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Negro Singer Abbey Lincoln, ignoring such Negro artists as Harry Belafonte and Leontyne Price, reasons that "it's unfair for whites to get so worked up over discrimination against whites; in music, we're kept out of everything but jazz. If a Negro jazz player chooses other Negroes to play with him, it's because he's looking for the same emphasis musically and emotionally." Cooler heads know that the future of jazz could depend on resolving prejudice. Noting that modern jazz owes much to the European classical tradition. Pianist Taylor points out: "Crow Jim is a state of affairs which must be remedied; jazz can never again be music by Negroes strictly for Negroes any more than the Negroes themselves can return to the attitudes and emotional responses which prevailed when this was true.''
* Pig Latin for "foe,"' or Xegro jargon for a white person.