I know it’s strictly non-U to register in order to talk up your own book, and I’m loath to break an eighteen-month lurking run anyway, but I agree that this isn’t just hair-splitting.
Three things, from the trivial to the less-trivial:
1. Lee Morgan’s Native American features (from his mum’s side) meant that he didn’t need a process. It was all pomade.
2. I don’t for a second think he was ‘conflicted by his racial identity’. (Mind you, I think the idea that black people with straightened hair demonstrate that kind of conflictedness is itself a bit of a canard).
3. I don’t suggest that he had a process or was conflicted in that way in the book. What the above review begins to suggest and what some posters above then conclude is a slightly different matter.
The word ‘process’ is indeed attributed to an interviewee, not me. OK, that interviewee, talking at 30 years distance, isn’t entirely accurate in remembering Lee Morgan’s hairdressing habits – and I’ve already by that time in the book given the accurate information – but she’s still making a valid point. This correspondent wasn’t the only person to remark upon the apparent datedness of Lee’s hair and its political-symbolic ramifications, so I put it in, inconsistencies aside. People did and do think that about Lee’s hair. What Lee (sorry, Morgan) thought about it - and his isn't the only important point of view, surely - we don’t know. We don’t need to waste time guessing, either; like many here I can’t abide psychoanalysis by historical remove, not to mention academic theorising built on wafer thin bits of evidence.
Again, the culture-identity interpretation is drawn from the reviewer (‘…when Afros were de rigueur…’), not me. I don’t think there’s much reprehensible about that interpretation, and the book presents it via that interviewee, but it’s not quite my own view. (In fact, I’ve got something rather different to say about Lee’s haircut symbolism). It would be glib to suggest that my whole project is ideologically skewed on the basis of these others’ words. Thanks to ValerieB for pointing this out.
The review above concentrates on the late ‘political’ stuff, much of which is pretty familiar to posters here I imagine. Discussion of music and life, which account for two thirds of the subtitle (and which another reviewer has talked about more) are played down, even though they are actually featured in the book much more extensively than the ‘politics’. There’s a reason for that, though: that review was part of an ‘American Books Special’, which, coming the weekend after the elections over there, had a bit of a political bent. So that angle may well have been requested by the editor.
Two layers of hearsay, an added interpretation, and more than likely some extra-creative, commercial constraints: sounds like the jazz world to me. And that’s the kind of history I’ve written.
Bertrand, like you I’ve read a lot of ‘scholarly’ writing on jazz, so I completely understand that you feel forlorn about the prospect of more. But this isn’t that kind of work. I’d much prefer to hear your glum reactions than your glum prognostications.
Thanks in advance for indulging this. Sorry it’s so prolix. I don’t want to defend the book, as it can stand up for itself, but until it’s out and people are reading it (rather than other people’s glosses on it) I’m keen that it’s not taken for some kind of Cult-Studs/Kofsky bastard child.
Tom