Revisiting Kenny G (Colloquy)
Listening Past Kenny G - Crossover Jazz and the Foregrounding of Black Sensualities
Bibliographic Data
| ID | 22005978 |
|---|---|
| Authors | Charles Carson (The University of Texas at Austin, corresponding author), Charles D Carson |
| Year | 2023 |
| Volume | 14 |
| Issue | 1 |
| Pages | 35-46 |
| Publication date | 2023-05-30 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of Jazz Studies (JOURNAL) |
| Journal identifiers | ISSN: 2158-1401 • E-ISSN: 2158-1401 |
| Publisher | Rutgers University Libraries (PUBLISHER • US) |
| DOI | 10.14713/jjs.v14i1.246 |
| OpenAlex | W4378767766 |
| Language | EN |
| References cited | 13 |
From fusion jazz, to quiet storm, to neo-soul and lo-fi hip hop, jazz has often been used as a marker of authenticity in contemporary Black popular genres. Given his disproportionate popularity, the class-ing, racialization, and gendering of Kenny G in popular culture has become, in effect, the lens through which we evaluate all forms of crossover jazz. Ultimately, critiques that focus on Kenny G as a means to dismiss such musics are rooted in racialized discourses of authenticity that ignore the long tradition of crossover projects that characterize Black popular musics broadly
Aesthetics · Art · Art history · Epistemology · Jazz · Literature · Poetry · Political science · Popular culture · Popularity · Racialization · Rhyme · Sociology · Soul · Gender Studies · History · Law · Music History and Culture · Philosophy · Race, History, and American Society · Theater, Performance, and Music History
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| Highly cited | No |
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