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This book is part jazz historiography, part autoethnography and part memoir. It sets forth a grounded theory of 'authenticating' as a basic socio-political process, with reference to Richard Ekins' participation in the social worlds of New Orleans jazz, and his life as a social constructionist social scientist and cultural theorist.
List of contents
Part I: Beginnings
Chapter 1. Introducing the Authors and the Riff Methodology
Riff I. Robert Porter
Chapter 2. Cultural Studies and the Politics of Everyday Life
Chapter 3. Why Sociology of Knowledge?
Chapter 4. Why George Herbert Mead?
Chapter 5. Why Symbolic Interactionism?
Riff II. Robert Porter
Chapter 6. Authenticity as Authenticating
Chapter 7. The Move to Grounded Theory
Part II Authenticating New Orleans Jazz
Riff III. Robert Porter
Chapter 8. Analytic Autoethnography
Chapter 9. Becoming Authentic (1961-1976)
Chapter 10. Revisiting Authenticity (2000-2009)
Chapter 11. Enthusiasts, Competing Authenticities, and the Move to Academe
Chapter 12. New Orleans Music, Authenticity, and the Case of Bob Wallis
Chapter 13. Towards Authenticity as Authenticating: Mainstreaming Authenticity and the Case of Bunk Johnson
Chapter 14. Authenticity as Authenticating 1 - Constructing and Reconstructing Authenticity
Chapter 15. Authenticity as Authenticating 2 - Adopting and Adapting Authenticity
Chapter 16. Progressing Authenticity
Coda on a Riff Fragment from Robert Porter
About the author
By Richard Ekins and Robert Porter
Summary
This book is part jazz historiography, part autoethnography and part memoir. It sets forth a grounded theory of ‘authenticating’ as a basic socio-political process, with reference to Richard Ekins’ participation in the social worlds of New Orleans jazz, and his life as a social constructionist social scientist and cultural theorist.
