DOCSLIB.ORG

Middlesex University Research Repository

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Middlesex University Research Repository Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Leyva, Rodolfo (2013) Neoliberalism and the cultural and political dispositions and practises of millennials in London and LA: a socio- cognitive analysis. PhD thesis, King's College London. Available from Middlesex University’s Research Repository at http://eprints.mdx.ac.uk/15286/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this thesis/research project are retained by the author and/or other copyright owners. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non- commercial, research or study without prior permission and without charge. Any use of the thesis/research project for private study or research must be properly acknowledged with reference to the work’s full bibliographic details. This thesis/research project may not be reproduced in any format or medium, or extensive quotations taken from it, or its content changed in any way, without first obtaining permission in writing from the copyright holder(s). If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. This electronic theses or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Title:Neoliberalism and the Cultural and Political Dispositions and Practices of Millennials in London and LA a socio-cognitive analysis Author: Rodolfo Leyva The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENSE AGREEMENT This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. http://creativecommons.org/licenses/by-nc-nd/3.0/ You are free to: Share: to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Neoliberalism and the Cultural and Political Dispositions and Practices of Millennials in London and LA: a socio-cognitive analysis By Rodolfo Leyva A thesis submitted for the degree of Doctor of Philosophy in Political Sociology King’s College London, University of London School of Social Science and Public Policy 2013 1 Acknowledgements This thesis would not have been completed or likely even started without the support, education, and friendship of the following people and organizations, to whom I am eternally grateful. I would like to give my gratitude to my supervisor Professor Sharon Gewirtz for her infinite patience, graceful guidance, and tireless editing. This thesis is dedicated to her whether or not she wants to take to credit for it. Thanks to my second supervisor Professor Meg Maguire for her stern and constructive criticism, without which this thesis and my own critical faculties would be significantly impoverished. Thanks to Diana Coben, Anwar Tlili, Tim Kasser, and Yani Malai Abdullah for helping me to develop some of the theoretical constructs of this thesis, and introducing me to key academic references. Thanks to my professors Christina Preciado, Gudio Davis Del Piccolo, Robert Massey, Fransesca Guerra, Andrew Szasz and Dard Neuman for introducing me to the fields of sociology and cultural studies, and Shant Shahoian for introducing me to the works of Noam Chomsky. This thesis is largely a reflection of the lessons that they taught me. Thanks to all my participants for their generous time. Thanks to Jerald Kress, Lee McManus, Mike Winnie, Mr. Hayes, Mr. Ter Astvadsadrian, and Mr. Labeck for their mentorship, teaching, and patience. Thanks to Jenny Strahler, Rachel Zarate, Zaheen Chowdhury, and Daniel Vassallo for their invaluable support, friendship, and much needed encouragement. Thanks to A Place Called Home Community Center, the California Council of the Blind, and King’s College London for their financial support. 2 Table of Contents Preface 7 Chapter 1: Homo Economicus in Post-Schumpeterian Society 22 1.1 What’s So New About Liberalism? 23 1.2 Neoliberal Globalization: the End of History 35 1.3 Neoliberal Governance (We Will Force You To Be Free) 37 1.4 Neoliberal Urbanization and Non-Profits 42 1.5 Contemporary Youth Culture Under Neoliberalism 45 1.6 Political Messages: There Is No Alternative 48 1.7 Summary 51 Chapter 2: Towards A Theory of Neoliberal Reproduction 54 2.1 False Consciousness and the Frankfurt School: the Relevance of Dead Germans 55 2.2 The Birmingham School of Cultural Studies 63 2.3 Beyond Consciousness: the French Turn 66 2.4 A Schematic Reconciliation 70 2.5 Political-Economic Formation: Habitus and Cognitive Dissonance 74 2.6 Towards Yet Another Third-Way: a Reformulated Both/And Approach 76 Chapter 3: Young People and Neoliberalism: What We Don’t Know 79 3.1 Cultural Populism: There Is No Such Thing As Society 79 3.2 Beyond Identity: So What? 85 3.3 Media-Culture Effects: Cognitive and Others 92 3.4 Civic/Political Participation 98 3.5 Lessons relevant for this thesis 102 Chapter 4: Methodology 104 4.1 Methodological Orientations: Critical This and That 105 4.1.1 Research Design: Operationalizing a Both/And Approach 106 4.1.2 Institutional Interpellation: Habitus and Schema Theory 107 4.1.3 Institutional Neoliberal Interpellation: Meet Homo Economicus 110 4.1.4 Research Sites and Interview Schedule Design 115 4.1.5 Putting It All Together: Final Research Questions 116 4.2 Entering the Field: Los Angeles and London 117 4.2.1 South-Central LA: Collecting the Data 118 4.2.2 North Hollywood Zoo Magnet 119 4.2.3 The Bresee Foundation Non Profit Community Centre 122 4.2.4 World Vision Youth Empowerment Programme 123 4.2.5 London Bermondsey Youth Centre 124 4.2.6 Islington Political Youth 125 4.2.7 Hackney Youth Centre 125 4.2.8 Confidentiality and Other Ethical Considerations 127 4.2.9 Sampling Limitations and Demographic Breakdown 127 4.3 Data Analysis: A Socio-Cognitive Typology 130 4.3.1 Initial Thematic Analytical Groupings 130 4.3.2 The Socio-Cognitive Interface 132 4.3.3 Towards A Socio-Cognitive Typology of LA and London Youth 135 Chapter 5: Critical Political Youth Challenging Neoliberalism 138 5.1 Critical Political Youth: a Leftist Disposition 139 5.2 Schema Mapping: Operationalized Framework 154 5.3 Welfare and Poverty Schemata 157 3 5.4 A Creeping Neoliberalism and Fatalist Dispositions 162 5.5 Triggers of Politicization 170 5.6 Potential Future Political Trajectories and Concluding Remarks 172 Chapter 6: Artsy/Indie Youth The Wild Cards 176 6.1 Leisure Time, Cultural Preferences, and Affective Dispositions 177 6.2 Apolitical Dispositions 182 6.3 Complicated Contestation of Neoliberalism 184 6.4 Artsy/Indie Welfare Schemata 188 6.5 Politics and Capitalism Schemata 192 6.6 Concluding Remarks 196 Chapter 7: Mainstream Youth A More Neoliberal Inclination 198 7.1 Shopping and Self-Interested Dispositions 199 7.2 Media-Culture Influence and Aspirations 206 7.3 Welfare/Benefits Schemata 209 7.4 Politics and Capitalism Schemata 216 7.5 The “Crisis in Democracy” 219 7.6 Contesting Neoliberalism: A Partial Opening: 221 7.7 Concluding Remarks 222 Chapter 8: Discussion: Towards A Socio-Cognitive Approach To Critical And Progressive Pedagogy 224 8.1 Critical and Progressive Pedagogy and Democracy 225 8.2 Actual Typological Characteristics, Dispositions, and Potential Lessons 232 8.3 Towards a Pedagogy of Dispositional Democracy 237 8.4 Course Preface 242 8.5 Sample Lesson Plan: A Socio-Cognitive Approach 245 8.6 End Thoughts 249 Chapter 9: Conclusion 252 9.1 Overview of Chapter Themes and Lessons 252 9.2 Methodological Limitations and Lessons 257 9.3 Conclusion 260 References 263 Appendix A Interview Schedule for Young People 285 Appendix B Interview Schedule for Youth Workers 288 Appendix C Demographic Information of Each Participant 289 4 Figures 4.1 Institutional Interpellation 107 4.2 Neoliberal Discursive Inflection of Major Social Institutions 112 4.3 Ideal Neoliberal Habitus 114 4.4 Model of Empirically Grounded Typology Construction 136 5.1 Luz’s Music Schemata and Schemata Key 156 5.2 Ben’s Welfare Schemata 159 6.1 Tiff’s Welfare Schemata 191 6.2 Zack’s Welfare Schemata 191 7.1 Tyrone’s Welfare Schemata 212 7.2 Tirian’s Welfare Schemata 213 Tables 4.1 General Information About LA Participants 128 4.2 General Information About London Participants 129 4.3 Representation of Thematic Ideal Analysis 131 4.4 LA Youth Types 137 4.5 London Youth Types 137 8.1 Typology: Defining Characteristics and Corresponding Dispositions 234 5 Abstract This thesis explores the everyday experiences and aspirations of young people living in Los Angeles and London, focusing on their cultural and political dispositions, emotions, thoughts and practices, and how these converge with, and diverge from, the dominant neoliberal discourses they are surrounded by.
Load more

Recommended publications
  • “Grunge Killed Glam Metal” Narrative by Holly Johnson
    The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way.
    [Show full text]
  • The Evolution of Ornette Coleman's Music And
    DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
    [Show full text]
  • Firing the Canon: Multiple Insularities in Jazz Criticism
    FIRING THE CANON: MULTIPLE INSULARITIES IN JAZZ CRITICISM By © 2014 Christopher Robinson Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson, Sherrie Tucker ________________________________ Randal Jelks ________________________________ Tony Bolden ________________________________ John Gennari ________________________________ William J Harris Date Defended: April 7, 2014 The Dissertation Committee for Christopher Robinson certifies that this is the approved version of the following dissertation: Firing the Canon: Multiple Insularities in Jazz Criticism ________________________________ Chairperson, Sherrie Tucker Date approved: April 7, 2014 ii ABSTRACT Whereas many jazz scholars focus on jazz criticism's construction and implications of a single, or insular, jazz canon, this dissertation argues that what many jazz critics do is precisely the opposite. These critics disrupt the sense of a singular and insular jazz canon by challenging it through the creation of what I call an insularity, which is a bounded collection of artists and music with a definable tradition, values and established criteria which regulates what is suitable for inclusion. This dissertation argues that jazz does not consist of a single canon and music that exists beyond the canon's boundaries; rather, jazz contains multiple insularities that challenge the canon and vie for the opportunity to overthrow the canon in order to reach canonical status. This dissertation conceptualizes jazz critics as cultural authorities who create or deconstruct insularities through a variety of race, gender and nation projects. It examines the criticism of Leonard Feather, Val Wilmer and Nathaniel Mackey to highlight the numerous ways in which critics engage with multiple insularities.
    [Show full text]
  • Of Producing Popular Music
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-26-2019 1:00 PM The Elements of Production: Myth, Gender, and the "Fundamental Task" of Producing Popular Music Lydia Wilton The University of Western Ontario Supervisor Coates, Norma. The University of Western Ontario Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Music © Lydia Wilton 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Musicology Commons Recommended Citation Wilton, Lydia, "The Elements of Production: Myth, Gender, and the "Fundamental Task" of Producing Popular Music" (2019). Electronic Thesis and Dissertation Repository. 6350. https://ir.lib.uwo.ca/etd/6350 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Using Antoine Hennion’s “anti-musicology”, this research project proposes a methodology for studying music production that empowers production choices as the primary analytical tool. It employs this methodology to analyze Kesha’s Rainbow, Janelle Monáe’s Dirty Computer, and St. Vincent’s Masseduction according to four, encompassing groups of production elements: musical elements, lyrical elements, personal elements, and narrative elements. All three albums were critical and commercial successes, and analyzing their respective choices offers valuable insight into the practice of successful producers that could not necessarily be captured by methodologies traditionally used for studying production, such as the interview.
    [Show full text]
  • BILLBOARD COUNTRY UPDATE [email protected]
    Country Update BILLBOARD.COM/NEWSLETTERS MARCH 25, 2019 | PAGE 1 OF 19 INSIDE BILLBOARD COUNTRY UPDATE [email protected] Luke Combs’ ‘Crazy’ Milestone Jake Owen: ‘Greetings’ From >page 4 His Honky-Tonk Trip ACM Tabs New Artist Winners The chorus of Jake Owen’s current top 10 single, “Down to career journey, which has yielded 10 Country Airplay top 10 >page 9 the Honkytonk,” playfully discounts the importance of a spot titles, including seven No. 1s. Instead of the programmed in the Country Music Hall of Fame or on the Hollywood Walk drums and plug-in effects that are fairly standard in modern of Fame: “I might not go down in history/But I’ll go down to country, Owen drapes the album in guitars — biting honky- the honky-tonk.” tonk electrics, ringing acoustics and Paul Franklin’s tangy Brooks & Dunn So it’s ironic that “Down to the Honkytonk” went down in steel — and reconnects with the twang in his Florida-bred Build On Hall history by picking up an Academy of Country Music Award accent and the rich basement tones that dominated his >page 10 nomination for single of the year. (The 54th early recordings. annual event is scheduled for April 7 in Las “He’s a classic-country-song jukebox,” Vegas.) The timing was ideal, bringing him says producer Joey Moi (Florida Georgia attention as “Honkytonk” hits the home Line, Morgan Wallen). “He can sit there Maddie & Tae stretch in its chart climb (it’s at No. 10 on and play any old, old classic country song for On The Way the Country Airplay list dated March 30) and hours and hours and hours, and he sings in >page 10 as his first Big Loud album, Greetings From… this awesome, great baritone country voice, Jake, is released March 29.
    [Show full text]
  • Generation Mixtape: a User's Guide to Online Copyright Matthew .D Catania
    digitalcommons.nyls.edu Academic Centers and Programs Tribeca Square Press 2011 Generation Mixtape: A User's Guide to Online Copyright Matthew .D Catania Gaetano D. Marretta Follow this and additional works at: http://digitalcommons.nyls.edu/tribeca_square_press Part of the Intellectual Property Law Commons Recommended Citation Catania, Matthew D. and Marretta, Gaetano D., "Generation Mixtape: A User's Guide to Online Copyright" (2011). Tribeca Square Press. 5. http://digitalcommons.nyls.edu/tribeca_square_press/5 This Book is brought to you for free and open access by the Academic Centers and Programs at DigitalCommons@NYLS. It has been accepted for inclusion in Tribeca Square Press by an authorized administrator of DigitalCommons@NYLS. L EGAL BAC KG ROUND E R NO. 2 GENERATION MIXTAPE A User's Guide to Online Copyright Matthew D. Catania Gaetano G. Marretta P R OGRAM IN LAW & JOURNALISM AT NEW YORK LAW SCHOOL A TR!BECA SQUARE PRESS MONOGRAPH ABOUT LEGAL BACKGROUNDERS In conjunction with the Program in Law and Journalism at New York Law School, Tribeca Square Press publishes a monograph series, Legal Backgrounders, to provide those who regularly report on law and the legal profession, including print and broadcast reporters, edi­ LEGAL BACKGROUNDER NO. 2 torial writers, bloggers, and editors, with concise, objective, timely, and readable information on legal topics currently in the news. Mono­ graphs in this series are not intended to advocate legal or policy posi­ tions but to describe and summarize the state of the law. An electronic GENERATION version of each Legal Backgrounder, including links to sources, will be available on the Tribeca Square Press website shortly after publica­ tion of the print edition.
    [Show full text]
  • Country Update
    Country Update BILLBOARD.COM/NEWSLETTERS JULY 29, 2019 | PAGE 1 OF 19 INSIDE BILLBOARD COUNTRY UPDATE [email protected] Maren Morris’ ‘Girl’ Power Justin Moore’s Late Nights Mines ’90s >page 4 Chesnutt For Its Throwback Theme History Repeated In Gilroy Thanks to such newer acts as Luke Combs, Midland and with my own money was Longnecks and Short Stories, Mark >page 9 Riley Green, much has been made in the last year about the Chesnutt,” notes Moore. “I still have it — now I have it on my resurgence of country music that owes a debt to the 1990s. phone, obviously — but it’s funny how it comes full circle like In the midst of that chatter, Justin Moore has quietly that sometimes.” assembled an album that leans as heavily on that era as With Late Nights, Moore’s own music cycles back to its ‘Dive Bar’ Becomes any of his previous releases, making starting point. With his last project, A Trend what arguably stands as his most 2016’s Kinda Don’t Care, he broadened >page 10 cohesive work to date. Late Nights his sound, incorporating more pop, and Longnecks, released July 26, has classic rock and light R&B influences. its share of Southern-rock sonics, It became his third straight title to but the bulk of it belongs in honky- hit No. 1 on Top Country Albums Ken Burns Goes tonks: steel-tinged tracks ladled with and yielded two singles that topped To Prison word play, Moore’s Arkansas-bred Country Airplay, “You Look Like I >page 10 enunciations and the classic country Need a Drink” and “Somebody Else themes of family, God and alcohol.
    [Show full text]
  • Form and Style in the Music of U2 Christopher James Scott Endrinal
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Form and Style in the Music of U2 Christopher James Scott Endrinal Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC FORM AND STYLE IN THE MUSIC OF U2 By CHRISTOPHER JAMES SCOTT ENDRINAL A Dissertation submitted to the College of Music In partial fulfillment of the requirements for the degree of Doctor of Philosophy in Music Spring Semester, 2008 Copyright © 2008 Christopher J. S. Endrinal All Rights Reserved The members of the Committee approve the dissertation of Christopher J. S. Endrinal, defended on 25 February 2008. Jane Piper Clendinning Professor Directing Dissertation James R. Mathes Committee Member Matthew R. Shaftel Committee Member Charles E. Brewer Outside Committee Member The Office of Graduate Studies has verified and approved the above listed committee members. ii To Azucena and Dominic. iii ACKNOWLEDGMENTS I wish to extend my gratitude and appreciation to my advisor, Professor Jane Piper Clendinning. Her guidance and support during my entire tenure at Florida State have proven to be invaluable resources, for which I cannot thank her enough. I also extend my appreciation to Professor James Mathes (whose doctoral seminar provided the initial inspi- ration for this research) and to Professors Matthew Shaftel and Charles Brewer, for lending me their unique perspectives and insightful critiques. I would also like to thank the rest of the Music Theory faculty at Florida State. Their vast knowledge and constant encourage- ment helped keep me focused and motivated.
    [Show full text]
  • Y:\133\W13308\From White Christmas to Sgt Pepper. Tables.Wpd
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Research Papers in Economics NBER WORKING PAPER SERIES FROM "WHITE CHRISTMAS" TO SGT. PEPPER: THE CONCEPTUAL REVOLUTION IN POPULAR MUSIC David Galenson Working Paper 13308 http://www.nber.org/papers/w13308 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 August 2007 The views expressed herein are those of the author(s) and do not necessarily reflect the views of the National Bureau of Economic Research. © 2007 by David Galenson. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. From "White Christmas" to Sgt. Pepper: The Conceptual Revolution in Popular Music David Galenson NBER Working Paper No. 13308 August 2007 JEL No. J01 ABSTRACT Irving Berlin, Cole Porter, and other songwriters of the Golden Era wrote popular songs that treated common topics clearly and simply. During the mid-1960s Bob Dylan, John Lennon, and Paul McCartney created a new kind of popular music that was personal and often obscure. This shift, which transformed popular music from an experimental into a conceptual art, produced a distinct change in the creative life cycles of songwriters. Golden Era songwriters were generally at their best during their 30s and 40s, whereas since the mid-'60s popular songwriters have consistently done their best work during their 20s. The revolution in popular music occurred at a time when young innovators were making similar transformations in other arts: Jean-Luc Godard and his fellow New Wave directors created a conceptual revolution in film in the early '60s, just as Andy Warhol and other Pop artists made painting a conceptual activity.
    [Show full text]
  • CHAD PRATHER Entertains, Enlightens, and Encourages Through His Stories of Life Experience
    Volume 22 | Issue 185 PUBLICIZING SINGERS, WRITERS & MUSICIANS TO MUSIC ROW AND BEYOND SINCE 1995 CHAD PRATHER Entertains, Enlightens, and Encourages Through His Stories of Life Experience Also Inside: Album Reviews, Women in Music, Inside Track with Preshias & more. Special CRS Edition with New Faces of Country Music: Drake White, Jon Pardi, Maren Morris, Granger Smith & William Michael Morgan February 2017 Vol. 25 #185.indd 1 2/8/2017 3:19:36 PM Don't Book An Act. Hire A Performer. Bob Randall, Clays Country Radio 2016 Male Vocalist Award Winner & Rising Old NASHVILLE’S FREE #1 ANDROID APP! School Country Music Star Text the word NASHVILLE to 31996 for your FREE PREMIUM #1 ​ ​ ​ ​ ​ ANDROID APP in Nashville, Tennessee. There is so much more to see in Nashville in addition to Broadway. THE WORLD’S #1 HONKY-TONK “THE STAGE”, TODAY’S COUNTRY MUSIC STARS HOMES OF; PAISLEY, ALDEAN, LUKE, URBAN, McGRAW, GARTH & TRISHA, & MORE, BURIAL LOCATIONS OF OUR COUNTRY LEGENDS; CASH, JONES, WHITLEY, LITTLE JIMMY, WYNETTE & MORE, KIDS THINGS TO DO, PRESIDENTIAL HOMES & TOURS, COUNTRY LEGENDS HOME’S; LORETTA, CONWAY, CASH, WHITLEY, JENNINGS, WATER PARKS, RECORDING Crowd pleaser & original songwriter, Bob Randall continues the storytelling STUDIOS, THE MUSIC CITY BAR & GRILL, TOUR LORETTA LYNN’S RANCH, tradition of old school country music with his tales of heartbreak and revival. A THE BLUEBIRD CAFE, THE OPRY & RYMAN TOURS & SHOWS, GREAT seasoned performer and multi­album recording artist, audiences love singing along MUSEUMS OF; THE DUKES OF HAZZARD, JOHNNY CASH , WILLIE NELSON, with his most recent hits like "She Handed Me A Beer", "You Started A Fire", and GEORGE JONES, LORETTA LYNN/CONWAY TWITTY, THE COUNTRY MUSIC "Hard Times".
    [Show full text]
  • Understandings of Gender, Race, and Social Class in Postfeminist Popular Culture
    University of Rhode Island DigitalCommons@URI Open Access Master's Theses 2020 “IF I WAS A MAN, THEN I’D BE THE MAN”: UNDERSTANDINGS OF GENDER, RACE, AND SOCIAL CLASS IN POSTFEMINIST POPULAR CULTURE Jaclyn Griffith University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/theses Recommended Citation Griffith, Jaclyn,“IF " I WAS A MAN, THEN I’D BE THE MAN”: UNDERSTANDINGS OF GENDER, RACE, AND SOCIAL CLASS IN POSTFEMINIST POPULAR CULTURE" (2020). Open Access Master's Theses. Paper 1855. https://digitalcommons.uri.edu/theses/1855 This Thesis is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Master's Theses by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. “IF I WAS A MAN, THEN I’D BE THE MAN”: UNDERSTANDINGS OF GENDER, RACE, AND SOCIAL CLASS IN POSTFEMINIST POPULAR CULTURE BY JACLYN GRIFFITH A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN COMMUNICATION STUDIES UNIVERSITY OF RHODE ISLAND 2020 MASTER OF ARTS THESIS OF JACLYN GRIFFITH APPROVED: Thesis Committee: Major Professor Scott Kushner Ian Reyes Vilde Aaslid Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2020 ABSTRACT The following thesis is an analysis of the political messaging used by pop singer- songwriters Ariana Grande and Taylor Swift to construct their careers. Specifically, it focuses on how these two artists use their experiences of gender, race, and social class to actively effect change and empower themselves, and what expectations audiences have for them to do so and why.
    [Show full text]
  • Q1 Music Preview
    FOR HER TOP 40 AND CLIMBING YOUR NEW YEAR’S RESOLUTION = MORE SPINS! THE FOLLOW UP TO THE 2016 RECORD BREAKING #1 HIT ADD NOW! TOP SPINNERS WIVK KNOXVILLE • WCYQ KNOXVILLE THE HIGHWAY • WJVC NASSAU KSOP SALT LAKE CITY • WXBQ JOHNSON CITY KATC COLORADO SPRINGS • KMNB MINNEAPOLIS KCCY COLORADO SPRINGS • KUPL PORTLAND, OR Our annual look at the crucial fi rst-quarter music priorities for label promotion teams portends a loaded 2017. Lined up and ready to bust out are ... Average Joes date was rescheduled to Jan. 25 after adds Blythe. “The title track to his “We’re going to have a new album engineer Billy Decker remixed the song. debut EP has surpassed 3.2 million Jacob Baptized In Bourbon from west coast- “Billy improved ‘Yes’ by capturing the Spotify streams. We are so proud of the Davis based Moonshine Bandits which will music to the fullest,” says Chesser. “You launch of Big Loud Records over the make the fans go nuts,” declares can really hear the solid guitar riffs past year and are excited for what 2017 Promotion/Marketing Mgr. Wix added by Troy Lancaster, who did the will hold.” Wichmann. Other crazy-making tunes solo guitar riff on ‘Humble and Kind’ include Colt Ford’s Love Hope Faith, by Tim McGraw.” Chesser hits the road Big Machine coming on the heels of the “4 Lane in April in support of his debut EP. The “Rascal Flatts is kicking off 2017 with an Gone “ single. Also this quarter, look label’s TJ Shaw is currently in Arizona uptempo new single (TBA) following for The Lacs’ “American Rebelution” recording her next album, and Johnny their summer smash, ‘I Like The Sound featuring Montgomery Gentry.
    [Show full text]