{"title":"重访Kenny G(对话)","authors":"Charles D. Carson","doi":"10.14713/jjs.v14i1.246","DOIUrl":null,"url":null,"abstract":"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.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2023-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Revisiting Kenny G (Colloquy)\",\"authors\":\"Charles D. Carson\",\"doi\":\"10.14713/jjs.v14i1.246\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"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.\",\"PeriodicalId\":331183,\"journal\":{\"name\":\"Journal of Jazz Studies\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-05-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Jazz Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.14713/jjs.v14i1.246\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Jazz Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.14713/jjs.v14i1.246","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
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.