Abstract
The memorable travelogue that earned Baudrillard his reputation as a postmodern Alexander de Tocqueville revealed just how persistent the European drive toward transatlantic “othering” remained before the advent of an equally artificial and selfattracting European Union. In the timeworn narrative pattern, Old World “substance” was valorized in and through fearful and fascinating constructions of New World superficiality. Given New York’s historic, symbolic, and de facto centrality for the jazz world, it should come as no surprise that this narrative pattern played a significant role in structuring a polarizing transatlantic jazz discourse during the past century of cultural exchange. JeanPaul Sartre’s description of his encounter with New York’s authentic bebop—“hurried
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