Academic literature on the topic 'Native Americans jazz'

Abstract These four essays critique Ken Burns's PBS documentary series The National Parks: America's Best Idea. Burns has over the last several decades established himself as the central producer of PBS multi-part documentaries, addressing such topics as the Civil War, baseball, jazz, and World War II. National Park Service (NPS) leadership recognized the promotional opportunities for the NPS and aligned themselves closely with Burns and PBS. Critical discussion in the essays focuses in three areas: the treatment of Native Americans; the reverential treatment of “nature” in the national parks, and the distorted focus on the natural park in the West as the embodiment of the National Park system.

Abstract Introduction: An interesting epidemiological aspect of ALL is the variation between ethnic groups. Among all subtypes of leukemia Latinos have lower incidence rates. However, in remarkable contrast, ALL has a higher incidence rate in the Latino population and also carries a more dismal prognosis (Barrington-Trimis J, et al Blood 2015). The majority of reported data among Latinos either exclusively looks at B cell precursor (BCP) ALL or does not distinguish between subtypes. In this study we used the National Cancer Institute Surveillance, Epidemiology, and End Results (SEER) database to delineate the differences in incidence rates of B-ALL and T-ALL across ethnic groups in the United States. Epidemiologically, highest rates of ALL worldwide have been reported in both adult and pediatric Latino patients. However, determining who is to be considered Latino is not always straightforward. Many studies utilize self reported ethnicity and databases such as the Surveillance, Epidemiology, and End Results (SEER) Program of the National Cancer Institute (NCI) employ complex algorithms to determine ethnicity. Of note, the North American Association of Central Cancer Registries (NAACCR) Hispanic Identification Algorithm (NHIA) used by SEER includes European Spaniards but excludes South American Brazilians. This is a point of special interest due to the fact that although the overall incidence of ALL in the Brazilian population is low, the regional distribution is strikingly heterogeneous, with higher rates in regions with higher indigenous ancestry. Methods: Data from the SEER-18 database was used compare incidence rates of T-ALL and B-ALL. Patients in which ethnicity was reported were included. Due to the utilization of cytogenetics and subsequent changes in ICD coding over the years we chose to look at the most recent data reported in 2014. We compared rates in non-Hispanic Whites, Latinos (Hispanic), Blacks and Asian-Pacific Islanders (API). Age-adjusted incidence rates per 100,000 person-years were calculated. Results: AAIR of B-ALL in the Hispanic population is consistently higher than that of Non-Hispanic Whites throughout the years, ranging from 1.0-2.4 per 100,000. Blacks had the lowest incidence overall, with rates approximately one third of those found in Latinos. The distribution of ALL throughout the Americas can perhaps shed some epidemiological light on the genetic origins of ALL in Latinos. The ancestry across Latin America is mixed but historical idiosyncrasies can perhaps explain the distribution of ALL in the Americas. We reviewed the available literature and found that throughout the Americas, higher incidence rates are seen in areas of higher Native American ancestry (Fig 1). Discussion: Our finding shows that the increase of ALL among Latinos is accounted for by the high rate of B cell origin. The increased incidence of ALL in the Latino population has been linked to polymorphisms in genes such as the transcription factor GATA3 (Perez-Andreu V, Nat Genet 2013). The underlying mechanism of disease has yet to be elucidated and is likely related to BCP- ALL and, more specifically, Ph-Like ALL. This variation appears to be related to Native American ancestry. Understanding the molecular mechanism and epidemiological origins of this subset of patients with aggressive features will lead to improved treatment and overall survival in this minority healthcare disparity. Figure 1. Figure 1. Disclosures Douer: Shire: Membership on an entity's Board of Directors or advisory committees; Gilled Sciences, Inc: Consultancy; Spectrum: Consultancy; Jazz Pharmaceuticals: Consultancy; Amgen: Membership on an entity's Board of Directors or advisory committees; Pfizer: Honoraria.

Abstract Acute pancreatitis is a life-threatening complication of acute lymphoblastic leukemia (ALL) treatment. Previous studies have reported that intensive chemotherapy (especially asparaginase) and older age may predispose patients to pancreatitis (Samarasinghe et al. Br J Haematol 2013, Kearney et al. Pediatr Blood Cancer 2009;53:162 and Knoderer et al. Pediatr Blood Cancer 2007;49:634); however only a few large trials and case series have been reported. We studied 5185 ALL patients (age 0 to 30 years) enrolled between 1994 and 2012 on six front-line protocols for childhood ALL (St. Jude Total XIIIB and Total XV; COG P9904/P9905/P9906 and AALL0232) at St. Jude Children’s Research Hospital and in the Children’s Oncology Group. Pancreatitis was diagnosed in 117 (2.3%) patients by clinical symptoms, elevation in the serum amylase or lipase levels and abnormal radiographic or surgical findings according to NCI CTCAE version 2.0 (grade 3-4) or 3.0 (grade 2-4). The first episode of pancreatitis developed during remission induction in 24 of 117 (20.5%) patients and during the first year of therapy (including remission induction) in 104 of 117 (88.9%) patients. We investigated whether age, gender, race, immunophenotype, cumulative asparaginase dose and formulation (native E. coli-asparaginase [Elspar] vs PEG-asparaginase [Oncaspar]) were associated with the development of pancreatitis. Race was categorized as white, black, Hispanic, Asian and other based on inferred genetic ancestry (European, African, Native American and Asian) using STRUCTURE (Yang et al. Nat Genet 2011;43:237-241). Patients with pancreatitis were significantly older than those without the complication (median age, 11.7 years vs 7.3 years; P = 2.2 × 10-9). Hispanics (46 of 1177, 3.9%) and blacks (11 of 350, 3.1%) had a higher risk of pancreatitis than did whites (46 of 3069, 1.5%) and Asians (1 of 99, 1.0%; P = 1.6 × 10-5). Patients treated on protocols featuring higher cumulative dose of asparaginase (Total XV, COG P9906 and AALL0232) developed more pancreatitis than those on the protocols with lower dose of asparaginase (Total XIIIB and COG P9904/P9905) (103 of 3358, 3.1% vs 14 of 1827, 0.8%; P = 1.2 × 10-8; Figure 1). Gender, immunophenotype and asparaginase formulation were not associated with the development of pancreatitis. In a multivariate model, Native American ancestry (hazard ratio = 1.20 for every 10% increase; P = 8.4 × 10-8), older age (hazard ratio = 1.08 for every 1 year increase; P = 1.2 × 10-5) and higher cumulative dose of asparaginase (hazard ratio = 3.27 for those receiving native E.coli-asparaginase [or PEG-asparaginase equivalent] ≥ 240,000 U/m2 vs< 240,000 U/m2; P = 1.1 × 10-4) remained independent risk factors for pancreatitis, while African ancestry was only marginally significant (hazard ratio = 1.08 for every 10% increase; P = 0.053). In summary, older age, Native American ancestry and higher asparaginase exposure independently predict the development of pancreatitis in children treated for ALL.Figure 1Comparison of asparaginase dose and 3-year cumulative incidence of pancreatitis in different protocols. Native E. coli-asparaginase (E.coli-ASP) and PEG-asparaginase (PEG-ASP) were given intramuscularly at doses shown in the table. *Total dose of native E.coli-ASP (excluding the Extended Induction phase), according to protocol. PEG-ASP administration at 2,500 U/m2 is considered equivalent to native E. coli-ASP at 50,000 U/m2. #Dichotomized by total dose of native E.coli-ASP (or equivalent dose of PEG-ASP) above or below 240,000 U/m2. Abbreviations: ASP, asparaginase.Figure 1. Comparison of asparaginase dose and 3-year cumulative incidence of pancreatitis in different protocols. Native E. coli-asparaginase (E.coli-ASP) and PEG-asparaginase (PEG-ASP) were given intramuscularly at doses shown in the table. *Total dose of native E.coli-ASP (excluding the Extended Induction phase), according to protocol. PEG-ASP administration at 2,500 U/m2 is considered equivalent to native E. coli-ASP at 50,000 U/m2. #Dichotomized by total dose of native E.coli-ASP (or equivalent dose of PEG-ASP) above or below 240,000 U/m2. Abbreviations: ASP, asparaginase. Disclosures: Evans: St. Jude: In accordance with institutional policy, St. Jude allocates a portion of the income it receives from licensing inventions and tangible research materials to those researchers responsible for creating this intellectual property., In accordance with institutional policy, St. Jude allocates a portion of the income it receives from licensing inventions and tangible research materials to those researchers responsible for creating this intellectual property. Patents & Royalties, Under this policy, I and/or my spouse have in the past received a portion of the income St. Jude receives from licensing patent rights related to TPMT polymorphisms as clinical diagnostics. Other. Hunger:Jazz Pharmaceuticals: I receive funding for investigator-initiated research of asparaginase from Jazz Pharmaceuticals., I receive funding for investigator-initiated research of asparaginase from Jazz Pharmaceuticals. Other; Sigma-Tau Pharmaceuticals: I receive funding for investigator-initiated research of asparaginase from Sigma-Tau Pharmaceuticals. Other. Relling:Sigma-Tau Pharmaceuticals: I receive funding for investigator-initiated research on the pharmacology of asparaginase from Sigma-Tau Pharmaceuticals., I receive funding for investigator-initiated research on the pharmacology of asparaginase from Sigma-Tau Pharmaceuticals. Other; St. Jude Children’s Research Hospital : I have in the past received a portion of the income St. Jude receives from licensing patent rights related to TPMT polymorphisms as clinical diagnostics., I have in the past received a portion of the income St. Jude receives from licensing patent rights related to TPMT polymorphisms as clinical diagnostics. Patents & Royalties.

The problem of synthesis of artistic and aesthetic directions of the XX century is considered in the violin music of the Chinese composer Ma Sitsong, whose creative path is outlined in the European, Chinese and American periods. Ma Sitsong was the first Chinese musician to study at the Paris Conservatory and adapt the modernist tendencies of Europe (Impressionism by C. Debussy; I. Stravinsky's search for the "Holy Spring", B. Bartok's neo-folklore). The principles of the latter resonated with Ma's intense reliance on the national Chinese firstborn. After returning to China, he admired the work of S. Prokofiev. Violin music (the first Chinese Concerto, Xinyan Rhapsody for Violin and Orchestra, Suiyuan Suite, Rondo №№1-2) showed a bright national beginning combined with neo-romantic tone and impressionistic sound recording. The mystical-religious figurative conceptosphere of the Tibet Suite is full of symbolic features. After emigrating to the United States, the composer turned to the native music of Taiwanese aborigines (Amei and Gaoshan Suites). Reproducing archaic images, Ma tends to Fauvism, primitive naivety and minimalism, continuing the line of I. Stravinsky, corresponding with the search for his contemporaries: O. Messian, J. Cram, J. Cage, T. Takemitsu, M. Skoryk. In works of the American period (Concerto for 2 violins, Rondo №№3-4, Sonata №3, Sonata for 2 violins solo) neoclassical, expressionist, urban features, elements of Westernization, jazz are felt. Ma Sitsong, as one of the founders of the national violin school, organically combines the diversity of world trends with a lasting reliance on Chinese folk music.

The Bronx Cocked Back And Smoking is a collection of multifarious prose performances recounting the historical, personal, social, political and cultural constructs of a city birthed by violence. This body of work is accompanied by video, audio, photography, and theatre performance texts. St. Mary’s Housing project, in the Bronx, is the foundation where most of this literary work takes place. The modern day Griot (storyteller) is a Poet, guiding his audience through the social inequalities and disparities that plague St. Mary’s community. The Poet shares personal traumatic insights while simultaneously utilizing writing as a form of survival to the conditions of the Bronx. This multi-platform performance highlights the metaphorical and physical concerns with the cycle of violence. This question is answered through the Poet’s choice by selecting the pen over the gun.

Religious music functions both to create group identities and to dissolve social boundaries. Historically, American music has been characterized by racial and religious crossover. While many ethnic groups have participated in constituting American music, the most seminal crossovers have occurred between African and European Americans. Jazz was shaped largely by the interactions of Jews and African Americans. Gospel music developed from the interaction of vernacular slave spirituals, Protestant hymns, and the secular blues. Christian hymns have been thoroughly indigenized by many Native American groups. Compared to Buddhists and Jews, American Hindus and Muslims have made few musical adaptations of their worship music, but their music has been widely sampled in American popular styles. In recent decades, mainline Protestant hymnals have come to reflect the deeply multicultural reality of American sacred song.

Latin Jazz: The Other Jazz is an issue-oriented historical and ethnographic study that focuses on key moments in the history of the music in order to unpack the cultural forces that have shaped its development. The broad historical scope of this study, which traces the dynamic interplay of Caribbean and Latin American musical influence from eighteenth- and nineteenth-century colonial New Orleans through to the present global stage, provides an in-depth contextual foundation for exploring how musicians work with and negotiate through the politics of nation, place, race, and ethnicity in the ethnographic present. Latin jazz is explored both as a specific subgenre of jazz and through the processes involved in its constructed “otherness.” Latin Jazz: The Other Jazz provides a revisionist perspective on jazz history by embracing and celebrating jazz’s rich global nature and heralding the significant and undeniable Caribbean and Latin American contributions to this beautiful expressive form. This study demonstrates how jazz expression reverberates entangled histories that encompass a tapestry of racial distinctions and blurred lines between geographical divides. This book acknowledges, pays tribute to, and celebrates the diversity of culture, experience, and perspectives that are foundational to jazz. Thus, the music’s legacy is shown to transcend far beyond stylistic distinction, national borders, and the imposition of the black/white racial divide that has only served to maintain the status quo and silence and erase the foundational contributions of innovators from the Caribbean and Latin America.

On October 20, 1923, at New York's Belmont Park, Kentucky Derby champion Zev toed the starting line alongside Papyrus, winner of England's greatest horse race, the Epsom Derby. The $100,000 purse for the novel intercontinental showdown was the largest in the history of America's oldest sport and writers across the country were calling it the "Race of the Century." A victory for the American colt in this blockbuster event would change how the nation viewed horse racing forever. In this book, James C. Nicholson exposes the central role of politics, money, and ballyhoo in the Jazz Age resurgence of the sport of kings. Though the Zev-Papyrus face-off was one of the most hyped sporting events of the early twentieth century, Nicholson reveals that it soon faded from American popular memory when it became known that Zev's owner, oil tycoon Harry F. Sinclair, was involved in an infamous scandal to defraud the United States of millions of barrels of publicly owned oil. As a result, Zev became an apt mascot for a nation struggling to reconcile its traditional values with the modern complexities of the Roaring Twenties, and his tainted legacy ultimately proved to be incompatible with tenets of national mythology that celebrate America as a place where hard work and fair play lead to prosperity.

In the late 1970s, the Mexican ensemble Atrás del Cosmos, a pioneering free improvisation collective (1975–1983), held an eight-month residency at El Galeón, a city theater. Jazz and experimental theater were twin touchstones for the ensemble, which adapted ideas borrowed from Alejandro Jodorowsky, a Chilean expatriate known for his radical influence on the city’s 1960s theater scene, including the notion that theatrical performance should shatter social decorum and elicit liberating ways of being-in-the-world. For Atrás del Cosmos, art’s transformative potential also lay in articulating a personal voice in a collective context—a central tenet of jazz and African-American expressive culture. The ensemble’s multivalent genealogy, as well as its collaborations with US-based improvisers—notably trumpeter Don Cherry—bolster arguments for the transnational nature of twentieth-century “American” music. This chapter proposes Vijay Iyer’s notion of “embodied empathy” as a key to understanding the ensemble’s immediate social impact and its lasting historical significance.

This chapter examines the relationship between African America, Latin America, and the Caribbean through the music and its associated performance practices realized on the stage of the Apollo Theater in Harlem from 1934 to the early 2000s. Through the lens of race, nation, and ethnicity, the complex and often tenuous relations among the diverse peoples who colluded and collided on the stage of the Apollo to produce some of the most significant and influential contributions to popular cultural expression in the United States throughout the twentieth century are explored. Though the Apollo is considered one of the most significant and influential venues in the twentieth century for African American music, studying the discourse and historical narratives concerning the theater’s history and traditions reveals that the venue was also one of the most important Caribbean and Latin American stages in the United States during that time. Situated just blocks from one of the most vibrant Caribbean and Latin American neighborhoods in North America, Spanish Harlem or El Barrio, the Apollo Theater was and continues to be a nexus for intercultural exchange between African American, Latin American, and Caribbean musics.

Bernstein once said that Mass, with its fervent eclecticism, was the work he had been writing all his life—perhaps only because he had yet to write Songfest. This group of orchestral songs manages to encapsulate most of Bernstein’s formal and stylistic tendencies across his career, including the various roles that jazz styles had played in his works. As such, it serves as a way to distill and reflect on the nature of Bernstein’s relationship with jazz and the development of his own jazz idiom. Jazz features prominently in two songs of the cycle—“The Pennycandystore beyond the El” and “I, Too, Sing America/Okay, ‘Negroes’”—and on the whole ...

The chapter discusses the nature of the blues and Johnny Hodges’s place within the genre. Recognized as a master of the blues in his time, he would not be thought of as a blues musician by most listeners today because what is meant by that term has been narrowed over time. Guitar-based blues music has crowded the horn-based variety out of the marketplace since rock ‘n’ roll displaced jazz as the most popular music among America’s youth. A brief history of the evolution of the term blues in American music is provided, along with an explication of the role played by W. C. Handy in popularizing the genre before electric amplifiers gave rise to the current ascendancy of guitars over horns. Hodges’s blues-based collaborations with organist Wild Bill Davis are then described as largely responsible for creating a new subgenre of jazz, the organ-sax combo, which endures to this day.

This chapter examines Ralph Ellison’s Invisible Man as a foundational work in the development of comic rage, particularly through its use of black folk tradition. Ellison’s use of the tradition of black folk humor on both literal and cultural targets manifests itself in extensive acts of signifying. In particular, the novel critiques black protest novels of the 1940s and 1950s—embodied by Richard Wright’s Native Son—with the use of humor and other forms of African American cultural expressions. This chapter explores how, while the novel contains as much rage and violence as the protest novels do in their critique of racist oppression, Ellison’s novel avoids allowing the rage to become destructive by highlighting the rhetorical skill of the protagonist and the embrace of jazz as a critical aesthetic. The book lays the groundwork for other works of comic rage both within and outside the African American literary tradition.

In spring 1948, Capitol Records finally releases “Nature Boy” (at the time of Cole’s marriage to his second wife, Maria Hawkins Ellington). The song is a blockbuster, remaining #1 on the pop charts for almost two months and pushing Nat into a more popular direction. This is also when he introduces a whole new Trio—with guitar (Irving Ashby), bass (Joe Comfort), and percussion (conga and bongo player Jack Costanzo)—now called “Nat King Cole and His Trio.” The new group’s entirely different sound lets Cole explore modern jazz and Afro-Latin music. Cole is also experimenting with the transition from jazz pianist to popular vocalist. From 1949 to 1952, Cole makes about forty titles with his first full-time musical director, arranger, and conductor, Pete Rugolo. The chapter ends with Nat’s first venture outside of America, a brief tour of the UK and Scandinavia that also opened up the floodgates for things to come.

Posthumous exposure, often on the grounds of medical examination, has acted as the problematic vehicle through which a number of transgender lives have been bequeathed to history, with the perceived disparity between sex and gender serving as a pretext to forcibly rewrite the transgender person’s identity in public memory. Inspired by the life story of American jazz musician, Billy Tipton (1914-1989), Jackie Kay’s novel Trumpet explores the aftermath of posthumous exposure but is notable for its purposeful thwarting of the narrative dynamics which conventionally accompany it. This chapter will explore how its focus on a Scottish musician of African heritage and his relationship with his adopted mixed-race son questions the privileging of essentialising narratives of ‘birth’, including those to do with gender, nation, race and family.

For the Philippines in the twenty-first century strands of modernity, globalization, and nation are closely interwoven, the result of processes in play during the previous twentieth century. The time period under discussion has two important “bookends”—the close of the Philippine-American War in 1912 and the onset of martial law in 1972, six decades which in this chapter are referred to as the period of Developing Modernity, a duration of relative social and political stability enabling self-reflection upon identity and nation. Philippine commercial music during this time illustrates and informs these processes in play, which is examined through the careers of two female vocalists with national and international reputations, jazz singer Katy dela Cruz and chanteuse Pilita Corrales. Each singer, although part of the same commercial music industry, presents a distinctive trajectory of engagement with nation and culture during the Developing Modernity period. Regarding relevance for the present twenty-first century, each references alternative modernities relative to the international circulation of mediatized music and the globalization of vocalized and gendered bodies. Both argue for cultural continuities within environments of social change.