Sherrie Tucker | University of Kansas (original) (raw)
Books by Sherrie Tucker
Papers by Sherrie Tucker
Oxford Music Online, 2003
“All-Girl” Bands of the 1940s, 2000
Journal of the Society for American Music, 2015
On the evening of March 8, 2014, I became the most envied person in the Lancaster, Pennsylvania, ... more On the evening of March 8, 2014, I became the most envied person in the Lancaster, Pennsylvania, Marriott Heritage Ballroom (perhaps the whole of Lancaster County). For my own part, I snoozed. But there on the nightstand, my cell phone danced with texts of more energetic colleagues: “Sherrie, you won theGrove! Where the @#! are you?” It seemed I had hit the jackpot in the SAM 2.0 raffle. In (quite literally) the blink of an eye, I had gone from a run-of-the-mill scholar of American music with pretty much the same books on the shelf as others with my particular set of research interests, to one of the few people on the planet toownthe entire eight-volumeAmeriGrove II. In that same life-changing moment—as I learned the next morning—I had also become the person least able to politely decline John Koegel's invitation to contribute to this multipart review.
Journal of Popular Music Studies, 2015
“All-Girl” Bands of the 1940s, 2000
“All-Girl” Bands of the 1940s, 2000
Black Music Research Journal, 2014
The Michigan Historical Review, 2002
Black Music Research Journal, 1999
THE PRAIRIE VIEW CO-EDS: BLACK COLLEGE WOMEN MUSICIANS IN CLASS AND ON THE ROAD DURING WORLD WAR ... more THE PRAIRIE VIEW CO-EDS: BLACK COLLEGE WOMEN MUSICIANS IN CLASS AND ON THE ROAD DURING WORLD WAR II ... The absence of millions of men have [sic] left vacancies in many fields which are rapidly being filled by the fairer sex. At PV, in order that music may ...
The Social Geography of Memory at the Hollywood Canteen, 2014
The Music and Its Boundaries, 2012
Jazz Perspectives, 2009
... 4. See, for example, the discussion of non‐traditional women as signs of modernity in Rita Fe... more ... 4. See, for example, the discussion of non‐traditional women as signs of modernity in Rita Felski, The Gender of Modernity (Cambridge, MA ... oral histories and autobiographies of jazz musicians, both black and white, and had heard one side of her 1926 Okeh recording date with ...
Frontiers: A Journal of Women Studies, 1996
Before I ask you to join me "on the road with the Sharon Rogers Band," let me p... more Before I ask you to join me "on the road with the Sharon Rogers Band," let me provide a quick note of explanation as to why I have written a travel narrative, as opposed to a traditional social history. There are two travel narratives, in fact: a travel narrative from the 1940s, as told to ...
Journal of Texas Music History, 2002
When Prairie View A&M University celebrated its Founders Day and Honors Convocation on March 27, ... more When Prairie View A&M University celebrated its Founders Day and Honors Convocation on March 27, 2002, the historically black college also revived a chapter of forgotten Texas music history. The Prairie View Co-eds were an extremely popular all-woman big band of the ...
Frontiers: A Journal of Women Studies, 1993
Who among us has not figured out that history and criticism are at least as fallible as other for... more Who among us has not figured out that history and criticism are at least as fallible as other forms of memory, that they censor even as they record? Take the history and criticism of jazz, for example, the majority penned by white men who generally recall a gender-specific, male ...
Daedalus, 2013
The Hollywood Canteen (1942-1945) was the most famous of the USO and USO-like patriotic nightclub... more The Hollywood Canteen (1942-1945) was the most famous of the USO and USO-like patriotic nightclubs where civilian hostesses jitterbugged with enlisted men of the Allied Nations during World War II. It is also the subject of much U.S. national nostalgia about the "Good War" and "Greatest Generation." Drawing from oral histories with civilian volunteers and military guests who danced at the Hollywood Canteen, this article focuses on the ways that interviewees navigated the forceful narrative terrain of national nostalgia, sometimes supporting it, sometimes pulling away from or pushing it in critical ways, and usually a little of each. This article posits a new interpretative method for analyzing struggles over "democracy" for jazz and swing studies through a focus on "torque" that brings together oral history, improvisation studies, and dance studies to bear on engaging interviewees' embodied narratives on ideologically loaded ground, improvising on the past in the present.
Critical Studies in Improvisation / Études critiques en improvisation, 2008
Scholars in Jazz Studies who seek to analyze sexuality in meaningful ways struggle against a hist... more Scholars in Jazz Studies who seek to analyze sexuality in meaningful ways struggle against a historical legacy of writing saturated by racist and colonialist desires manifest in primitivism, romanticism, and hyper-sexualization. This baggage does not go away when scholars turn their focus to “hidden histories of queer jazz musicians.” This article argues for another tack, to analyze heterosexual norms as social constructions; to understand intersectional analysis as a network of actively changing and contingent categories, and to attend to dynamics of “queering” and “straightening” in historically and culturally specific moments. This article poses the question—“when did jazz go straight?”—not as a literal question that can be answered once and for all, but as a candidate for inclusion in a new and improved “sexuality” compartment of the Jazz Studies toolkit.
Oxford Music Online, 2003
“All-Girl” Bands of the 1940s, 2000
Journal of the Society for American Music, 2015
On the evening of March 8, 2014, I became the most envied person in the Lancaster, Pennsylvania, ... more On the evening of March 8, 2014, I became the most envied person in the Lancaster, Pennsylvania, Marriott Heritage Ballroom (perhaps the whole of Lancaster County). For my own part, I snoozed. But there on the nightstand, my cell phone danced with texts of more energetic colleagues: “Sherrie, you won theGrove! Where the @#! are you?” It seemed I had hit the jackpot in the SAM 2.0 raffle. In (quite literally) the blink of an eye, I had gone from a run-of-the-mill scholar of American music with pretty much the same books on the shelf as others with my particular set of research interests, to one of the few people on the planet toownthe entire eight-volumeAmeriGrove II. In that same life-changing moment—as I learned the next morning—I had also become the person least able to politely decline John Koegel's invitation to contribute to this multipart review.
Journal of Popular Music Studies, 2015
“All-Girl” Bands of the 1940s, 2000
“All-Girl” Bands of the 1940s, 2000
Black Music Research Journal, 2014
The Michigan Historical Review, 2002
Black Music Research Journal, 1999
THE PRAIRIE VIEW CO-EDS: BLACK COLLEGE WOMEN MUSICIANS IN CLASS AND ON THE ROAD DURING WORLD WAR ... more THE PRAIRIE VIEW CO-EDS: BLACK COLLEGE WOMEN MUSICIANS IN CLASS AND ON THE ROAD DURING WORLD WAR II ... The absence of millions of men have [sic] left vacancies in many fields which are rapidly being filled by the fairer sex. At PV, in order that music may ...
The Social Geography of Memory at the Hollywood Canteen, 2014
The Music and Its Boundaries, 2012
Jazz Perspectives, 2009
... 4. See, for example, the discussion of non‐traditional women as signs of modernity in Rita Fe... more ... 4. See, for example, the discussion of non‐traditional women as signs of modernity in Rita Felski, The Gender of Modernity (Cambridge, MA ... oral histories and autobiographies of jazz musicians, both black and white, and had heard one side of her 1926 Okeh recording date with ...
Frontiers: A Journal of Women Studies, 1996
Before I ask you to join me "on the road with the Sharon Rogers Band," let me p... more Before I ask you to join me "on the road with the Sharon Rogers Band," let me provide a quick note of explanation as to why I have written a travel narrative, as opposed to a traditional social history. There are two travel narratives, in fact: a travel narrative from the 1940s, as told to ...
Journal of Texas Music History, 2002
When Prairie View A&M University celebrated its Founders Day and Honors Convocation on March 27, ... more When Prairie View A&M University celebrated its Founders Day and Honors Convocation on March 27, 2002, the historically black college also revived a chapter of forgotten Texas music history. The Prairie View Co-eds were an extremely popular all-woman big band of the ...
Frontiers: A Journal of Women Studies, 1993
Who among us has not figured out that history and criticism are at least as fallible as other for... more Who among us has not figured out that history and criticism are at least as fallible as other forms of memory, that they censor even as they record? Take the history and criticism of jazz, for example, the majority penned by white men who generally recall a gender-specific, male ...
Daedalus, 2013
The Hollywood Canteen (1942-1945) was the most famous of the USO and USO-like patriotic nightclub... more The Hollywood Canteen (1942-1945) was the most famous of the USO and USO-like patriotic nightclubs where civilian hostesses jitterbugged with enlisted men of the Allied Nations during World War II. It is also the subject of much U.S. national nostalgia about the "Good War" and "Greatest Generation." Drawing from oral histories with civilian volunteers and military guests who danced at the Hollywood Canteen, this article focuses on the ways that interviewees navigated the forceful narrative terrain of national nostalgia, sometimes supporting it, sometimes pulling away from or pushing it in critical ways, and usually a little of each. This article posits a new interpretative method for analyzing struggles over "democracy" for jazz and swing studies through a focus on "torque" that brings together oral history, improvisation studies, and dance studies to bear on engaging interviewees' embodied narratives on ideologically loaded ground, improvising on the past in the present.
Critical Studies in Improvisation / Études critiques en improvisation, 2008
Scholars in Jazz Studies who seek to analyze sexuality in meaningful ways struggle against a hist... more Scholars in Jazz Studies who seek to analyze sexuality in meaningful ways struggle against a historical legacy of writing saturated by racist and colonialist desires manifest in primitivism, romanticism, and hyper-sexualization. This baggage does not go away when scholars turn their focus to “hidden histories of queer jazz musicians.” This article argues for another tack, to analyze heterosexual norms as social constructions; to understand intersectional analysis as a network of actively changing and contingent categories, and to attend to dynamics of “queering” and “straightening” in historically and culturally specific moments. This article poses the question—“when did jazz go straight?”—not as a literal question that can be answered once and for all, but as a candidate for inclusion in a new and improved “sexuality” compartment of the Jazz Studies toolkit.
Improvisation, Sound, and Subjectivity, 2000
Improvisation, Sound, and Subjectivity, 2000