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is a marvel of paradox: too fundamentally human, at least as modern humanity goes, to be typically racial, too international to be characteristically national, too much abroad in the world to have a special home. And yet jazz in spite of it all is one part American and three parts American Negro, and was originally the nobody’s child of the levee and the city slum. Transplanted exotic—a rather hardy one, we admit—of the mundane world capitals, sport of the sophisticated, it is really at home in its humble native soil wherever the modern unsophisticated Negro feels happy and sings and dances to his mood. It follows that jazz is more at home in Harlem than in Paris, though from the look and sound of certain quarters of Paris one would hardly think so. It is just the epidemic contagiousness of jazz that makes it, like the measles, sweep the block. But somebody had to have it first: that was the Negro.

What after all is this taking new thing, that, condemned in certain quarters, enthusiastically welcomed in others, has nonchalantly gone on until it ranks with the movie and the dollar as a foremost exponent of modern Americanism? Jazz