U. S. citizens also helped legitimize and globalize the calypso through their participation in its production.

it referred to what the piece defined as tastelessness marked by "a contrast of luxury and squalor."$9

Captain C. Longridge, who in 1932 denounced jazz from the United States as "primitive music" and summoned fellow believers to "taboo the jazz dance in every shape and form."

Yankees would just take out their dollars and throw to the singers.

Arising in occupied Trinidad was unprecedented public debate about the relationships between clothes and the overlapping precepts around class, gender, race, and empire.

Undoubtedly, the appeal of the jitterbug among young Trinidadian trendsetters derived in part from its provenance in the brave, antiestablishment, black American youth culture.3G

foreshadow a future filled with the seductively colonizing commodities of American modernity.

outcome appeared to be comic.

Replying to a local male who had earlier complained that women's clothes had begun to take on a masculine appearance, one female correspondent shot back that, quite the contrary, it was men's dress that was guilty of effeminacy.44 Her primary exhibit, it turns out, was none other than the jitterbug.