Paper $30.00 ISBN: 9780226568447 Published September 2018
Cloth $90.00 ISBN: 9780226568300 Published September 2018
E-book $10.00 to $30.00 About E-books ISBN: 9780226568584 Published September 2018 Also Available From
E-book Retailers: Apple iBooks B&N Nook Google Play Kobo Library Vendors: EBSCO

Stolen Time

Black Fad Performance and the Calypso Craze

Shane Vogel

Stolen Time

Shane Vogel

272 pages | 35 halftones | 6 x 9 | © 2018
Paper $30.00 ISBN: 9780226568447 Published September 2018
Cloth $90.00 ISBN: 9780226568300 Published September 2018
E-book $10.00 to $30.00 About E-books ISBN: 9780226568584 Published September 2018
In 1956 Harry Belafonte’s Calypso became the first LP to sell more than a million copies. For a few fleeting months, calypso music was the top-selling genre in the US—it even threatened to supplant rock and roll. Stolen Time provides a vivid cultural history of this moment and outlines a new framework—black fad performance—for understanding race, performance, and mass culture in the twentieth century United States. Vogel situates the calypso craze within a cycle of cultural appropriation, including the ragtime craze of 1890s and the Negro vogue of the 1920s, that encapsulates the culture of the Jim Crow era. He follows the fad as it moves defiantly away from any attempt at authenticity and shamelessly embraces calypso kitsch. Although white calypso performers were indeed complicit in a kind of imperialist theft of Trinidadian music and dance, Vogel argues, black calypso craze performers enacted a different, and subtly subversive, kind of theft. They appropriated not Caribbean culture itself, but the US version of it—and in so doing, they mocked American notions of racial authenticity. From musical recordings, nightclub acts, and television broadcasts to Broadway musicals, film, and modern dance, he shows how performers seized the ephemeral opportunities of the fad to comment on black cultural history and even question the meaning of race itself.
Contents
Acknowledgments

Introduction: This and That, or, Swiped Calypsos

1          Stolen Time: The Ontology of Black Fad Performance
2          The Calypso Program: Technology, Performance, Cinema
3          Carnivalizing Jazz: Duke Ellington’s Calypso Theater and the Diasporic Instant
4          Surfacing the Caribbean: Black Broadway and Mock Transnational Performance
5          Working against the Music: Geoffrey Holder’s Elsewhen

Conclusion: Don’t Stop the Carnival
 
Notes
Index
Review Quotes
Journal of Popular Music Studies
Stolen Time is beautifully written and beautifully argued. It is not only excellent scholarship, profound in its implications for African American studies, performance studies, media studies, and other fields, but also exemplary scholarship. . . . A significant contribution to an understanding of the racial politics and cultural logics of authenticity, particularly as they have affected black performers. . . . In his close textual analyses, which are a feature of every chapter, Vogel produces insights from the (seemingly) ephemeral or culturally inauthentic.”
Choice
“Recommended. . . The book's five dense chapters detail theoretical concepts of stolen time, critical solipsism, radical counterprogramming, mock transnational performance, and the phantom gestures and “temporal elsewhen” evoked through dance. Close readings of “counterfeit” performances by Lena Horne, Maya Angelou, Josephine Premice, Geoffrey Holder, and Duke Ellington offer insight into “the development of diasporic consciousness ... as African American performers self-reflexively and circuitously engaged with Caribbean performance tradition.” Vogel ends with a poignant description of Harry Belafonte’s rendition of “Don’t Stop the Carnival"—created for The Smothers Brothers Comedy Hour with overtly politicized imagery and lyric content—which reveals “an emancipatory aesthetics and historical consciousness” always present in black fad performance.”
Daphne Brooks, author of Bodies in Dissent
“One of the boldest and most original studies of race and transnational mass culture in recent memory. Stolen Time promises to break wide open new directions in performance studies, cultural studies, black diaspora studies, and beyond.”
Soyica Colbert, author of Black Movements
Stolen Time provides the first book-length study of the black calypso craze, breaking new and important scholarly ground. Meticulously researched, clearly written, and forcefully argued, Stolen Time demonstrates how mass culture expands conceptions of black freedom and possibility.Vogel provides original insight to the calypso craze while advancing existing conversations in black cultural, literary, and performance studies about mid-twentieth-century popular culturalproduction. Essential reading.”
For more information, or to order this book, please visit https://www.press.uchicago.edu
Google preview here

Chicago Manual of Style

Chicago Blog: Music

Events in Music

Keep Informed

JOURNALs