This book is a revised version of my Long Island University/C.W. Post (now known succinctly as LIU Post) master’s thesis, submitted in December 2011, in “partial fulfillment,” as they like to say, of the degree of Master of Public Administration. An extensive epilogue was added to what was already an extensive text—this was a dissertation-sized thesis, you might say—in 2013.
An investigation of the meanings and motives of federal jazz policy—to the degree that federal interest in jazz rises to the level of what can rightfully be called policy—during the three periods of its chief instantiation: the 1930s WPA Federal Music Project; the State Department’s Cold War jazz diplomacy program; and the National Endowment for the Arts’ individual grants to artists and its Jazz Masters program, as well as jazz-related Congressional resolutions promoted by the Congressional Black Caucus. The examination suggests that a “jazzocracy” is sometimes at work, which may co-opt the Black revolutionary character of jazz and delegitimize the avant-garde as it mainstreams the music and validates largely specious, racially opaque principles of American “democracy.”
If it appears I have a political bone or two to pick with federal jazz policy, such as it is—”such as it is” being the standard qualifier of “federal jazz policy”—well, I do. “Jazzocracy” and “democracy,” as the book shows, are generally two sides of the same loaded coin.