Open Access (free)
John Marriott

Malik, The Meaning of Race , p. 72. 52 Paul Gilroy has argued persuasively for the necessity of rethinking modernity in the light of an experience of slavery actively legitimated by racial theory ( The Black Atlantic. Modernity and Double Consciousness , London, Verso, 1993). The same argument obtains for the experience of

in The other empire
How African-Americans shape their collective identity through consumption
Virág Molnár and Michèle Lamont

the evaluation of taste, New York, Basic Books. George, N. (1992), Buppies, B-boys, BAPs and Bohos: notes on post-soul black culture, New York, HarperCollins. Gilroy, P. (1987), There ain’t no Black in the Union Jack: the cultural politics of race and nation, London, Hutchinson. Gilroy, P. (1993), The Black Atlantic: modernity and double consciousness, Cambridge MA, Harvard University Press. Hall, J. R. (1992), ‘The capital(s) of culture: a nonholistic approach to status situations, class, gender, and ethnicity’, in Lamont, Michele, and Fournier, Marcel (eds

in Innovation by demand
Antonia Lucia Dawes

a source of pride and action. The idea of Neapolitans as black can be understood as a political statement that connects southern Italian marginalisation and suffering to the countercultural aspiration to freedom, citizenship and autonomy that Paul Gilroy has described emerging from Black Atlantic cultural traditions (Gilroy 1993 ). Examples of these kinds of claim abound in parts of the Neapolitan music scene that became heavily influenced by African American blues and reggae from the 1980s. The late Neapolitan Blues artist Pino Daniele dedicated a whole album to

in Race talk