Cover_Fall 2013_2 9/25/2013 3:32 PM Page 1 Dædalus coming up in Dædalus: What Humanists Do Denis Donoghue, Francis Oakley, Gillian Beer, Michael Putnam, Henri Cole, J. Hillis Miller, Patricia Meyer Spacks, Rachel Bowlby, Dædalus Karla FC Holloway, James Olney, Steven Marcus, Ross Posnock, Scott Russell Sanders, and others Journal of the American Academy of Arts & Sciences Fall 2013 Growing Pains Elizabeth Perry, Deborah Davis, Martin Whyte, Mary Gallagher, in a Rising China Robert Weller, William Hsiao, Joseph Fewsmith, Ching Kwan Lee, Barry Naughton, William Kirby, Guobin Yang, Jeffrey Wasserstrom, 2013: American Music Fall Mark Frazier, Elizabeth Economy, Benjamin Liebman, and others American Gerald Early Introduction: This is Our Music 5 Music Patrick Burke The Screamers 11 Inventing Courts Linda Greenhouse, Judith Resnik, Marc Galanter, Hazel Genn, Mina Yang Yellow Skin, White Masks 24 Michael J. Graetz, Jamal Greene, Gillian K. Had½eld, Deborah David Robertson Listening to the Now 38 Hensler, Robert A. Katzmann, Jonathan Lippman, Kate O’Regan, Frederick Schauer, Susan Silbey, Jonathan Simon, Carol S. Steiker, Nadine Hubbs Homophobia in Twentieth-Century Music: Stephen C. Yeazell, and others The Crucible of America’s Sound 45 Ellie M. Hisama The Ruth Crawford Seeger Sessions 51 plus From Atoms to the Stars; What is the Brain Good For?; Food, Daniel Geary Johnny Cash & the Politics of Country Music 64 Health, and the Environment; What’s New About the Old?; Water &c Charlotte Greenspan Hollywood as Music Museum & Patron: Bringing Various Musical Styles to a Wide Audience 73 Sherrie Tucker Swing: From Time to Torque (Dance Floor Democracy at the Hollywood Canteen) 82 Todd Decker Pioneers of the Concept Album 98 John H. McWhorter Long Time, No Song: Revisiting Fats Waller’s Lost Broadway Musical 109 Guthrie P. Ramsey, Jr. The Power of Suggestion & the Pleasure of Groove in Robert Glasper’s Black Radio 120 Ronald Radano The Sound of Racial Feeling 126 Terry Teachout Satchmo’s Shadow: An Excerpt from Satchmo at the Waldorf 135 Vernon Duke Excerpts from Passport to Paris 140 Weldon Kees A Good Chord on a Bad Piano 146 U.S. $13; www.amacad.org Cherishing Knowledge · Shaping the Future Cover_Fall 2013_2 9/25/2013 3:32 PM Page 2 Inside front cover: Three young women perform around a home piano. © SuperStock/Corbis. Gerald Early, Patrick Burke, and Mina Yang, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications D Micah J. Buis, Senior Editor and Associate Director of Publications Peter Walton, Senior Editorial Assistant J Committee on Studies and Publications Jerrold Meinwald and John Mark Hansen, Cochairs; Jesse H. Choper, Denis Donoghue, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Jerome Kagan, Philip Khoury, Neal Lane, Steven Marcus, Eric Sundquist Dædalus is designed by Alvin Eisenman. Dædalus Journal of the American Academy of Arts & Sciences The pavement labyrinth once in the nave of Reims Cathedral (1240), in a drawing, with ½gures of the architects, by Jacques Cellier (c. 1550–1620) Dædalus was founded in 1955 and established as a quarterly in 1958. The journal’s namesake was renowned in ancient Greece as an inventor, scien- tist, and unriddler of riddles. Its emblem, a maze seen from above, symbol- izes the aspiration of its founders to “lift each of us above his cell in the lab- yrinth of learning in order that he may see the entire structure as if from above, where each separate part loses its comfortable separateness.” The American Academy of Arts & Sciences, like its journal, brings togeth- er distinguished individuals from every ½eld of human endeavor. It was char- tered in 1780 as a forum “to cultivate every art and science which may tend to advance the interest, honour, dignity, and happiness of a free, independent, and virtuous people.” Now in its third century, the Academy, with its nearly ½ve thousand elected members, continues to provide intellectual leadership to meet the critical challenges facing our world. Dædalus Fall 2013 Subscription rates: Electronic only for non- Issued as Volume 142, Number 4 member individuals–$46; institutions–$126. Canadians add 5% gst. Print and electronic for © 2013 by the American Academy nonmember individuals–$51; institutions– of Arts & Sciences $140. Canadians add 5% gst. Outside the United Homophobia in Twentieth-Century Music: States and Canada add $23 for postage and han- The Crucible of America’s Sound dling. Prices subject to change without notice. © 2013 by Nadine Hubbs Swing: From Time to Torque (Dance Floor Institutional subscriptions are on a volume- Democracy at the Hollywood Canteen) year basis. All other subscriptions begin with © 2013 by Sherrie Tucker the next available issue. A New Kind of Blue: The Power of Suggestion Single issues: $13 for individuals; $34 for insti- & the Pleasure of Groove in Robert Glasper’s tutions. Outside the United States and Canada “Black Radio” add $6 per issue for postage and handling. © 2013 by Guthrie P. Ramsey, Jr. Prices subject to change without notice. Satchmo’s Shadow: An Excerpt from “Satchmo at the Waldorf” Claims for missing issues will be honored free © 2013 by Terry Teachout of charge if made within three months of the publication date of the issue. Claims may be Editorial of½ces: Dædalus, American Academy of submitted to [email protected]. 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Postmaster: Send address changes to Dædalus, 55 Hayward Street, Cambridge ma 02142-1315. Periodicals postage paid at Boston ma and at additional mailing of½ces. Introduction: This is Our Music Gerald Early The twentieth century has many names: the Cen- tury of the Child, the American Century, the Century of Genocide, the Age of the Atom, the Era of Mass Culture, the Age of the Welfare State, the Age of Totalitarianism. But the most apt characterization of the last century may be historian Tim Blanning’s “the Age of the Triumph of Music.”1 To be sure, in Western society in the eighteenth and nineteenth centuries, music was an incredible force–from the creation of national anthems to the rise of folk music as an expression of the authentic, from wild adulation for certain composers and performers (Beethoven, Liszt, Rossini, Nellie Melba, Jenny Lind, among many others) to the popularity of a highly racialized American minstrelsy that became the cor- nerstone of the American musical theater. (The rise of the piano as a major performance vehicle and source for composition and the rise of the parlor piano as a signi½er of domestic bourgeois taste and manner are themselves extraordinary occurrences 2 GERALD EARLY, a Fellow of the of the modern musical sensibility. ) The twentieth American Academy since 1997 and century did not invent the popular obsession with Chair of the Academy’s Council, is music, but it did, in both degree and kind, transform the Merle Kling Professor of Mod- the nature of the obsession. ern Letters at Washington Univer- In the twentieth century, thanks to recording tech- sity in St. Louis. His books include nology, music became ubiquitous; audiences could A Level Playing Field: African Ameri- experience it divorced from live performance and, can Athletes and the Republic of Sports as studio technology improved, divorced from the (2011), One Nation Under a Groove: 3 Motown and American Culture (rev. constraints of live performance. (This