Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place

"David Ake is a jazz artist who has woodshedded with his critical theory as much as with his instrument. As an astute commentator on a wide range of jazz subjects, he has the virtuosity of an Art Tatum and the eclecticism of a John Zorn."—Krin Gabbard, author of Jammin' at the Margins: Jazz and the American Cinema

"David Ake's writing combines the best of modern scholarship with the no-nonsense attitude of a gigging musician. In Jazz Cultures, he seizes upon precisely those issues and historical moments that best reveal how jazz studies might mature into something worthy of the music. A wonderful antidote to the usual cliches of jazz history and a splendid debut."—Scott DeVeaux, author of The Birth ofThese allegations are insufficient to establish the absence of a genuine issue of material fact entitling Cooper to prevail as a matter of law on the "trigger" and "coverage" issues, since the policies only apply at all if the contamination was caused in a certain way at a certain time.
As support, Cooper offers only the declaration of Carol Kaufman, Cooper's Vice President, stating that Cooper's environmental consultants determined that the ground and water at Freehold had been polluted, "primarily" by TCE, and that the TCE contamination was caused "primarily" by the puncture and spill of a drum of TCE during the winter of 1984. Without any supported factual information as to how or when the contamination occurred, Cooper has not met its initial burden. Accordingly, both motions for