During the Cold War, jazz became a powerful propaganda weapon in the battle
for ?hearts and minds?. As early as the 1950s, the American administration
began its Cold War ?jazz campaign?, by broadcasting the popular jazz radio
show Music USA over the Voice of America, and by sending its top jazz artists
on world tours. In this specific cultural Cold War, Yugoslavia was, as in its
overall politics, in a specific position between the East and the West. The
postwar period in Yugoslavia, following the establishment of the new
(socialist) government, was characterized by strong resistance towards jazz
as ?decadent? music, until 1948 when ?no? to Stalin became ?yes? to jazz.
From the 1950s, jazz entered Yugoslav institutions and media, and during the
following two decades, completely conquered the radio, TV, and record
industry, as well as the manifestations such as the Youth Day. On account of
the openness of the regime during the 1950s and 1960s, Yugoslavia was
frequently visited by the greatest jazz stars, such as Dizzy Gillespie, Louis
Armstrong and Ella Fitzgerald. In the context of the Cold War, the promotion
of jazz in Yugoslavia proved to be beneficial for both sides - by exporting
jazz, America also exported its freedom, culture and system of values, while
Yugoslavia showed the West to what extent its political system was open and
liberal, at least concerning this type of music.
Marek Madej (dir.), Western military interventions after the Cold War : Evaluating the wars of the West, Londres, Routledge, 2019, 282 pages