in defining and influencing the shift between the political black British movement of the 1960 and '70s to the 1980 and '90s. Gilroy came to reject outright the working-class movements of the 1970s and '80s on the basis that the system and logic behind the movements were fundamentally flawed as a result of their roots in the way of thinking that not only ignored race but also the trans-Atlantic experience as an integral part of the black experience and history. This argument is expanded upon in one of his previous co-authored books, The Empire Strikes Back (1983), which was supported by the (now closed) Centre for Contemporary Cultural Studies of the University of Birmingham in the UK. The Black Atlantic received an American Book Award in 1994. The book has subsequently been translated into Italian, French, Japanese, Portuguese and Spanish. The influence of the study is generally accepted to be profound, though academics continue to debate in exactly what form its greatest significance may lie. The theoretical use of the ocean as a liminal space alternative to the authority of nation-states has been highly generative in diasporic studies, in spite of Gilroy's own desire to avoid such conflations. The image of water and migration has been taken up as well by later scholars of the black diaspora, including Omise’eke Natasha Tinsley, Isabel Hofmeyr, and Stephanie E. Smallwood, who expand Gilroy's theorizations by engaging questions of queerness, transnationality, and the middle passage. Academic responses and criticisms Among the academic responses to Gilroy's black Atlantic thesis are: Africadian Atlantic: Essays on George Elliott Clarke (2012), edited by Joseph Pivato, and George Elliott Clarke's "Must All Blackness Be American? Locating Canada in Borden's 'Tightrope Time,' or Nationalizing Gilroy's The Black Atlantic" (1996, Canadian Ethnic Studies 28.3). Additionally, scholar Tsiti Ella Jaji discusses Gilroy and his conceptualization of the black Atlantic as the "inspiration and provocation" for her 2014 book Africa in Stereo: Modernism, Music, and Pan-African Solidarity. While finding Gilroy's discussion of music in the black diaspora compelling and inspiring, Jaji has two main points of contention that provoked her to critique and to dissect his theories. Her first critique of Gilroy's theories are that they neglect continental Africa in this space of music production, creating an understanding of black diaspora that is exclusive of Africa. Jaji's second point is that Gilroy does not examine the role that gender plays in black music