musicians were mostly African American, and the clubs and means of production were owned by white men. It was a glorified plantation system that, over time, would find itself out of tune with an emerging Civil Rights movement. Some artists, including Louis Armstrong, believed they were safer and more likely to be paid fairly if they worked in "protected" joints. Others believed that playing in venues outside mob rule would make it easier to have control over their careers." -- Amazon.com.… (mais)
Such a great book and so eye-opening about the intersecting worlds of jazz and the Mafia. I had no idea. There were rumors of Frank Sinatra's involvement with the Mob and Mob Bosses, but the work done by this author brings so much more to light about these two worlds.
In short, the Mafia had the money and they were active during Prohibition, while they also ran the speakeasy's as a chief source of income. And they were familiar with the burgeoning jazz musicians who were willing to play in those same clubs as a way to make a living.
Then once Prohibition ended, these same Mafia bosses had to find a way to keep their income coming in and boy did they. From New York's famed Cotton Club to Chicago, St. Louis, Detroit, and Miami, the jazz clubs sprang up, the musicians played, big band music became the new thing, and the money rolled in. Mostly to the mobsters as one would expect.
Very many aspects of the intertwining of jazz and the Mafia are put into history, including the increased use of heroin and the musicians who got hooked, the violence that happened if anyone tried to switch clubs or bands, and the "plantation mentality" of black musicians, white audience till the 60's and early 70's. Also detailed are the years that Havana was a jazz-and-Mob jewel and how Las Vegas came to exist.
Highly recommend this book for music fans and readers interested in 20th century American history. ( )
Informação do Conhecimento Comum em inglês.Edite para a localizar na sua língua.
In the primitive world, where people live closer to the earth and much nearer to the stars, every inner and outer act combines to form the single harmony, life. Not just the tribal lore, then, but every movement of life becomes a part of their education. They do not, as many civilized people do, neglect the truth of the physical for the sake of the mind... The earth is right under their feet. The stars are never far away. The strength of the surest dream is the strength of the primitive world. -Langston Hughes, The Big Sea
It's got guts and it don't make you slobber. -a Chicago gangster explaining his love for jazz
Dedicatória
Primeiras palavras
Informação do Conhecimento Comum em inglês.Edite para a localizar na sua língua.
There is a reason "Strange Fruit" still stands as the seminal jazz song. -Intro
At the age of fourteen, Louis Armstrong of New Orleans was a potent combination of streetwise youth and naive back-alley urchin with a song in his heart. -Chapter 1, Shadow of the Demimonde
Citações
Últimas palavras
Nota de desambiguação
Editores da Editora
Autores de citações elogiosas (normalmente na contracapa do livro)
"Dangerous Rhythms tells the symbiotic story of jazz and the underworld: a relationship fostered in some of 20th century America's most notorious vice districts. For the first half of the century mobsters and musicians enjoyed a mutually beneficial partnership. By offering artists like Louis Armstrong, Earl "Fatha" Hines, Fats Waller, Duke Ellington, Billie Holiday, Lena Horne, and Ella Fitzgerald a stage, the mob, including major players Al Capone, Meyer Lansky, and Charlie "Lucky" Luciano, provided opportunities that would not otherwise have existed. Even so, at the heart of this relationship was a festering racial inequity. The musicians were mostly African American, and the clubs and means of production were owned by white men. It was a glorified plantation system that, over time, would find itself out of tune with an emerging Civil Rights movement. Some artists, including Louis Armstrong, believed they were safer and more likely to be paid fairly if they worked in "protected" joints. Others believed that playing in venues outside mob rule would make it easier to have control over their careers." -- Amazon.com.
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(4.15)
3
In short, the Mafia had the money and they were active during Prohibition, while they also ran the speakeasy's as a chief source of income. And they were familiar with the burgeoning jazz musicians who were willing to play in those same clubs as a way to make a living.
Then once Prohibition ended, these same Mafia bosses had to find a way to keep their income coming in and boy did they. From New York's famed
Cotton Club to Chicago, St. Louis, Detroit, and Miami, the jazz clubs sprang up, the musicians played, big band music became the new thing, and the money rolled in. Mostly to the mobsters as one would expect.
Very many aspects of the intertwining of jazz and the Mafia are put into history, including the increased use of heroin and the musicians who got hooked, the violence that happened if anyone tried to switch clubs or bands, and the "plantation mentality" of black musicians, white audience till the 60's and early 70's. Also detailed are the years that Havana was a jazz-and-Mob jewel and how Las Vegas came to exist.
Highly recommend this book for music fans and readers interested in 20th century American history. (