By Joel Dinerstein
Through eye-opening portraits of iconic figures, Dinerstein illuminates the cultural connections and inventive techniques between Lester younger, Humphrey Bogart, Robert Mitchum, Billie vacation, Frank Sinatra, Jack Kerouac, Albert Camus, Marlon Brando, and James Dean, between others. We snoop on conversations between Jean-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 procedure actors emerged from the intersections of movie noir, jazz, and existentialism. Out of this combination, Dinerstein sketches nuanced definitions of cool that unite techniques from African-American and Euro-American tradition: the classy stoicism of the moral insurgent loner; the cozy depth of the improvising jazz musician; the easy, actual grace of the strategy actor. To be cool isn't to be hip and to be sizzling is well to not be cool.
This is the 1st paintings to track the heritage of cool throughout the chilly struggle by way of exploring the intersections of movie noir, jazz, existential literature, strategy appearing, blues, and rock and roll. Dinerstein finds that they got here jointly to create whatever thoroughly new—and that anything is cool.
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