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How Important Are The Looks And Nationality Of A Female Jazz Artist? by FAMSPA, Times Square Press FAMSPA nine published books on Jazz, divas and the series of the World Who's Who In Jazz, Cabaret, Music And Entertainment are always the center of a global controversy in North America, and particularly in Europe. And the reason seems clear and logical for a music scholar in Belgium, and an award-winning Jazz singer from Canada. Logical, because only American Jazz female singers appear on the front and back covers of all these books and encyclopedias. George Evans, a highly respected jazz singer in Canada wonders: "My goodness, are there no male vocalists in the cabaret and jazz industries worthy of a cover?" In New York City, a spokesman of the Federation of American Musicians, Singers and Performing Artists, publishers of the encyclopedias and Jazz books said: "Those ladies who appeared on the covers are something else. They were not chosen because they were Americans, but because they are different, unique and original in their style, persona and career highlights. In a sense, they are the four winds of world entertainment. Each one of them represents a particular era and a distinctive style. They are the perfect formula for the covers. It has nothing to do with gender or nationality." DO AMERICANS HAVE THE RIGHT TO MONOPOLIZE JAZZ AND ENTERTAINMENT? Yep! Women invaded 9 covers. Not a single male performer featured on the front cover. However, the legendary New Yorker Bruce Morrow "Cousin Brucie" from Sirius Satellite Radio appears on the cover of Volume V. James Gordon Beck from the UK and Frank Jackson a veteran Jazz musician from the United States appeared on the back cover of Volume II of the World Who's Who in Jazz, Cabaret, Music and Entertainment. What is the deal here? Why so many women were selected to crown the covers and not men? This is not the major question! According to Professor Evelyne Gambier, a professor of history and music in Belgium, the real question is: Do Americans Have The Right To Monopolize Jazz And Entertainment? Dr. Gambier wrote an essay on American Jazz and included in her article several angry passages referring to the World Who's Who In Jazz Cabaret, Music and Entertainment. The article made headlines and front page news, and was published worldwide and circulated on the Internet. Almost every single and known Jazz and music website in the civilized world posted Gambier's article. Here is an excerpt from her article: As a student, teacher and historian in Europe, and for over 20 years now, I have been following the development of Jazz, its ramifications and impact on world music, particularly the European scene. It appears that Jazz has dominated the global entertainment domain. Even, South America now has its Latin Jazz. And most recently, Cuba absorbed Afro-Cuban Jazz. All this is fine as long as Jazz remains the expression of the free spirited artist regardless of ethnicity, gender and as long as Jazz resists the geographical and socio-political domination. But unfortunately, this is not the case. The proof came in the form of the publication of a series of scholarly researched tomes on Jazz and entertainment, baptized under the title of WORLD WHO'S WHO IN JAZZ CABARET MUSIC AND ENTERTAINMENT. Although, this large and solid published work shed light on the historical background of Jazz artists and origin of showbiz throughout the ages, it remains –regretfully- heavily pro-American. Jazz was originated in the United States. That is a fact. But today, Jazz has become a universal musical expression embraced by Jazz singers and musicians who belong to several nations, not only the United States of America. Australia has produced serious female Jazz singers. In 2005, the United Kingdom released more than 500 new Jazz albums. In 2006, Germany, Sweden and Poland distributed over 500, 000 Jazz titles. So my question is: Do Americans have the right to monopolize Jazz and entertainment? The WORLD WHO'S WHO IN JAZZ, CABARET, MUSIC AND ENTERTAINMENT, published by the FEDERATION OF AMERICAN MUSICIANS, SINGERS AND PERFORMING ARTISTS ascertains this troubling reality. WHY ONLY AMERICANS ARE WORTHY OF A BOOK COVER? This troubling reality is shockingly apparent on the covers of all the volumes of the WORLD WHO'S WHO IN JAZZ, CABARET, MUSIC AND ENTERTAINMENT. I think they are five published volumes now. Each volume has on its cover (EXCLUSIVELY) singers, songwriters and musicians from the United States. I am wondering why the author and/or the publisher did not include European Jazz singers, songwriters and musicians on the cover of any volume? Do they really think that only Americans can sing and play Jazz? And if so, they should not call their books WORLD WHO'S WHO. American Who's Who would be more appropriate. I am not criticizing the quality of the books. In fact, I bought 3 volumes so far, and I will continue to do so for academic reasons. I could use the Who's Who in my classroom. The books are well researched and extremely useful. But I am chagrined by the American monopolizing attitude. It seems that everything American is labeled World, and this extends to the Baseball World Series, even though, only American teams compete in this event. Same things apply to the World Football Super bowl Championship in America. They call it world championship, yet only American football teams from the United States take part in this event. WHY IS IT SO DIFFICULT TO BE INCLUDED IN THE WORLD WHOS WHO? The WORLD WHO'S WHO IN JAZZ, CABARET, MUSIC AND ENTERTAINMENT is a global and serious publication on world entertainment and Jazz. However, why FAMSPA does not open the doors to non American artists? Why FAMSPA does not include European Jazz performers? I do admit the author did write extensively about international entertainers. But by comparing the number of written-up foreign entertainers with the number of gloriously written-up American counterparts in the books, the attention given to European artists is negligible. I am also concerned about rumours spread in the entertainment circles leading me to believe that only Ivy League Jazz singers and musicians are eligible for inclusion, leaving out hard working artists and serious entertainers because they lack name recognition and public visibility. Once again, my intention is not to criticize the formidable quality of the Who's Who. On the contrary, I do convey my admiration for this upstanding accomplishment. But I am honestly concerned and troubled because an influential publication like this World Who's Who could in a biased manner, influence the public opinion and reinforce the American Jazz monopoly attitude. Not to forget, the tendency of the author and the publishers to make it so difficult for a great number of hard working artists to be included in the World Who's Who of Jazz, Cabaret, Music, etc., etc, etc. THE REBUFF: AMERICANS ARE NOT ARROGANT NOR MONOPOLISTS! Ejazznews.com, 2 universities Jazznews.com and noisetap.com (the Jazz Community News) published an equally scholarly rebuff written by Dr. Ilil Arbel. Here is an excerpt from Dr. Arbel's article: The erudite article, written by Professor Evelyne Gambier, combines constructive criticism and inquiry, both of which I would like to answer in the same spirit of good will presented by Professor Gambier. First, I would like to thank the professor for her comments about the quality of the work. I am delighted to know that she already bought several volumes, and plans to continue collecting future volumes for her valuable classroom work. Nothing could be more pleasing, since it proves that she has a high opinion of the work. Professor Gambier calls the books "well researched and extremely useful" and is kind enough to add that "the World Who's Who in Jazz, Cabaret, Music and Entertainment is a global and serious publication on world entertainment and Jazz." Another glowing description she writes is "my intention is not to criticize the formidable quality of the Who's Who. On the contrary, I do convey my admiration for the upstanding accomplishment." We are delighted with her good opinion! However, the professor expresses some doubts, which I would very much like to address, and I feel that her letter gives me an opportunity to tell the world of plans to come. First, Professor Gambier feels that the book is too strong on American Jazz, and does not give enough space to the world class Jazz that exists today, something like the way Americans label Baseball and Football events as world championship, while only Americans compete. Let me stress that we are an international team. The author, the legendary Maximillian de Lafayette, is French, to begin with. The rest of us come from Paris, London, Montreal, and Tel-Aviv, in addition to New York. We more than realize and respect Jazz from Europe, Australia, South America, Cuba, etc. We see it as a universal expression and have no intention of favouring Americans at all – as a matter of fact we have contacted many Europeans – but let's face it, we are only working on Volume Five! This work, which will encompass at least twenty volumes, will cover the entire world. In addition, there is a work in progress of a mammoth one-volume World Who's Who that will be made of four thousand pages, and an international encyclopaedia is also in the works. In addition, we don't have only Americans on our covers. On Volume One, we had the Canadian diva, Carol Welsman. On the cover of Volume Two, we had three stars. Miss Marlene Ver Planck, who is American, Miss Randa Ghossoub, who is Lebanese, Miss Erica Luckett, who is a Mexican, Brazilian-born, international singer. On volume Four, one of our stars is Barb Jungr, who is the first lady of Jazz in England. Candidates and most favoured for the upcoming Volume Five include a Jamaican singer, a German saxophonist, and a French Jazz singer. The other concern Professor Gambier expresses is that this work is for "Ivy League singers and musicians" only. Not at all. In each volume we had many listings of new and emerging artists, and one of Mr. de Lafayette's missions, which he states in every introduction and many of his articles, is to bring those hard working, serious artists into the limelight. In addition, we are contacting teachers, professors, trainers and studios as well, since teaching is as important as performing. The last concern the professor expresses is the question why FAMSTRA does not open its doors to non American artists. FAMSTRA is not affiliated with us, it is an independent organization. Our connection is based only on the fact that they were interested in publishing our books. I feel that the concern is valid, though, and I would suggest that any European artist who is interested, should contact FAMSTRA directly and offer to join. The Federation's website is www.federationofamericanmusicianssingersandperformingartists.org I hope I have addressed all the issues as clearly as possible, and I would welcome any reader's comments and suggestions. Let the conversations begin – the more contact between authors, publishers, editors, teachers and artists, the better, and yes, let's keep this conversation on an international level. What could be more valuable to all of us?- End of Dr. Arbel's response. IN JAZZ, TALENT NEEDS CHARACTER, AND CHARACTER NEEDS BEAUTY AND STYLE! For centuries, Greek philosophers, historians, panel members of beauty contests and gossip columnists debated the issue of beauty, and its effect on the human mind and success in careers and business. The same applies to the micro and macro cosmos of Jazz. It was wisely said that male jazz artists communicate better with the public if their personality reflects charisma and a warm rapport with the audience. For female jazz singers, talent radiates and glows, when stage presence and physical beauty of the female entertainer became a de facto apparent and unquestionable. Simply put, beauty and the REFINED FEMINA style are a prerequisite and a stimulus for mass attraction. So many Opera divas and prima done were fired and their contracts cancelled when their physical looks - and in many instance, obvious obesity – affected the beauty and style of the stage production. The latest casualty was Opera Great and living legend Deborah Voigt. She was terminated from two shows in Vienna and Berlin, because of this alarming reality. So yes, size matters and looks are important in showbiz. Yet, many others ridicule this concept. This could be true if the performer's stage presence is not dominated by looks and talent only, but also by talent and an exploding personality like Nina Simone, Bessie Smith, Tina Turner, Janice Joplin and Ella Fitzgerald. Although, Carol Lexter, the PR executive and associate editor of the World Who's Who in Jazz, Cabaret, Music and entertainment agrees with this, Lexter insists that for a book cover, the looks and charisma of a jazz female artist are a must. THE BOOK COVERS OF THE WORLD WHO'S WHO IN JAZZ, CABARET, MUSIC AND ENTERTAINMENT ARE A PLATFORM FOR TALENT AND BEAUTY! The International News Agency's Kurt Rosenstadt brushed with this controversial issue in a piece he wrote about Volume VI of the World Who's Who in Jazz, Cabaret, Music and Entertainment. Here is an excerpt: I had a brief look at ENTERTAINMENT GREATS FROM THE 1800'S TO THE PRESENT. In fact, I went through few pages of an unedited Adobe version, and the book looks terrific. It is so pretty. But the esthetics are not the major concern of the author. The content is! And the content is overwhelming. The delightful saga of this remarkable book begins with its cover; Suzanne Grzanna, a stunning diva and accomplished artist at so many levels conveys the message of the author: The nostalgia of the past with its charm and glorious music blended with today's rhythm fever and glitzy showbiz. Expressing it differently, the golden era of Hollywood, Broadway and Vaudeville bursts out on the pages of the tome and flirts with the madness of modern music. The stunning looks of Grzanna seem to echo the beauty and elegance of the era of Cole Porter, Frank Sinatra, Louis Prima and Benny Goodman, and to envelop these treasures in the book, the Editorial Board had to find the most suitable artists to grace the cover of this heavy weight tome. They did. They found two gorgeous and multitalented divas, and both are made in the USA!!!! Suzanne Grzanna, a beauty and a classy singer and saxophonist from Wisconsin shines on the front cover. On the back cover, appeared the extravagant Jazz Opera Martini style singer Molly Brandenburg (aka Peggy Judy). And there is a reason for that. New York's artist Daniel Iliescu, member of the Editorial Board was looking for a classy beauty and a Jazz star with a traditional and strong musical background to give the impression that the book is academically traditional. But in the same time, the chosen star had to be innovative and "flavor of the jour", as Iliescu explained. Suzanne Grzanna brought to the cover several ingredients: Beauty, style, presence and command of music and lyrics. Et Voila, Grzanna is the lady of the cover. The editorial board of the World Who's Who consists of music critics, entertainment writers and even Parisian haute couture personalities, and they are not always easy to please. They insist on talent and beauty. If you look at the previous covers of the Who's Who, you will find captivating faces glowing on the front and back covers of each volume. And this is intentional. Carol Lexter who recommends artists to the board said "You got to find talent, beauty and uniqueness, all blended together in one person to create a very special cover...In the past, we had on the covers fabulous and stunning people like Carol Welsman, Lord! she is a knockout and winner of so many jazz awards. Jill Corey was on a cover. Jill is a living legend and she was the favorite of Johnny Carson...New Orleans smooth jazz diva, the gorgeous Stephanie Jordan, and Australia's stunning Jazz star Nichaud Fitzgibbon…all graced the covers of the World Who's Who. "Without music, there is no peace in the world. Music pacifies fanatics and attenuates violence...and without beautiful divas, there is no charm, beauty and reveries in our turbulent world", said Maximillien de Lafayette. However, the book does not sleep under the rainbow of a very distant past and glittering beauties. Several reviews and analyses of what is going on today in Manhattan, Hollywood and beyond are abundant, including charts of CDs sales, market value of entertainers, rating of singers and musicians, latest trends in showbiz, Jazz newcomers and rising stars, and tons of biographies and photos. However, this new tome remains a gigantic platform for beauty in Jazz! The book is published by Times Square Press and the Federation of American Musicians, Singers and Performing Artists. discuss the article source :: jazz press service © 2005 jazz news :: home page