An absent asset-based black American middle class

2020 ◽  
pp. 201-218
Author(s):  
Darrick Hamilton ◽  
Regine O. Jackson
Keyword(s):  
2021 ◽  
Vol 42 (4) ◽  
pp. 490-505
Author(s):  
Annette Lareau ◽  
Elliot B. Weininger ◽  
Catharine Warner-Griffin

Author(s):  
Felix L. Armfield

This concluding chapter summarizes the notable events and accomplishments of Eugene Kinckle Jones's life and work, contextualizing them furthermore within a racially charged climate. Jones grew up in a comfortably middle-class family, and was, along with many of his peers, charged with a peculiar responsibility for racial uplift as part of the Talented Tenth. The chapter also considers how Jones and his peers belonged to the group of African Americans whose contributions, had it not been for their race, would have been properly acknowledged long before now. Finally, the chapter reiterates the aims of this volume's overall study in situating Jones as a significant part of black American history long before the civil rights era.


Popular Music ◽  
2020 ◽  
Vol 39 (3-4) ◽  
pp. 482-503
Author(s):  
Sean Lorre

AbstractThe phenomenon of British R&B is most often understood in terms of young, white, middle-class British men turning to the ‘down-home’ sounds of black American men for musical motivation. This article offers a revision to this dominant narrative by reinserting ‘slim, lively Irish girl’ Ottilie Patterson, the UK's most popular blues singer before 1963. I analyse the content and context of Patterson's 1961 album, Rhythm and Blues with Ottilie Patterson, drawing from contemporaneous mass-media discourse as well as Patterson's own notebooks held at Britain's National Jazz Archive. Patterson's performances captured on this record demonstrate how R&B was first publicly (re-)presented and understood in the UK. I argue that Patterson's work challenges the assumptions that (a) British R&B began with the formation of Alexis Korner's Blue Incorporated and (b) the R&B revival was predominately motivated by the appropriation and vicarious expression of African-American hypermasculinity.


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