Stanbridge examines two recordings by the composer George Russell of the country and western standard "You Are My Sunshine." Russell's complex renditions, aided by Sheila Jordan's emotionally fraught vocals, pitted the song's rustic associations against the alienation he saw in modern technology and violence. The multileveled, perhaps cynical parody militates against any "happy endings" and, Stanbridge argues, any fixed interpretation of the performance, whether through modernist or postmodernist lenses.
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Broadway, Charles Mitchell, cultural analysis, double-coding, George Russell, Harmonic development, jazz irony, jazz politics, Jimmy Davis, Miles Davis, musical irony, pan-stylistic, pan-tonal, postmodernism, the outer view, You Are My Sunshine