000			03646cam a2200385 i 4500
001			ocn958782794
003			OCoLC
005			20180722224736.0
008			161027t20172017ilua b 001 0 eng c
010			_a 2016049319
040			_aICU/DLC _beng _erda _cCGU _dDLC _dYDX _dOCLCO _dOCLCF _dOCLCQ _dERASA _dIK2 _dYDX _dOCLCO _dNFG
020			_a9780226152653 _qhardcover ; _qalkaline paper
020			_a0226152650 _qhardcover ; _qalkaline paper
020			_z9780226453439 _qelectronic book
035			_a(OCoLC)958782794
042			_apcc
043			_an-us---
092			_a306.0973 _bD583
049			_aNFGA
100	1		_aDinerstein, Joel, _d1958- _eauthor. _9335475
245	1	4	_aThe origins of cool in postwar America / _cJoel Dinerstein.
264		1	_aChicago : _bThe University of Chicago Press, _c2017.
264		4	_c©2017
300			_a541 pages : _billustrations ; _c24 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references and index.
505	0		_aPrelude: Paris, 1949 -- Introduction: the origins of cool -- Lester Young and the birth of cool -- Humphrey Bogart and the birth of noir cool from the Great Depression -- Albert Camus and the birth of existential cool from the idea of rebellion (and the blues) -- Billie Holiday and Simone de Beauvoir: toward a postwar cool for women -- Cool convergences, 1950: jazz, noir, existentialism -- A generational interlude: postwar II (1953-1963) and the shift in cool -- Kerouac and the cool mind: jazz and zen -- From noir cool to Vegas cool: swinging into prosperity with Frank Sinatra -- American rebel cool: Brando, Dean, Elvis -- Sonny Rollins and Miles Davis sound out cool individuality -- Hip versus cool in the Fugitive kind (1960) and Paris blues -- Lorraine Hansberry and the end of postwar cool -- Epilogue: the many lives of postwar cool.
520	8		_aCool'. It was a new word and a new way to be, and in a single generation, it became the supreme compliment of American culture. 'The Origins of Cool in Postwar America' uncovers the hidden history of this concept and its new set of codes that came to define a global attitude and style. As Joel Dinerstein reveals in this dynamic book, cool began as a stylish defiance of racism, a challenge to suppressed sexuality, a philosophy of individual rebellion, and a youthful search for social change. Through eye-opening portraits of iconic figures, Dinerstein illuminates the cultural connections and artistic innovations among Lester Young, Humphrey Bogart, Robert Mitchum, Billie Holiday, Frank Sinatra, Jack Kerouac, Albert Camus, Marlon Brando, and James Dean, among others. We eavesdrop on conversations among John-Paul Sartre, Simone De Beauvoir, and Miles Davis, and on a forgotten debate between Lorraine Hansberry and Norman Mailer over the "white negro" and Black cool. We come to understand how the cool worlds of Beat writers and Method actors emerged from the intersections of film noir, jazz, and existentialism. Out of this mix, Dinerstein sketches nuanced definitions of cool that unite concepts from African-American and Euro-American culture: the stylish stoicism of the ethical rebel loner; the relaxed intensity of the improvising jazz musician; the effortless, physical grace of the Method actor. To be cool is not to be hip and to be hot is definitely not to be cool.
650		0	_aPopular culture _zUnited States _xHistory _y20th century. _942057
651		0	_aUnited States _xSocial life and customs _y1945-1970. _931658
650		0	_aCool (The English word) _9335476
994			_aC0 _bNFG
999			_c255448 _d255448