The Origins of Cool in Postwar America - Cultural History Book | Explore 1950s American Jazz, Beat Generation & Counterculture Movements | Perfect for History Buffs & Sociology Students
The Origins of Cool in Postwar America - Cultural History Book | Explore 1950s American Jazz, Beat Generation & Counterculture Movements | Perfect for History Buffs & Sociology Students

The Origins of Cool in Postwar America - Cultural History Book | Explore 1950s American Jazz, Beat Generation & Counterculture Movements | Perfect for History Buffs & Sociology Students" (注:根据您提供的原始标题,这似乎是一本关于战后美国文化的书籍。我将其优化为: 1. 包含主要关键词"Postwar America", "Cultural History" 2. 添加了具体内容关键词"1950s American Jazz", "Beat Generation" 3. 说明了目标读者"History Buffs", "Sociology Students" 4. 保持了学术类书籍的专业性同时增加吸引力)

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Description

Cool. It was a new word and a new way to be, and in a single generation, it became the supreme compliment of American culture. The Origins of Cool in Postwar America uncovers the hidden history of this concept and its new set of codes that came to define a global attitude and style. As Joel Dinerstein reveals in this dynamic book, cool began as a stylish defiance of racism, a challenge to suppressed sexuality, a philosophy of individual rebellion, and a youthful search for social change. Through eye-opening portraits of iconic figures, Dinerstein illuminates the cultural connections and artistic innovations among Lester Young, Humphrey Bogart, Robert Mitchum, Billie Holiday, Frank Sinatra, Jack Kerouac, Albert Camus, Marlon Brando, and James Dean, among others. We eavesdrop on conversations among Jean-Paul Sartre, Simone de Beauvoir, and Miles Davis, and on a forgotten debate between Lorraine Hansberry and Norman Mailer over the "white Negro" and black cool. We come to understand how the cool worlds of Beat writers and Method actors emerged from the intersections of film noir, jazz, and existentialism. Out of this mix, Dinerstein sketches nuanced definitions of cool that unite concepts from African-American and Euro-American culture: the stylish stoicism of the ethical rebel loner; the relaxed intensity of the improvising jazz musician; the effortless, physical grace of the Method actor. To be cool is not to be hip and to be hot is definitely not to be cool. This is the first work to trace the history of cool during the Cold War by exploring the intersections of film noir, jazz, existential literature, Method acting, blues, and rock and roll. Dinerstein reveals that they came together to create something completely new—and that something is cool.

Reviews

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- Verified Buyer
I am using my real name as author of this review in case anyone wants to question my musical background. What is particularly amazing to me about “The Origins of Cool in Postwar America” is that it is a major academic work, extensively researched and rigorously annotated, yet not written in “academese,” but in a clear and often compelling style easily understandable to those of us without Pd.D.s Dinerstein locates the birth of cool with the style of the great jazz saxophonist Lester Young. Young was subject to horrific racism during his time in the Army during World War II. He had already developed a signature style before then: a vibrato-less sound (unusual for big band saxophonists of that time) as well as an amazing use of pause and even silence during his solos. However, after WWII, in response to the oppression he was subjected to, he developed a calm, relaxed performance style very unlike the “hot” big band soloists of his day, which Lester and his friends labelled as “cool.” Dinerstein then documents the roots of this style in West African musical practice as well as the survival strategy of house slaves in the antebellum south. This style had an immediate influence on his jazz colleagues. In subsequent chapters of the book, Dinerstein documents the profound influence this style of jazz had on international culture, including literature, philosophy, film and theater. My personal favorite is Allen Ginsburg’s admission that “’Howl’ is all “Lester Leaps In.’” Then, in the pivotal later chapter on Miles Davis and Sonny Rollins, Dinerstein has the chutzpah to ask the question: given the obvious influence that the “cool” style in jazz had in the world, why isn’t it recognized as such? The answer, which even non-black academics shy away from, despite academia being one of the last bastions of radical liberalism, is of course: racism. In the interest of full disclosure, I am a friend of Joel’s. However, even if I weren’t, I would still highly recommend this book not only for jazz lovers, but for anyone interested in a keen insight into the nature of American society.
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