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Keywords: Truth Jazz 52nd (ALL of these words -- matching substrings)

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Page size:
 2 items in 1 pages
Award Number Grant ProgramAward RecipientProject TitleAward PeriodApproved Award Total
Page size:
 2 items in 1 pages
FA-55167-10Research Programs: Fellowships for University TeachersPatrick L. BurkeWhat's My Name?: Rock, Race, and Revolution in the 1960s1/1/2010 - 8/31/2010$33,600.00PatrickL.Burke   Washington UniversitySt. LouisMO63130-4862USA2009Music History and CriticismFellowships for University TeachersResearch Programs336000336000

I request an NEH Fellowship to support the research and writing of my book What's My Name? Rock, Race, and Revolution in the 1960s. The book investigates associations between rock music and radical politics, which both played fundamental roles in US popular culture and social history during the late 1960s. While present-day cultural critics often conflate rock, revolutionary rhetoric, and African American cultural politics into a monolithic vision of "the Sixties," I argue that these facets of 1960s culture were related in intricate ways, sometimes working in tandem and sometimes contradicting one another. I propose a more precise approach that better describes both the relationship of rock to African American music and the broader connection between popular music and political movements. The book seeks to provide an account of US cultural history at a crucial historical moment and to expand our understanding of the complex relationship between musical and political expression.

FT-53564-05Research Programs: Summer StipendsPatrick L. BurkeJazz, Race, and Authenticity on Manhattan's 52nd Street, 1930-19505/1/2005 - 7/31/2005$5,000.00PatrickL.Burke   Washington UniversitySt. LouisMO63130-4862USA2005Music History and CriticismSummer StipendsResearch Programs5000050000

I request an NEH Summer Stipend to support the writing of my book, _Come in and Hear the Truth: Jazz, Race, and Authenticity on Manhattan's 52nd Street, 1930-1950._ My work investigates the musical and social interactions that animated New York's 52nd Street entertainment district from the Great Depression into the postwar era. By focusing on complex interrelationships among racial categories and musical styles, I demonstrate that the musical culture of 52nd Street played a profound role in the construction of race in the United States.