My interest (for obvious reasons) is caught by online or digital collections curated by… well, by all sorts of people. I’m especially interested by public institutions like libraries, national galleries, etc using online galleries as a way of reaching the wider public. I’m also interested in the opposite – collections which work better in the face to face (I’m thinking of the national archives and their collections in remote indigenous communities…fuck, regional centres. God forbid they actually get action out to _really_ remote communities. Who aren’t white.).
This is another one I’ve just found: http://www.printsandprintmaking.gov.au/, which is the national gallery’s prints and printmaking… collection? I guess you’d call it that.
Category Archives: academia
searching sources
NLA Australian Newspapers – search em for stuffz.
Trove – a gateway to all sorts of interesting things
VADS – a gateway to ‘free’ images for use in educational projects
CSIRO’s ScienceImage site – for images of ‘science and technology’ excellentness
reports
Running report: I can run for 28 minutes without stopping. I’m at run 3 of week 8 of the c25k. I am badass. I am considering some sort of fun run situation.

DJing report: went to BBS and DJed. DJing for blues dancers is a bit boring. Blues dancing events are a bit boring. Having said that, I had a very good time. For my money (and it was), BBS offers the most interesting bands and venues at any Australian dance event. G$ has some great photos here. That’s one of his there with this post.
My DJing was ok, and I think I did a pretty good job on the… Sunday night I think it was. On the whole I didn’t hear a whole lot of really inspiring DJing over the weekend. Most of the sets seem to lack coherency or flow. And they tended to be really low energy. The low energy is a real suck at an entire weekend of blues – you really need to keep the energy up there so people dance. One exception was Chris Haarm, who did some really nice work warming the room on the Friday night. I think his set was my favourite.
The bands, though, ROCKED. And that’s how it should be.
I don’t think I’ll bother with another blues weekend. I ended up going for a run on the Sunday because I didn’t feel like I’d had enough exercise. And that’s just wrong for an exchange.
Learnz report: I am working my way through this pgrad diploma. It’s really hard not directing your own learnz. I don’t like waiting for someone else to decide when I’m ready for the next bit of learn. I also much prefer following my own interests rather than having to follow someone else’s curriculum. Remind me to talk a bit about this more later on.
Intertubes report: I have neglected this blog for twitter. And my learnz.
That’s it.
“Open the pod bay doors, Hal.”
I’ve finally managed to take some dodgy photos of the UTS tower building on my phone. They’re not very good, I’m afraid. I’ll need to take some more. There are more pics on my flickr page, and I’ll try to get some more tonight.
This is a little film I made by accident. I’m a bit snuffly and sighy – I’m pretty snotty atm, so the sound effects are a bit gross.
The Tower building at UTS is a really good example of brutalism. Brutalism apparently refers to the use of raw concrete and materials, but the more usual connotations do seem to apply.
The building is tall and a bit of a bunker. There are fabulous views from all windows, but most of the windows in my lecture rooms are too tall for me to see out of. And too narrow for proper panoramas.
I didn’t realise I was making a movie – I thought I was just taking photos. But at least you get to see the BRIGHT YELLOW hand rails, the curved corners and rounded door corners. This is all in the stair well.
The ceilings seem a little too low and the corridors a little too narrow in this building. I think it’s because it was built in the 60s or 70s (I’m not sure when), and they used slightly smaller proportions for smaller people… well, that’s what happened in our flat. Lower sinks and so on. But I think that this might also be a deliberate design feature in the tower building. It makes the building feel as though you’re in a space ship. The bright green doors contrast strangely with the raw concrete and ‘natural’ colours. It’s all very strange. I am particularly fond of the rounded corners on the doors.
That is one big sigh.
mid-week report
This is just going to be an account of things I’ve done lately, as I’m trying to get my brain in gear for doing readings and some writing.
Today I did the third run of week five of c25k. That was 5 minutes walking, 20 minutes running, 5 minutes walking. I ran for twenty whole minutes without having to stop. I haven’t been able to do that since I was in an athletics squad at thirteen. It’s pretty bloody amazing. And it wasn’t as hard as I thought. My knees did get a bit sore from the impact, and I really felt the limited range of movement in my right ankle, but otherwise it was ok. I’m pretty tired now, and I don’t have that massive, crazy adrenaline-charged energy I usually have on days I run, but I don’t feel terrible at all. In fact, I am tough.
Tomorrow I’m off to Melbourne for Blues Before Sunrise, a blues dancing exchange. I’m not doing workshops. I never do any more – I’d much rather spend the daylight hours being a tourist and socialising. I’m not interested in any of the teachers either, which is usually the deciding factor. I’d really like it if Damon Stone came back so I could do some historically informed blues dancing classes.
I’m doing some DJing there (as I mentioned earlier), and I’m interested in seeing how Melbourne’s social dancing is going these days. I’ll probably play the sort of set I do at Roxbury these days, as Melbourne used to have slightly higher tempos than the Sydney SP gigs, but I’ll also keep an eye on the lower tempo range as it’s an after-class gig.
I’m also looking forward to buying a good sports bra. I’ve lost a bit of weight since I started running and this has meant that most of my clothes no longer fit the same way. Most of my wardrobe is cope-with-able, but I’m finding that I really need to get a smaller bra. I’ve got three super awesome Berlei ones that are actually still in good shape, even though they’re about two or three years old. Apparently the elastic goes in bras after a few zillion washes, so you should replace them. But I like these and they were fricking expensive ($70 each). They’re not, though, really fitting properly, and I’m getting some bad bounce which actually gives me a bit of a stitch. Egads. So I’m going to go in and get fitted at Myer and then have a look at the outlet store in Brunswick to see if they have what I’m after. I really do have to buy at least one good one for running in.
The semester has started and I’ve been to two of my three classes. There’s an option of getting credit for one subject because of my previous study, but I’m not sure I’ll take it. I should, because it’ll save me heaps of money and make the workload easier, but I’m actually interested in the content. It’s really just basic semiotics and critical thinking, but it’s applied to information systems and data management, which is interesting. I really could just do the readings and guide myself through the content on my own (seeing as how I’ve spent a couple of higher degrees learning just how to do that), but I think the discussions in class could be interesting. At any rate, I have until week four to make up my mind and then withdraw without academic penalty. I should withdraw – it’ll save me 1.5 thousand dollars.
Classes have been interesting. The one I’m thinking of dropping was a little frustrating. It really was like being in a first year semiotics/intro to cultural studies subject, but in a very light weight way. It felt as though the discussion was going really. really. really. slowly. Partly because the group doesn’t have the sort of discussion skills you get from an arts degree, but also because the tutor/lecturer is kind of adversarial, and this shut down the contributions. It’s also because it seems as though information management people are only just discovering concepts like cultural diversity, active readership, meaning as a product of reader + text not inherent in text, etc etc.
The literature is equally slow – it’s very tentative about its claims about audiences and users and the status of texts, which is very ANNOYING. These things are so standardly basic in cultural studies, it feels as though we are reinventing the wheel, but without actually using any round shapes. It’s a bit interesting because it also makes clear the fact that info management really does rely on the idea that texts do have innate or essential value and meaning. If they didn’t, you wouldn’t collect and catalogue them and libraries wouldn’t exist. The very nature of cataloguing is that texts and items carry meaning within them.
I think this is why the field is having such difficulty accommodating the idea of users as a diverse bunch with different needs and interests. If your text is the important bit, you really have to assume that readers have a shared value system and shared approaches to text. I’d like to see how the literature ultimately deals with this stuff, but right now articles published in the 1990s are all ‘you know what – anything can be information! Even a building!’ and I’m all ‘oh fuck, didn’t we talk about this thirty years ago?’ So it’s very frustrating, but also reveals a whole lot about the way museums and libraries and things work.
It’s super frustrating because I’m used to teaching these things to undergrads, and I’m not particularly enjoying the way the tutor in our classes is handling discussion. This stuff really requires a lot of talk and testing from students; they really have to actually do the whole ‘meaning is made not innate to texts’ thing in class through their own discussions and exploration of readings. But this can’t happen if your (white, male, hetero, alpha-male…) tutor can’t let the discussion move away from him-as-focus. It’s really emphasising the way patriarchy relies on masculinist ways of communicating and engaging in public talk and the negotiation of ideas to maintain the status quo. And while this tutor is all about ‘multiple approaches to texts’ and so on, he can’t see that his own discursive style is enforcing boring old hierarchies and status and modes of engagement that marginalise women and not-patriarchy-types. This is way poop when your group is 90% middle aged women with badass careers behind them. I mean, you’ve gotta be doing something wrong if you manage to reduce a loud, enthusiastic, cooperative group of mature aged women students to silence. Self-reflexivity, please.
But I am really really really enjoying being back in a class again, as a student not a teacher. I did have to fight my instinct to manage the discussion in the first tutorial (especially when I could see the tutor squashing the discussion). It is hard to change the way I work in such a familiar setting. Tutorials are so clearly hierarchical. The tutor really is the alpha, or at least the guiding, structuring entity. And while I don’t mind being in the beta position (yahoo! no lesson planning!), I’m finding it hard not to act on my instincts to lubricate discussion. I think in part it’s because I’m also used to being in academic discussions where everyone knows how to talk – you know how to keep things rolling along.
I also think it’s a part of being a woman in talk – women tend to do more affirming, active listening and general social lubrication. I’ve noticed that women tend to respond to alphas in a particular way – affirming, listening, agreeing rather than volunteering ideas, disagreeing or asserting themselves. In a group setting, when faced with an alpha, I tend to square up, to assert myself. And I’m trying not to do that in this class because it then encourages a sort of competition between me and other alphas, but it also provokes a particular response from the women in the group – agreeing, nodding, etc. And while that’s all very nice, it also shuts you off from the sort of serious, hardcore communicating women do in all-female groups. Sure, there are particular hierarchies and power dynamics at work there, but they’re not such blunt objects. So I need to chill and step back because a) I’m not responsible for the smooth and productive running of the tute, and b) these are my peers, not my students and I’ll gain a lot from remembering that.
Basically, this has reminded me of how challenging being a university student is, and of how academia is – despite all this talk about discourse and collegiality – absolutely all about competitive, masculinised interaction. While it was professionally a good idea to learn how to do this type of behaviour when I was teaching, it’s actually a fairly shitty way to be in a cooperative, collaborative class setting. So I’m trying to – once again – stop talking and to listen more. To not be the first one to answer questions, and to not ‘take control’ of the discussion or social setting, even by doing things like massaging conversation or discussion, or heading off at the pass disruptive influences.
It’s also a real change to be a student within the university. I’m used to the status and privilege of teaching and researching. But as a student, no one will provide my reader, no one will tell me where to be at any one time, no one will organise rooms for me. Staff deal with me in a different way (I’m definitely lower status). It’s super-nice to have other students treat me as peers, though. It’s strange because though I’ve always tried not to be a ‘we are gods’ type academic, I’ve still benefited from the higher status of being staff. But I just haven’t noticed it. So that shift in status is kind of destabilising.
I noticed it most yesterday when I couldn’t find my lecture room. When you’re doing the teaching, everyone has to wait for you to find the room. But when you’re a student, things just continue whether you’re there or not. I found this a bit daunting because it was the first class of the semester for a new subject. So coming in late, I found it tricky to catch up.
This class was discussing stuff I really know nothing about – the internal architecture of information systems like google or databases or search engines. It’s taught by a computer science dood (who’s really a very good teacher and a lovely guy) and it’s run a bit like a computer science subject – practical lab work and lots of contact hours, but NO READINGS (that blows my brain). So I’m going to have to learn how to learn in this new type of setting.
I’m kind of lucky that I do do dance classes regularly – I have ongoing experience learning how to learn in a class, and being comfortable with not knowing things. I think that dancers in the lindy world are very much about learning and knowledge… well, most of them are. The ones who are interested in historical dance forms tend to be very interested in learning. Learning new steps, routines, etc. But there’s a great deal of difference between learning a routine from an archival clip or being in a dance class, and learning how to construct databases in a computer lab.
So being a student again is challenging. But it’s also very exciting. I really love being in a group again, rather than working independently as you do during a PhD. I love hearing other people talk about their ideas, and having my own brain fired up by their saying things I’d never have come up with. I love this part of teaching, but when you’re part of the group it’s as though you have permission to just let your brain go, and follow ideas much further. When I’m teaching, I have to stay on track and keep the discussion within some sort of structure, as you have some goals and definite things to achieve. But when you’re a stood, you can just let your brain run on and on and on. It’s fabulous, and I love it SO MUCH.
Meanwhile, less fabulously, the bathroom renovation continues. The tiling is going on as I type, insulated by my headphones. The floor will go in today (hopefully), and then it will be tiled tomorrow. The vanity should be in by the end of the week, and the plumber in and doing the bits and pieces that make water work and the toilet exist. Next week they put in the fittings and shower screen. So, really, it won’t possibly be done by next Wednesday, unless we’re really lucky. But it should be done by Friday.
I haven’t had a shower since Friday, and though I’m doing a good job with buckets, I’m looking forward to showering in Melbourne. Especially as I’ll be dancing so much. But the bathroom will look good, and I think I did a good job choosing the tiles. It’s all white, but the shade of white matches the old tub. The shiny (rather than matte) tiles mean it’s already far brighter in there, and the whiteness is really good for light. There’re no external windows, just a skylight, but the new downlights have also made a big difference. I’m not entirely happy about the vanity, as it will just eat up room, but we just couldn’t afford a custom-made one, which is what would be required. Well, we could have afforded it, but it’s not a good investment in a flat we won’t spend the rest of our lives in.
And that’s just about it, I think. I have some readings to do now. :D
sugar hill history
This is a great multimedia exploration of Sugar Hill. It uses:
– maps
– music
– interviews
– images
And emphasises the role of ‘place’ and ‘community’ (both physical and cultural) in creative and artistic development. This is, of course, my obsession. I am absolutely obsessed with the idea of creative work as necessarily going on in community spaces, as a product of interpersonal interaction as well as individual motivation and inspiration.
running -> exercise -> dancing -> jazz history
There’s a man upstairs in our bathroom banging and hammering and sawing. It’s really loud. Bathing without a shower is difficult, but not that bad. It’ll be nice when we get our shower back, though.
Meanwhile, I’m still on the c25k, and did the first run of week 5 today. It’s a nine week program, so I’m over half way. This is the point, though, where most people tend to give up. I actually feel quite good. It’s not as difficult as I thought, probably because it starts so gradually and then builds progressively. Today’s program involved:
a 5 minute warm up walk
5 minute run
3 minute walk
5 minute run
3 minute walk
5 minute run
5 minute cool down walk
I was surprised that I could do all the running bits without having to stop, and I remember thinking as I finished the first run ‘Woah, I just ran five minutes without stopping. Haven’t been able to do that in years.’ I still breathe really loudly (though not as loudly as I used to) and I certainly couldn’t hold a conversation at the same time (which is the ideal running pace). But I didn’t have to walk during any of the running bits and I felt pretty ok the whole way.
I actually quite like the sessions. Thirty minutes of exercise is a tiny amount, but it’s time well spent – no dilly dallying about – and it leaves me feeling really good. I have pretty bad snots at the moment because our bathroom is being ripped to bits, but that’s not affecting my running the way it used to. I have some new aches in my left foot, under the arch, but that feels like a hamstring issue, and I have very tight calves, so I always need to stretch my hamstrings. So, generally, I feel pretty good. I’m knocking on wood as I type, as I can’t really believe this is going so well.
There are a few things that seem key to the usefulness of this approach to training. Firstly, the audio cues on the ipod are essential. It tells me when to start running, when to start walking, when I’m half way. Secondly, the music is really good. I choose songs that either pump me up, or warm me up (or down) gently. I might end up using spoken podcasts later, as they distract me from the exercise and make the going easier. After this, the steady progress, with a structure to the sessions that changes weekly (and more frequently as you progress) makes the sessions more interesting. And I think the most important part is having clear goals.
One of the things that’s made it difficult to stick to a serious exercise program in the past is the lack of goals. Learning tranky doo is fun, but once you have that under control, it’s difficult to feel motivate. One routine after another is also kind of dull. Working on dance stuff with a partner is nice, but I think that without clear goals you tend to get a bit distracted and demotivated. I guess that’s why competitions are so useful.
So I really like the couch to 5k program. I’m especially happy with the fact that I can run five minutes without stopping. No pain in my feet, and I can actually breathe. It’s very satisfying. To think that I’ll be running half an hour without stopping soon is almost beyond the imagining.
One of the other things I like about it, is feeling my muscles toning up. I feel as though my jubbly bits are kind of being compressed and firmed up into muscle. The muscles I have underneath the jubbly are slowly being revealed. I’m fascinated by my arm muscles, which are entirely the result of cycling. I can’t believe cycling gives you arm muscles. But then cycling in a hilly city is challenging – you work harder. You use your arms to control your bike, and you tend to overwork your arms if you’re too tight in your shoulders and too weak in your core. But I’m also beginning to feel stronger and more stable in my core, which is fab. I’m also finding it easier to activate my lats (so important for dancing) and other individual muscle (and groups) which in turn makes it easier to reduce the energy I spend. Using the right muscles for the job means that I become more efficient in my movement – less flobbering about out of control, less overusing the wrong muscle.
So while I’m muscling up, I’m also finding that other, tighter muscle groups (my lower back, my shoulders) are loosening up. As the rest of my body steps up and starts doing its job, those places can relax and stop doing more than their fair share. It’s all very interesting. I’m especially exploring the way these changes affect my dancing and other activities. I can feel myself becoming more stable. I have more energy and greater stamina.
This is also making me the most annoying student in classes on Tuesday night. Hollywood style lindy hop (as in west coast not east, centred on dancers like Dean Collins rather than the Whitey’s Lindy Hoppers) is a foreign country. It’s fascinatingly technical, using the same principles as the lindy I’m used to, but in different ways. It’s complex, and yet when it’s done right, it’s very energy efficient.
I’m particularly fascinated by the swingout. This type of swingout uses much the same principles of momentum and dynamic energy, but in a very different way. The thing that makes a swingout so amazing is that the follow moves towards the lead, then turns and changes direction, moving away from him. This simple process is actually really complex, in terms of energy and momentum. It’s too easy to lose all your energy and momentum when you change direction, so the challenge is keeping that energy in your bodies, and yet still changing direction.
This type of swingout involves a more thorough ‘leading’ of the follow, but it also seems to use a less ‘natural’ approach to movement… that statement could perhaps be the product of ignorance, but it seems as though the lead has to be more aware of energy and where the follow is and also where he is. I use a gendered pronoun deliberately. I’m the only female lead in the class, and I’m finding the gender stuff is quite different in this type of scene. An emphasis on vintage dressing seems to reflect a more conservative approach to gender roles. Women follow, men lead. There’s also been less emphasis on improvisation within the swingout.
For me, improvisation (within the swingout and elsewhere) is the follow’s opportunity to ‘speak.’ A decent lead doesn’t ‘allow’ the follow time to speak, but actually incorporates these contributions into their leading. So the two really do function as a team. The more comprehensive leading seems to micromanage the follow’s movement, and it’s been tricky figuring out where and how I should add in my jazz steps (I follow in the second class and usually socially – I rarely lead socially these days, which I am about to change).
The classes this week did look at variations on the swingout, and this was really interesting. It also meant that I had to stop and learn the basic footwork and shape of this type of swingout properly. I’m also wondering whether I should adopt this type of swingout when leading in class. That’s the sensible thing to do, but I worry that it will mean I’ll lose all memory of any other swingout completely. Which is kind of bullshitty, as any swingout I have now is no doubt so riddled with personal habits and problems it’s already kind of broke. Learning a new swingout will make me conscious of all these idiosyncrasies and make it possible to rebuild a stronger swingout.
At any rate, I’m thoroughly enjoying being in classes again. It’s so new, it’s challenging. I’m also out of practice, in terms of knowing how to learn in class, and I’m quite enjoying the way this makes everything more difficult. I am also the type of student who asks questions and really likes to get things right, so I’m annoying everyone. I still find leading makes more sense. I just have no sense of what my body is doing when I’m following. I’m really not aware of my body and muscles and so on when I’m following. I think it’s because when I’m leading I not only have to understand what I’m doing, but also be aware of my follow and what’s happening in their body, so understanding my own body becomes the first part of understanding momentum and how we make it work between us. What I don’t understand is why I can’t figure this out when I’m following.
This stuff makes it really difficult to follow in class. I can look at the moves and understand how they work, and I can also figure out how I’d lead it, but the lead I’m working with mightn’t, so I have to let them figure it out. But because I can’t feel the follow (because that’s me), I don’t really understand what’s going wrong/right in our partnership at that moment. Meanwhile, I find it really difficult to stop concentrating on the lead and to start engaging with following. Part of me wonders if I should just give up on following altogether. But then the rest of me refuses to be beaten.
I still haven’t found a good yoga class. Sigh.
But I have spent some lovely time in the library this week, reading some really good stuff on Frank Trumbauer, Bix Beiderbecke and Jack Teagarden and listening along to my music as I go. I’ve also been digging into the library’s music collection, listening to some of their neat stuff as I read. It’s all been really really interesting. These guys are interesting because they were white, very popular and also totally top notch. And there these moments where they recorded with African American musicians in the 20s and 30s and I think ‘how the fuck did this happen in segregated America?’ I’ve also come across interesting references to the Original Dixieland Jazz Band, a band popularly considered a crappy novelty band who claimed they invented jazz. They didn’t. But while they weren’t the most awesome band, they were very influential, and I keep coming across musicians and bands they worked with who were very good. This stuff is also interesting because Bix, Tram and Teagarden worked in Paul Whiteman’s band. I generally think of Whiteman’s stuff as a sort of wet, watered down jazz with strings and sweet arrangements. But this sort of dance music was super popular. And while I don’t like it much at all, the sales of this stuff bolstered the recorded music industry generally, which in turn made it possible for artists I do to have recorded. I don’t think it’s actually that simple a connection, but there’s definitely a complex relationship between class, race, musical aesthetics (sweet or hot?) live performances, venue ownership and management, radio broadcasting and recorded music during this period.
I don’t know that much about this yet, but it’s definitely caught my eye. I hope I’ll have time during the semester to chase these thoughts down. Probably not. Classes start next week, and I’m going to have to do some clever catching up after BBS.
Right, that’s enough of that.
digital resources… mostly
This post is really just to track a range of online sources I’ve used today. I’m really interested in the relationship between different tools, and between online and face to face tools. I want to frame this post/discussion by pointing out that swing DJs are interested in music primarily as dancers and as DJs for dancers. So their interest in music and dance and history is almost always tied to the physical experience of dancing. And dancing is ALL about the body, no matter how intertubed you are. Dancers also tend to have quite extensive online networks, networks of friends and acquaintances which crisscross their country and the world. I just know that if Peter wasn’t actually playing music as I type, he’d be chiming in with useful tweeted comments and links.
The body pwns the intertubes any day.
I read this thread on SwingDJs this morning, which directed us to: this story about hot jazz in a full-text issue of Life on Google books.
I replied in the thread on swingdjs, but also in a post on my own blog, here.
Reading the list and thinking about hot jazz as I wrote that post, I was reminded of things I’d read in books (!), one of which is also available in full text on google books here.
I have also found full text versions online, but I can’t remember where. If you start with The Jazz Study Group @ Columbia and Jazz Studies Online you’ll probably eventually find them all.
But while I was reading these things in books, I came across references to a series of photographs and films which are very popular with dances – by Gjon Mili. Mili is best known amongst dancers for his short film Jammin’ the Blues which is available on youtube along with other films he made featuring jazz musicians (I link them here.)
There’re some iconic photos of dancers in Life magazine in their ‘Life goes to…’ series. These are available in Google/Life’s online collection. Gjon Mili also did some very interesting photos as part of a photo shoot for Esquire in a Jam Session series.
I’ve already written about magazines and jazz ad nauseum.
Meanwhile, that original Life article listed ’30 good hot records’. Which made me think about canons. And discographies as canons. There are various online versions of discographies, but the good ones aren’t freely available online. Boo. Hiss.
Canons and discographies made me think about following particular musicians, and all this talk about ‘essential’ lists of jazz musicians and songs made me think about the Great Day In Jazz photo, which has a documentary film attached, and which Rayned used to structure his Yehoodi Radio show, which you could stream online.
After I’d written that post earlier today, I was still thinking about these issues. And I remembered seeing a note attached to an Australian photo from the 20s in an online collection. I eventually found the photo on flickr.com in their flickr commons (with which I am obsessed) by typing ‘bands jazz sydney’ into the search box, getting this list. This is the photo. I was particularly interested in the comment that black American bands were banned in Australia from the date of this photo (1928) until 1955 (when Louis Armstrong visited Australia). I wondered if it was true.
So I asked twitter. This led to a discussion between (mostly) The SwingDJ, DJRussellTurner, a discussion witnessed by all the people who followed one or all of us on Twitter.
TheSwingDJ was sceptical.
DJRussellTurner tweeted clarified the Rex Stewart thing.
DJRussellTurner suggested a distinction between ‘band’ and ‘musicians’, and then linked to an an article by Alec Morgan in the journal Scan which used the original photo and added
But, not all musical imports were welcomed by Sydney’s moral guardians. Sonny Clay’s renowned Jazz band, The Colored Idea, arrived here from the USA in 1928 to play the burgeoning nightclubs. After a couple of white women were found in a hotel room with the Afro-American musicians, the band was escorted back to the ship and told never to grace our shores again. While the occasional black musician was allowed in after careful scrutiny for a limited period, Afro-American bands were not permitted back until the mid 1950’s when Louis Armstrong and his band pushed the colour-bar down.
I suddenly decided I needed to know more, and I certainly needed to verify this idea that ‘black bands were banned in Australia’ during this period. The important question here is why? Why did I want to be sure? Partly because this would indicate interesting things about:
- race and racism in Australia (White Australia Policy)
- jazz and jazz culture in Australia (jam sessions, playing with and listening to other musicians is central to the exchange and cultural transmission of creative, ideological and discursive forms. A lack of African American musicians in Australia would go some way to supporting my continuing suspicions about the whiteness of Australian jazz. And, consequently, white jazz dance.
- the music and entertainment industry in Australia.
I had a bit of a squizz in various online sources, but eventually decided I needed to look at some more newspapers from the day. These sorts of (albeit somewhat unreliable) primary sources can be helpful.
So I started simple, and followed this link from the flickr page. Not a whole lot of help right now, but it would be worth following up the original photographer.
Then I remembered someone on twitter mentioning an online tool which allowed you to search online Australian primary sources. I couldn’t remember who it was who put me onto it (I still can’t), so I just followed a bunch of links from likely sources.
Until I saw a name I recognised: Trove. And started searching for “Sonny Clay”.
I found this newspaper article on Trove which outlined accusations about the musicians’ union from the ‘banned band”s representatives.
Meanwhile, TheSwingDJ confirmed our suspicions but also noted that Rex Stewart wasn’t black, according to the musicians’ union (I wish I had his reference for this, actually).
He also tweeted other interesting tidbits including one about ‘good reputations’ and ‘paying’ to be allowed to play.
And then there were various comments on twitter from peeps ‘listening in’ to our 3-way chat, including comments about the photos as resources for fashion, Trove’s value for private research projects and so on. I asked for help RE Trove’s browser-compatability as I wanted to edit the scanned text of the article, but couldn’t log in. Various tweeps offered tips and feedback.
Then I revisited DJRussellTurner’s link to the Scan article and the original flickr photo page and discovered that the author of the Scan article had a blog where she discussed this photo and issue. Her thinking about this issue led to her discussion of flappers and gender here and here.
I then checked our her blog’s ‘about’ page and discovered she’s at the Centre for Critical and Cultural Studies at UQ where I did my BA and MA and where I still have friends working.
In one of those blog posts she notes in a caption for (a repro of that original photo from flickr):
(Members of Sonny Clay’s Coloured Idea (including the singer Ivie Anderson) on deck as they pull into Sydney, 1928)
And this made me think: Ivie Anderson! Best known (in my world) as a singer with Duke Ellington’s band. So I did a crappy search of my music (using the wrong date) to see if she recorded with Ellington during this period. I also scanned the photo carefully to see if I recognised her. I was, pretty much, guessing. But I was using photos of Anderson I found online to try and compare them with the women in those two original photos.
TheSwingDJ beat me to it with this link to a source many Swing DJs use quite often. That entry for Anderson includes:
Born in California, young Ivie received vocal training at her local St. Mary’s Convent and later spent two years studying with Sara Ritt in Washington, DC. Returning home she found work with Curtis Mosby, Paul Howard, Sonny Clay, and briefly with Anson Weeks at the Mark Hopkins Hotel in Los Angeles. She also found work in vaudeville, touring the country as a dancer and vocalist in the Fanchon and Marco revue, starring Mamie Smith, and with the Shuffle Along revue. She was featured vocalist at the Culver City Cotton Club before leaving to tour Australia in 1928 with Sonny Clay. Returning after five months down under she organized her own show and toured the U.S. In 1930 she found work with Earl Hines.It was while appearing with Hines that Ellington first heard her sing. He hired her in February 1931, and she quickly became a fixture of the orchestra’s sound.
(I’ve bolded the important bits.)
At this point, we’re still thinking about and looking up sources. Meanwhile, colleagues from the CCC at UQ have chimed in about the author of that blog, discussions about archiving this sort of research are happening, I’m listening to 1930s Ellington featuring Ivie Anderson and I’m just about to look up youtube for some clips of Anderson to see if I can check her out more thoroughly.
But first, I think I’ll go dancing.
(srsly)
magazine themed jazz prn
Magazine-themed prn from the ‘Jam Session’ pics in the Google/Life set Gjon Mili did for Esquire:

(NB that little group in the bottom left hand corner are from Vogue magazine.)
Mili of course made Jumpin’ the Blues, and also this freekin great clip of rockstars:
lists and canons in jazz
An interesting discussion has cropped up on SwingDJs called “30 Good Hot Records” from LIFE. This is what I’m about to post in response.
I love lists of iconic or ‘good’ songs/books/films/texts. I love them because though they are presented as definitive, they are always[ more effective as a provocation than a definitive answer to questions about what counts and is important enough to be listed. Discograhies work, pretty much, as definitive ‘lists’ or ‘canons‘.
I’ve come across a few different uses of ‘hot’ in articles and books from the 1930s, particularly in reference to discographies. Kenney’s discussion of jazz in Chicago outlines the differences between ‘jazz’ or ‘hot’ bands and music and ‘dance’ bands. These differences are not only musical, but also inflected by race, class, the recording industry, live venue management and ownership, gender… and so on. I’ve also come across quite a few discussions in an academic (rather than populist or ‘music critic’) sources about the expression ‘hot jazz’. The most useful sources point out that any attempt to finally define ‘hot’ or ‘jazz’ is not only difficult, but also problematic.
Krin Gabbard discusses the cultural effects of constructing canons – in which discographies play a key role – and points out that lists of ‘hot’ or ‘important’ or ‘real’ jazz records aren’t neutral or objective lists of songs – they are highly subjective and negotiated by the author’s own ideas about music and place in society generally.
Kenney (who’s written some absolutely fascinating stuff about jazz music in Chicago in the 20s) discusses Brian Rust’s discographies, making the point that Rust distinguishes between ‘hot’ and other types of jazz recordings. Friedwald talks a bit about Rust (and other discographers) in his jazz.com articles. Kenney’s research into the recording and live music industry in Chicago suggests that who got to record or play what types of music was actually dictated in large part by record companies’ ideas about race and class and markets rather than musicians’ personal inclination. That last point suggests that you could make some interesting observations about the correlation between race, class, recorded songs, ‘popularity’ and ‘jazz’ in Chicago jazz during this period. I don’t know enough about it, though, so all I’ll say is that you could, but you’d better have some badass sources to support your arguments. And you’d also better be prepared to accept the idea that though America had a national music industry, different state legislations and music cultures resulted in quite different local practices: it’d be tricky to generalise Chicago’s story across other cities and states. Not to mention countries.
Life and other magazines’ comments on and participation in music promotion in the 30s is also pretty interesting – these guys had ideological barrows to push, just as did Rust and other discographers. One of the effects of publishing this type of list (which was no doubt as hotly contested then as it is now – except by a wider audience :D) is that it does stimulate discussion and debate. And, hopefully, record and ticket sales. One thing I’d be interested in knowing is who owned LifeGreat Day In Jazz photo, I think about the fact that it was a photo for Esquire magazine, and that Esquire also produced a series of live concerts, recordings… and of course, photo spreads in magazines. While GDIJ works a fabulous representation of jazz it also serves as a canon, and as such is also subjective, ideologically framed and interpreted (eg asking why are there so few women in this photo leads us to questions about gender and jazz?) Canons are fascinating things, and can be the jumping off place for all sorts of great discussions and debates. I think this is why I was so excited by Reynaud’s session on Yehoodi Radio where he used the GDIJ photo as an organising structure for the music he chose. In that case, the photo became a listening guide for a radio program. I’d just rather not use them as definitive, fixed lists; I like them more as provocations, or a place from which to begin discussing (and arguing about) a topic.
If I saw a list like the one in Life today, I’d be extra-suspicious. Songs on So You Think You Can Dance, for example, are owned by the company which produces that tv show. There’s been quite a lot written about the Ken Burns’ Jazz series and its role in cross-promoting sales of records from catalogues owned by the same media corporation. The Ken Burns example is an especially interesting one: that series does not present an ‘objective’ list of important artists and songs. It is a jumping off place for a very successful marketing project surrounding back catalogues and contemporary musicians like Marsalis. George Lipsitz has written quite a bit about histories of jazz (including Burns’), and he makes this point:
…the film is a spectator’s story aimed at generating a canon to be consumed. Viewers are not encouraged to make jazz music, to support contemporary jazz artists, or even to advocate jazz education. But they are urged to buy the nine-part home video version of Jazz produced and distributed by Time Warner AOL, the nearly twenty albums of recorded music on Columbia/Sony promoting the show’s artists and ‘greatest hits,’ and the book published by Knopf as a companion to the broadcast of the television program underwritten by General Motors. Thus a film purporting to honor modernist innovation actually promotes nostalgic satisfaction. The film celebrates the centrality of African Americans to the national experience but voices no demands for either rights or recognition on behalf of contemporary African American people. The film venerates the struggles of alienated artists to rise above the formulaic patterns of commercial culture, but comes into existence and enjoys wide exposure only because it works so well to augment the commercial reach and scope of a fully integrated marketing campaign linking ‘educational’ public television to media conglomerates. (17)
Lipsitz is interesting because he says thinks like Why not think about jazz as a history of dance? Why not look into the lives of musicians who gave up fame and fortune in massively famous bands to work in their local communities?
Friedwald, Will. “On Discography” www.jazz.com, May 27, 2009 http://www.jazz.com/jazz-blog/2009/5/27/on-discography
Gabbard, Krin. “The Jazz Canon and its consequences” Jazz Among the Discourses. Duke U Press, Durham and London 1995. 1-28.
Kenney, William Howland. “Historical Context and the Definition of Jazz: Putting More of the History in ‘Jazz History'”. Jazz Among the Discourses. Duke U Press, Durham and London 1995. 100-116
Lipsitz, George. “Songs of the Unsung: The Darby Hicks History of Jazz,” Uptown Conversation: the new Jazz studies, ed. Robert O’Meally, Brent Hayes Edwards, Farah Jasmin Griffin. Columbia U Press, NY: 2004: 9-26.
References for my posts on Esquire.
