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Morton Morton
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Learning New Orleans Music, Living Its Values Learning New Orleans Music, Living Its Values
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Night People: Celebrating Masculinity and “Impure” Sexuality Night People: Celebrating Masculinity and “Impure” Sexuality
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Morton, Race, and Racism Morton, Race, and Racism
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Morton in the Marketplace Morton in the Marketplace
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Nick La Rocca Nick La Rocca
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“Some of My Musical Education” “Some of My Musical Education”
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“As White as They Can Possibly Be”: La Rocca, Race, and Signifying “As White as They Can Possibly Be”: La Rocca, Race, and Signifying
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ODJB and the Marketplace ODJB and the Marketplace
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Armstrong: The Coffee Poisoner Armstrong: The Coffee Poisoner
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“We Were Colored, and We Knew What That Meant” “We Were Colored, and We Knew What That Meant”
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Armstrong's Carnivalesque Life Philosophy Armstrong's Carnivalesque Life Philosophy
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Music and Racial Harmony Music and Racial Harmony
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From Polyphony to Virtuosity From Polyphony to Virtuosity
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King of the Zulus: Armstrong, the Marketplace, and Minstrelsy King of the Zulus: Armstrong, the Marketplace, and Minstrelsy
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Five Dissemination: Morton, La Rocca, and Armstrong
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Published:March 2008
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Abstract
This chapter focuses on the dissemination of jazz from New Orleans outward. It shows how Jelly Roll Morton (Creole), Nick La Rocca (white), and Louis Armstrong (black) spread the carnivalesque values of the Crescent City, continuing the musical miscegenation that began there. In particular, each man's story illustrates the complex relationship between physiognomy, racial identity, musical style, and commercial success. With a focus on Armstrong, who thought of his music as a device for racial rapprochement, the chapter argues that the contrasting fates of the three men was influenced by their racial identities and their relationship to those identities. Though La Rocca and the Original Dixieland Jazz Band achieved mass success and Morton created innovative and influential compositions and recordings, only Armstrong reached a wide audience for the long haul. Using African devices to transform popular songs, Armstrong and his impure, subversive sounds challenged racial boundaries for decades.
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