Cottontail

This music clip is from the CD entitled Just Us. The band was directed by Dr. Robert Washut.https://scholarworks.uni.edu/jazzband/1035/thumbnail.jp

Oclupaca

This music clip is from the CD entitled Just Us. The band was directed by Dr. Robert Washut.https://scholarworks.uni.edu/jazzband/1088/thumbnail.jp

Star Crossed Lovers

This music clip is from the CD entitled That Big Band Thing. The band was directed by Dr. Robert Washut.https://scholarworks.uni.edu/jazzband/1114/thumbnail.jp

Aristocracy a la Jean LaFitte

This music clip is from the CD entitled Field of Play. The band was directed by Dr. Robert Washut.https://scholarworks.uni.edu/jazzband/1019/thumbnail.jp

Harlem Air Shaft

This music clip is from the LP entitled Montreux Magic. The band, directed by Dr. Robert Washut, performed the music at the Montreux Jazz Festival in Switzerland on July 5, 1985.https://scholarworks.uni.edu/jazzband/1056/thumbnail.jp

In A Mellow Tone

This music clip is from the CD entitled Skittish. The band was directed by Dr. Robert Washut.https://scholarworks.uni.edu/jazzband/1065/thumbnail.jp

Flaming Sword

This music clip is from the CD entitled At Dusk. The band was directed by Dr. Robert Washut.https://scholarworks.uni.edu/jazzband/1049/thumbnail.jp

Prelude To A Kiss

Lips and musical notes coming from piano keys being playedhttps://scholarsjunction.msstate.edu/cht-sheet-music/12342/thumbnail.jp

Mood Indigo

Photograph of Wayne King; Blue, white and yellow confettihttps://scholarsjunction.msstate.edu/cht-sheet-music/13355/thumbnail.jp

Screaming 'Black' Murder: Crime Fiction and the Construction of Ethnic Identities

A significant segment of crime fiction is concerned with the representation of ethnic identities and may to some extent be considered paradigmatic of the participation of literary texts in discourses on race and minorities. This article explores constructions of ethnic identities in American, British, and South African crime fiction from the 1920s to the early twenty-first century. In particular, the focus will be on such texts in which the ethno-cultural identity of the detective gives special prominence not only to the ethnic particularity of the fictional character itself and of its environs but frequently also to that of its author. Main texts discussed are Rudolph Fisher’s The Conjure Man Dies (1932), Earl Derr Biggers’ The House Without a Key (1925) and The Black Camel (1929), Walter Mosley’s Devil in a Blue Dress (1990) and Little Scarlet (2004) as well as James McClure’s The Gooseberry Fool (1974) and Patrick Neate’s City of Tiny Lights (2005). It is argued that all of these texts have a distinct subversive potential of which the construction of ethnic identities becomes the main vehicle because these identities are the products and the catalysts of the conflicts negotiated in ethnic crime fiction and correlating to ‘reality’