Playing with real feeling: making sense of jazz in Britain

New Formations - ISSN 0950-2378
Volume 1988 Number 4

Playing with real feeling: making sense of jazz in Britain
Simon Frith pages -


Frith looks at the development of jazz against a background of other popular music forms and the cultural presentation of black performers. He notes that pop music has always been branded ‘phoney’, whereas black jazz performers in particular were seen as authentic and were much less commercialized than their white counterparts. The black-and-white minstrel shows provided an early context which kept actual black performers outside the mainstream; meanwhile, later white singers have taken ‘blacking up’ in subtler directions, through, for example, the ‘slurred’ singing style of Mick Jagger and other rock performers. For many years, black jazz, though seen as more authentic than white popular music, remained on the margins as an elite taste. Gradually it has filtered through to the mainstream.

SORRY - you are not registered as being permitted online access to the full text of this article

You have the following options:

  1. If you are viewing this via an institution or academic library you can ask that your institution takes out a Subscription to this journal.
  2. If you already have a Personal Subscription please login below

    Forgotten your username / password? Click here to locate

  3. Purchase an annual Personal Subscription
    PRINT + DIGITAL personal subscription (£45 / year)
    DIGITAL personal subscription (£30 / year)
    A Personal Subscription provides immediate access not only to the single article you are seeking, but also to all past and future articles in this journal up to the expiry of your annual (calendar year) subscription.
  4. Purchase immediate access to this single article (UK£7.00) - Buy article Coming Soon

To cite this article
Simon Frith (1988) Playing with real feeling: making sense of jazz in Britain, New Formations, 1988(4), -

Share this