Malik, The Meaning of Race , p. 72.
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 BlackAtlantic. Modernity and Double Consciousness , London, Verso,
1993). The same argument obtains for the experience of
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 BlackAtlantic: 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
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 BlackAtlantic 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