slum

Stuart subsequently worked with some influential producers - Jim Dickinson, Al Kooper, Glyn Johns - recorded as Danny and Dusty, the Slummers, and released a string of solo albums which included a trilogy featuring his alter-ego Marlowe Billings.

For instance, the readers do not get to know what Bangkok's Japanese diaspora or Chiang Sean's inhabitants think of their heritage, nor do they learn about how former "slummers" think of their old and their new neighborhoods.

While he is primarily concerned with the relationship between those who participated in the practice of slumming and those who were marginalized and exploited by it, he provides some fascinating insight into the ways in which socially marginalized groups resisted slummers' incursions into their neighborhoods by using slumming as a useful shorthand to encapsulate the full range of cross-racial and sexual encounters that occurred at this time.

Koven keeps his designation of these slummers purposely loose, using terms like "rich," "elite," and "well-to-do"; as he explains, "[t]hese terms lack precision for they include men and women whose social worlds had little in common beyond their sense that they commanded resources entitling them to gawk at or help the poor" (10).

William Dean Howells, Henry James, and Edith Wharton were known to be slummers who "reveal [ed] a great deal about their own genteel lives and drew on their insider middle-and upper-class status to voice the concerns of other insiders in their milieu" (Dowling 3).