Goodmans surprising ways continued. In 1936, he shook up the white entertainment establishment by hiring two black musicians—the elegant pianist Teddy Wilson and the plunging vibraphonist Lione Hampton. (To be sure, Wilson and Hampton did not play in the band; instead, they appeared with Goodman and the drummer Gene Krupa during intermissions.) A year later, when the band went into the Paramount Theater in New York for three weeks, legions of kids appeared, and a screaming, dancing riot nearly took place. It was the first great American show frenzy, and it prepared the way for the Sinatra frenzy of 1947, and for all the Beatles frenzies, and for all the mindless rockborne frenzies of the Seventies and Eighties.

　　Then, on the night of January 16, 1938, Goodman, challenging the longhairs, took his band into a soldout Carnegie Hall. The big band played a dozen numbers, the trio two numbers, and the quartet five numbers. Despite the immediate rumblings from Olin Downes, the Timess classical music critic (“The playing last night, if noise, speed and beat, all old devices, are heat, was “hot” as it could be, but nothing came of it all, and in the long run it was decidedly monotonous”), Goodmans concert moved jazz even further up the American popular register. ［412 words］

　　61. This passage is mainly

　　A

　　a general review of Jazz music.

　　B

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