Chapter 3: I Used to Be Color-Blind – Irving Berlin, the Ragtime Riot and the Jewish Network in Tin Pan Alley

This work examines how Barack Obama’s speeches and remarks used various rhetorical techniques to strategically maneuver his rhetoric to address racial issues and represent African American concerns. The results of a content analysis of a selection of Obama’s speeches and remarks confirm that Obama and his speechwriters favored the use of statements of color-blind universalism. However, when making certain remarks regarding civil rights issues or perceived racial issues, the pattern shifted, presenting a rare glimpse of the unbalanced representation of African American concerns. These findings suggest that Barack Obama’s speeches and remarks performed double-consciousness; they used universal, balanced, and targeted universalism rhetorical techniques as a genuine, congruent political style for representing African American concerns as a “raced” politician.

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Are Capital Markets Color-Blind? The Impact of the Homeland Security Alert Level on Capital Markets

SSRN Electronic Journal ◽

10.2139/ssrn.1004754 ◽

2007 ◽

Author(s):

Oguzhan Karakas

Keyword(s):

Homeland Security ◽

Capital Markets ◽

Color Blind ◽

The Impact

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Rock in Broader Context

10.1093/oso/9780190653774.003.0011 ◽

2018 ◽

Author(s):

David Temperley

Keyword(s):

Dance Music ◽

Historical Survey ◽

Electronic Dance Music ◽

Tin Pan Alley

This chapter zooms out to examine the broader historical and stylistic context of rock. The roots of rock—especially in common-practice music, the blues, and Tin Pan Alley / jazz—have been widely discussed, but this chapter attempts to identify more systematically the features that rock shares with these previous styles, as well as its unique features. A historical survey of rock itself and its various subgenres finds that it underwent major changes in the early 1960s but remained rather stable over the next three decades, and in some respects rather homogenous. The chapter then considers some other genres with which rock has interacted and sometimes fused: folk, Latin pop, jazz, electronic dance music, rap, and country. Finally, it considers the development of rock since 2000, finding some changes in the style but also many continuities.

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Introduction

10.1093/oso/9780190860554.003.0001 ◽

2018 ◽

Author(s):

Andrew Valls

Keyword(s):

United States ◽

Public Policy ◽

Social Construction ◽

Political Theory ◽

Racial Inequality ◽

The United States ◽

Racial Justice ◽

Color Blind ◽

American Society ◽

Liberal Political Theory

The persistence of racial inequality in the United States raises deep and complex questions of racial justice. Some observers argue that public policy must be “color-blind,” while others argue that policies that take race into account should be defended on grounds of diversity or integration. This chapter begins to sketch an alternative to both of these, one that supports strong efforts to address racial inequality but that focuses on the conditions necessary for the liberty and equality of all. It argues that while race is a social construction, it remains deeply embedded in American society. A conception of racial justice is needed, one that is grounded on the premises provided by liberal political theory.

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