Rhetorics of Risk in American Homeownership

Total Page:16

File Type:pdf, Size:1020Kb

Rhetorics of Risk in American Homeownership University of Nevada, Reno Rhetorics of Risk in American Homeownership A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English by Crystal Lynn Colombini Dr. Jane A. Detweiler / Dissertation Advisor May, 2012 Copyright by Crystal Lynn Colombini 2012 All Rights Reserved THE GRADUATE SCHOOL We recommend that the dissertation prepared under our supervision by CRYSTAL LYNN COLOMBINI entitled Rhetorics Of Risk In American Homeownership be accepted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Jane A. Detweiler, Ph.D., Advisor Catherine Chaput, Ph.D., Committee Member Donald E. Hardy, Ph.D., Committee Member Amy Pason, Ph.D., Committee Member Scott E. Casper, Ph.D., Graduate School Representative Marsha H. Read, Ph. D., Dean, Graduate School May, 2012 i ABSTRACT Rhetorics of Risk in American Homeownership, taking the post-2007 mortgage crisis and its problematic rhetorics of blame as a motivating exigence, investigates historical and contemporary economic discourses relevant to homeownership, with close attention to rhetorical constructions of risk. Building a theoretical lens that combines insights from rhetorical studies of risk, such as those undertaken by J. Blake Scott, with rhetorical critiques of political economy, such as that offered by James Arnt Aune, I illuminate risk logics as dynamic rhetorical resources that serve, in changing and adaptive ways, to shape notions of future certainty and uncertainty in accordance with the needs of a contemporary neoliberal political economy, where market mentalities infuse all aspects of social life. This lens, which draws on John Poulakos’ sophistic notion of to dynaton to locate the rhetorical force of risk in its ability to evoke and hierarchize multiple possible futures, aids me in discerning and critiquing risk logics at several sites: the long-standing tradition of American presidential homeownership promotion, where risk-based rhetorical strategies forge oppositional and dissociative relationships between risk, the economy, and homeownership; the rhetorical practices of the mortgage lending industry, where the language of risk evaluates, persuades, and shapes the identities of consumers; the contentious conversations among prominent economists in the years leading up to the crisis, where some analysts attempted to draw attention to incubating risk and others used a variety of risk-negating rhetorical appeals to insist that the market was safe and rational; and finally, the efforts on behalf of financial education so characteristic of post-crisis response, which have rhetorically magnified risks of illiteracy to authorize new initiatives in consumer education, without properly addressing failures of regulation. Throughout, I argue that risk discourses prompt consumption, authorize deregulation, create paradigms of affordability, and castigate consumers who fail to uphold neoliberalism’s expectations of self-governance. By situating Rhetorics of Risk in American Homeownership at the intersection of rhetorical risk studies and the rhetorical critique of political economy, I bring together two theoretical traditions that have heretofore worked independently and thus been bereft of the mutually beneficial insights that juxtaposition can present. Just as it extends rhetoric of risk scholarship by investigating the under-explored terrain of risk logics in economics, it extends the rhetorical critique of political economy by drawing attention to risk logics not only as surface features of conversation, but as meaningful in sustaining participation in economic institutions and encouraging the adoption of neoliberal economic worldviews. This study contributes to broader academic conversations on risk by drawing attention to the rhetorical ways that risk logics are produced and maintained: finally, it has pragmatic implications where it presents decision makers with a more fully developed understanding of the persuasive trajectories that inform and influence economic risk decisions in a context like homeownership. ii ACKNOWLEDGMENTS While this project bears only my name, it could not have come to be without the support of many wise advisors, encouraging friends, and loving family members. I first and foremost thank my committee members, all of whom I feel fortunate to have worked with: Dr. Jane Detweiler, Dr. Cathy Chaput, Dr. Don Hardy, Dr. Scott Casper, and Dr. Amy Pason. Graduate school would have been far less rich and rewarding without Jane, my chair: I grew immeasurably as a teacher, an administrator, a dissertation-writer, a job- seeker, and a future scholar through years of her steadfast friendship and thoughtful counsel. I have come to Jane with many a dilemma, and I have never left her presence without new ways to think through the problem, as well as new insights on the broader processes of researching, writing, and learning. I will always strive to carry what Jane has taught me about mentorship to the students of my future. Cathy was equally important in shaping this project, reading every draft and lending her brilliant mind to feedback that helped me solve problems I saw and see ones that I hadn’t. Through many conversations—in her office, at coffee, and at her house with her adorable, zen daughter Maddie to provide the occasional welcome distraction—Cathy has consistently challenged me to push myself as a writer and a thinker. To her, I owe whatever is smart in the economic aspects of this project’s critique, although of course its weaknesses are wholly my own. Through several seminars, Don introduced me to the linguistic theories and methods that have broadened my ways of thinking about risk; through a challenging but ultimately successful research project, he introduced me to the rewards of writing with a mentor. I also want to express a profound debt of gratitude to the UNR English Department and the university more broadly. When in 1997 I graduated from a Reno-area high school and departed for college at the University of Oregon, I never expected that eight years later I would return to pursue one advanced degree then stay on for another. Multiple faculty members, some still at Reno and some who have moved on, have cheered and encouraged me, shared knowledge and resources, provided me with opportunities, and expanded my thinking on what it means to be a professional in this field. I will always be proud to be a graduate of the UNR English Department. During the academic year 2011-2012, I wrote the bulk of this dissertation and completed a successful academic job market search, and it was without a doubt one of the most challenging years of my life. What bore me up through months of seemingly endless stress was hardly my own determination, which often flagged: instead, it was the enduring support of many friends, at least a few of whom I must mention by name. I am indebted to my friends who “Ph.D’d” before me: Dr. David Marquard, Dr. Maureen McBride, Dr. Maura Grady, Dr. Tiffany Threatt Bourelle, and Dr. Sarah Perrault are inspiring professionals and valued mentor-friends whose generosity with insights, advice, and resources I have deeply appreciated. I am grateful to my friend and copy-editor extraordinaire Alissa Surges, whose willingness to proofread for barter improved my chances on the job market as well as my skills at sewing Halloween costumes for dogs. iii Finally, I cannot fail to mention my brilliant, encouraging, and witty colleagues in the Ph.D. at UNR: Cassie Hemstrom, Eric Stottlemyer, Zachary Bankston, Jason Ludden, Katie Miller, and especially Meghan Sweeney, my steadfast writing partner who with chitchat, coffee breaks, and bouts of silent typing sustained me through many long days of writing. This crew sympathized, teased, and cheered me on through the intense highs and lows of my dissertation year, and the only thing that lessens my sadness at leaving them is the knowledge that we will always be friends and colleagues in the academic community that we have together worked hard to join. I am also thankful for the constant support of my family. My grandparents, Leo Hoefer and Eleanor Werner, have been benefactors not only of wise counsel but financial help: I owe much to their generosity, as do the countless others who have benefited from their great support of higher education. I am grateful, too, to my many other family members who are loving mainstays, among them my kind and generous mother-in-law and father- in-law, Christine and Robert Louis Colombini; my sister Amber Broch, her partner Scott Leland, and my beautiful niece Quincy Clementine; my charismatic cousin Christianna Beebout, who lived with me in the early stages of this project, nannied my kids, and kept me laughing with her frequent exhortations to “kick some Ph.D. behind;” my father Michael Broch, who inspires and awes me with his brilliant mind; and most particularly my mother, Debra Broch, who has always been my best friend and greatest supporter. Through this project, she put her extensive knowledge of the mortgage lending industry at my disposal; further, it is largely due to her unselfish help that I have been able to have two children and complete a Ph.D. within the same five years. There is not a day that I do not count myself fortunate to have her as my mother. Finally, and to end with what is closest to my heart, I thank my husband Mario Colombini and my daughters Scarlett Celeste and Eden Danielle for their support and for the love and joy that they bring to my life. Mario has been my rock throughout this long process, gracefully and without complaint picking up the many responsibilities I let slide as I researched, wrote, and struggled: I am truly fortunate to have such a constant, loving, and generous partner. Scarlett and Eden, my funny, wild, and beautiful girls, were both born during my doctoral studies, and it is to them that I owe the intensity of my drive to accomplish what I set out to, regardless of the challenges.
Recommended publications
  • LAURA LEVINE Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art
    LAURA LEVINE Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Tina Weymouth and Grandmaster Flash, NYC, 1981 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 21” x 26” | Framed | Edition 7 of 50 16” x 20” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor). Levine’s intimate photographic portraits of artists from the punk, early hip-hop, New Wave, No Wave, and early downtown New York City music scene have been previously exhibited at New York’s Museum of Modern Art (MoMA), Steven Kasher Gallery, and are in the permanent collections of the Rock & Roll Hall of Fame and Museum, the Museum of Fine Arts (Houston), and the Smithsonian Institution’s National Portrait Gallery. PRICE $2,800 | Framed $2,500 | Unframed DZINE Gallery | 128 Utah Street, San Francisco, CA 94103 | www.dzineliving.com/gallery | 415.674.9430 Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Joey Ramone, NYC, 1982 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 21” x 26” | Framed | Edition 4 of 50 16” x 20” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor).
    [Show full text]
  • A Facilitator's Guide to Using the PBS Program
    A Facilitator’s Guide to Using the PBS Program ©2009 WNED/Buffalo•Toronto Credits and Acknowledgements Television Program Credits Facilitator Guide Credits Host DONALD FAISON Executive Project Director PAMELA JOHNSON , Ph.D. Producer/Director TOM SIMON Managing Editor ALAN NOWICKI Lead Writer - Coordinator ANN K. LUPO Writers JAMIE BERNANKE TOM SIMON Contributing Writers MARIA MOZZETTIXSTOCK MARCIANNE SPIESS KUKODA Editor DAVEVELAZQUEZ ROBERT SPINO Content Contributors JAN SUDA Segment Producers DAWNV. BROWN BETSY HALVORSEN DAVID PONTILLO BETH CRITOPH KATE BECK Executive Producer JOHN GRANT Graphic Design CAROL HAMMER Education & Outreach JOHN CRAIG , Ph.D. NAN SCHWEIGER For WNED WNED Communications DARWIN MCPHERSON SUZANNE KASHUBA Production Executive DAVID ROTTERMAN Reviewers KATE BECK , Consumer Credit Counseling of Buffalo Production Coordinator KEVIN RUSH DIANE BESSEL , UnitedWay of Buffalo & Erie County JENNY BRADBURY , PBSTeachers Production Manager PHILTEIBEL LAURA LEVINE ,The Jump$tart Coalition for Personal Financial Literacy Post Production CHRISTOPHERTHOMAS MARTHA NUCHERENO , Cheektowaga High School Promotion GWEN MYSIAK Special Thanks ERIE COMMUNITY COLLEGE Outreach & Web PAMELA JOHNSON , Ph.D. KALEIDA HEALTH NANCY HAMMOND Television Program Financial Experts National Advisory Board PETER BIELAGUS, Financial Advisor LORETTA ABRAMS, HSBC North America BETH KOBLINER, Financial Expert and Author BETH KOBLINER, Financial Expert and Author LAURA LEVINE ,The Jump$tart Coalition RON LIEBER, The New York Times BEN LEVY, Young Money
    [Show full text]
  • The Observer This Weekend
    26 | NEWS | WORLD * * * * 17.07.11 Laura Levine’s images of Madonna, in 1982; Chrissie Hynde and Iggy Pop, in 1987; and Michael Hutchence, in 1986. ‘I wanted to get away from all the artifice,’ she says. Courtesy of Steven Kasher Gallery, New York Unseen archive of the biggest 80s stars downtown galleries after working as tures from that shoot are well known, but New York gallery shows rare vintage prints of chief photographer and photo editor not the one in show. She was a pleasure of underground newspaper New York to work with and had a real sense of self Chrissie Hynde, Michael Stipe and Madonna Rocker . She also published in the Village even then. I set that picture up by asking Voice , Sounds and Rolling Stone . her to scream.” “My photo sessions would be very The show also includes an evocative The photographic show, titled Musi- relaxed,” said Levine. “Most of the sub- picture of Tina Weymouth of Talking by Vanessa (orpe cians , is being mounted by the Steven jectsJects I didn’t know beforehand, although Heads and hip-hop artist and DJ Grand- Arts and Media Correspondent Kasher Gallery and came about almost some became friends. The REM photo I master Flash. Marking the birth of hip- by accident after Kasher worked with took in Athens, Georgia, at a point where hop as a popular genre, it was taken in A revealing archive of unseen photo- Levine on another show chronicling the they were very good friends. It was one New York in 1981 in front of a wall of graphs of music stars taken more than same era.
    [Show full text]
  • Andy Shernoff Articles
    SEARCH ANDY SHERNOFF OF THE DICTATORS MEETS THE ZOMBIE JEW 10.24.2011 05:02 pm Topics: Amusing Belief Hysteria Kooks Music Punk Tags: Andy Shernoff Are You Ready To Rapture Ace musician, producer, founding member of The Dictators and Dangerous Minds’ friend Andy Shernoff has a new Youtube video and it’s a winner. Andy shared with DM the history and inspiration behind the making of Are You Ready To Rapture: I grew up in New York City so the only people I knew who believed that Jesus was actually going to fly down from the sky were mentally ill preachers screaming their lungs out in what was then a very seedy Times Square. I had no idea how widespread this revenge fantasy called the Rapture was until a few years ago. I had the phrase Jewish Zombie rolling through my brain and wanted to incorporate it into a song. I developed a fascination with Christian eschatology and researched it extensively. I wanted everything in the The last known recording of Lennon & song to accurately represent what these knuckleheads believe. It McCartney: ‘A Toot and a Snore in ‘74’ took a few months and I probably wrote 25 verses until I had three with the right combination of drama, truth and sarcasm. Gorgeous psychedelic handbills and posters I felt the best way to communicate the song was with a cartoon. I met from Detroit’s Grande Ballroom, circa 1967‑68 Brian Musikoff through a mutual friend and he was the only person considered after I saw his animation for a Patton Oswalt’s comedy routine, ‘Christmas Shoes’.
    [Show full text]
  • Pdf Or Tif Files
    Volume XXVII, Issue 6 July/August 2019 64th Annual Conference Recap Orlando, FL Page 8 In This Issue • Conference Photos • Around The State • FSMS Shout Out Topcon GT Robotic Total Stations Patented, best-in-class robotic prism tracking technology from Topcon rejects false positives and remains locked onto the prism so you can focus on the job at hand. And Topcon’s unique Hybrid Technology delivers the ultimate in non-stop productivity by combining GNSS posi- tioning to quickly regain lock, and maintain profit. 800.342.9238 www.Lengemann.us Topcon HiPer VR GPS Lengemann ‘Flex Lease’ 36 Month Terms - Return Anytime Call 800.342.9238 for Details Table of Contents July/Aug 2019 Conference Recap NSRS Modernization News Did You Ever Wonder Why? Around the State President’s Message | 4 Districts and Directors | 43 Surveyors in Govt Article | 5 Committees and Admn. Staff | 44 Education Course Information | 39 Sustaining Firms | 45 Chapter Presidents | 42 Additional Information | 47 Cover Photo: L. Levine The Florida Surveyor is an official publication of the Florida Surveying and Mapping Society, Inc. (FSMS) and is published for the purpose of communicating with the membership. The newsletter is financed primarily by the dues of the membership although advertisements are welcome from service and product industries relating to the needs and activities of the profession. Articles and advertising appearing in this publication are not necessarily the official policy of this Society unless specifically stated. FSMS assumes no responsibility for statements expressed in this publication. The Florida Surveyor welcomes contributions from members. Mail correspondence to Administrative Office. Copy all quoted material as it appears in the original.
    [Show full text]
  • Rhetorically Constructing Immigrants in French and US History Textbooks
    Georgia State University ScholarWorks @ Georgia State University Educational Policy Studies Dissertations Department of Educational Policy Studies Spring 5-13-2016 Rhetorically Constructing Immigrants in French and U.S. History Textbooks: A Burkean Analysis David Alexander Follow this and additional works at: https://scholarworks.gsu.edu/eps_diss Recommended Citation Alexander, David, "Rhetorically Constructing Immigrants in French and U.S. History Textbooks: A Burkean Analysis." Dissertation, Georgia State University, 2016. https://scholarworks.gsu.edu/eps_diss/150 This Dissertation is brought to you for free and open access by the Department of Educational Policy Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Educational Policy Studies Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. ACCEPTANCE This dissertation, RHETORICALLY CONSTRUCTING IMMIGRANTS IN FRENCH AND U.S. HISTORY TEXTBOOKS: A BURKEAN ANALYSIS, by DAVID B. ALEXANDER, was prepared under the direction of the candidate’s Dissertation Advisory Committee. It is accepted by the committee members in partial fulfillment of the requirements for the degree, Doctor of Philosophy, in the College of Education and Human Development, Georgia State University. The Dissertation Advisory Committee and the student’s Department Chairperson, as representatives of the faculty, certify that this dissertation has met all standards of excellence and scholarship
    [Show full text]
  • 22-23 Stats 1/7/09 10:01 AM Page 27
    Politics, i deas & civic life in Massachusetts Ending the one-party state Minnesota offers a guide for adding a little color to the ballot BROKEN HOMES: The real cost of foreclosure Visit www.CWunbound.org WINTER 2009 $5.00 WINTER 2009 CommonWealth 1 CommonWealth editor Bruce Mohl [email protected] | 617.742.6800 ext. 105 executive editor Michael Jonas [email protected] | 617.742.6800 ext. 124 managing editor Robert David Sullivan [email protected] | 617.742.6800 ext. 121 senior associate editor Gabrielle Gurley [email protected] | 617.742.6800 ext. 142 associate editor Alison Lobron [email protected] | 617.742.6800 senior investigative reporter Jack Sullivan [email protected] | 617.742.6800 ext. 123 REALtalk is a lively series about art director Heather Hartshorn what young professionals and contributing writers Dave Denison, Dan Kennedy, Neil Miller, Laura Pappano, Robert Preer, Phil Primack, B.J. Roche working adults can do to make a washington correspondent Shawn Zeller living, raise a family, and build proofreader Jessica Murphy editorial advisors Mickey Edwards, Ed Fouhy, Alex S. Jones, stronger communities for us all. Mary Jo Meisner, Daniel Okrent, Ellen Ruppel Shell, Alan Wolfe Join in the discussion and become publisher Gregory Torres [email protected] | 617.742.6800 ext. 103 one of the more than 1,000 sponsorship and advertising Rob Zaccardi [email protected] | 617.742.6800 ext. 101 participants involved in RealTalk. circulation Krisela Millios [email protected] | 617.742.6800 ext. 145 For information about upcoming RealTalk programs—including our > Full contents, as well as online exclusives, are available at www.massinc.org networking events—log on to CommonWealth (ISSN pending) is published quarterly by the Massachusetts Institute for a New Commonwealth (MassINC), 18 Tremont St., Suite 1120, www.massinc.org.
    [Show full text]
  • Irish Extra -Inside
    IRISH EXTRA -INSIDE VOL. XXI. NO. 33 FRIDAY-SATURDAY, OCTOBER I 0-1 I , 1986 the independent student newspaper serving Notre Dame and Saint Mary's Affirmative action fails, says rights chairman By CINDY RAUCKHORST Senior Staff Reporter The chairman of the U.S. Com­ mission on Civil Rights told Notre Dame law students yesterday that affirmative action, as inter­ preted by today's government of­ ficials, actually stands in the way of equal opportunity. "What was originally planned as a way to 'legislate' fairness has come to be a race, gender, and ethnic origin spoils system." Chairman Clarence Pendleton said. According to Pendleton, 55, the affirmative action program began in 1965 with "the best of intentions" but later "went sour" when presidential administra­ tions defined it in numerical terms such as 'goals' and 'quotas.' "It was intended that these laws and court decisions would create a level playing field. Not one that tilts for the benefit of Color provided by Anheuser-Busch, Inc:. The Observer/ Jim Carroll some once the game is under­ Holy roses way. That is just what has hap­ Well not qulte roses, but a holy moment of reflection Is shared In may be waning as the rainy days of Autumn set ln. pene<:) over the last 15 years," the colorful confines of Notre Dame's Grotto. The floral display Pendleton said. Pendleton said he disagreed with the many blacks today who Ambassador warns against using force in Chile think the government should place blacks before other groups By JOE MARKEY The people of Chile experi­ to extended social problems, world as less appreciative of rhe in preferential treatment be­ Staff Reporter enced "the feeling of being up said Barnes; "There is still an at­ level of the threat.
    [Show full text]
  • 2018Annualreport
    CLAIMING THE ANDREW GOODMAN FOUNDATION GOODMAN ANDREW THE OUR POWER | 2018 ANNUAL ANNUAL REPORT 2018 | Our Mission 2 making young voices and votes a powerful force in democracy. At the height of the Civil Rights Movement, 20-year-old Andrew Goodman joined the Freedom Summer Project of 1964 to register Black Americans to vote. On his first day in Mississippi, the Ku Klux Klan murdered Andy and two other civil rights workers, James Chaney and Michael Schwerner. Their murders catalyzed a movement to oppose white supremacy and voter suppression throughout the United States and led to the passage of the Voting Rights Act of 1965. Robert and Carolyn Goodman created The Andrew Goodman Foundation, a 501(c)(3) nonpartisan nonprofit organization, in 1966 to carry on the spirit and the purpose of their son Andrew’s life. Today, the Foundation counters a surge in anti-democratic policies, laws, and actions that impede our youth and marginalized communities from fully engaging in our democracy. 3 Executive Update young people need to claim their power. Dear Friends, Thanks in no small part to The Andrew Goodman Foundation’s (AGF) Ambassadors, Campus Champions, Fellows, alumni, and staff, our country saw historically high turnout in 2018. It was the first time that the total number of voters exceeded 100 million in a midterm election. Young people also voted in 2018. According to the 2018 National Study of Learning, Voting, and Engagement, 40.3% of college students turned out on Election Day, which is a 108 percent increase from four years prior. A large majority of Andrew Goodman Campuses also saw an increase in student voting rates, with some reporting voting increases as high as 32.4 percentage points.
    [Show full text]
  • Visual Literacy (Images and Photographs) Every Day, We See and Are Exposed to Hundreds, Perhaps Thousands, of Images That Pass Through Our Radar Screens
    Visual Literacy (Images and Photographs) Every day, we see and are exposed to hundreds, perhaps thousands, of images that pass through our radar screens. Everyone, it seems, is vying for our attention. Unfortunately, not many of us know how to "read images.’ One of the ways to teach critical thinking and "media literacy" is to start with the still image. In many arts classrooms, “visual literacy” is introduced: the methods and techniques artists use to create meaning in paintings: that knowledge can now be applied to photographs as well. SC State Department of Education Visual & Performing Arts Standards (link to 2010 revision) 2010 Media Arts Standard Standard 3 (Media Literacy): The student will demonstrate the ability to access, analyze, interpret and create media (communications) in all forms. Teachers will recognize “analyze,” “interpret” and “create” as three of the verbs belonging to the Bloom’s Taxonomy of Learning higher order thinking skills. Analyze (or analysis) is defined as: “breaking down objects or ideas into simpler parts and seeing how the parts relate and are organized” (source) Interpret is defined as: “to bring out the meaning of” whatever is seen (source) Creating is defined as: “putting the elements together to form a coherent or functional whole; reorganising elements into a new pattern or structure through generating, planning or producing” (Source) Creating sits at the top a new Bloom’s Digital Taxonomy. Take a look (see page 6 in the hyperlinked document) at all of the various ways your students can create media
    [Show full text]
  • Ragamala Dance Company | Page 4
    10-16 , 2015SEPT. Scotty’s Brewhouse, The Phoenix • Page 2 Jazz Meets Bharatanatyam RAGAMALA DANCE COMPANY | PAGE 4 BILL MAHER | PAGE 5 FACEBOOK.COM/WHATZUPFORTWAYNE WWW.WHATZUP.COM FACEBOOK.COM/WHATZUPFORTWAYNE CHRIS WORTH | PAGE 7 ALSO INSIDE | MATT KELLEY | BEND US | ART & ENTERTAINMENT CALENDARS Scotty’s Brewhouse: Best New Club Brews, Tunes and That College Vibe Dress for Success Kenny Taylor stood with his guitar under the trees around the state. at the end of the patio at Scotty’s Brewhouse on a re- Wise is Indiana born and raised. He graduated Fort Wayne cent Thursday night and serenaded a relaxed crowd. from Ball State University; according to Hornak, Wise Taylor sang “Folsom Prison Blues” in the style of never lost the college mindset. Johnny Cash, “Solitary Man” in the style of Neil Dia- “The thing that keeps us relevant is Scott’s vi- Pop Up Shop mond and “Brandy (You’re a Fine Girl)” in the style sion,” said Dave Hornak, Scotty’s vice president of of Chris Shaffer. operations. “He’s really adept with social media. He casual attire sale Taylor is one of a string of lo- listens to people and keeps up cal musicians providing fine en- Kenny Taylor with what’s hot. Plus, he hasn’t tertainment on Scotty’s patio this lost that college vibe which is Sept. 18-20 summer. And the Thursday night what we were founded on.” Glenbrook Square acoustic music will continue until “We’re family, we’re col- the weather intervenes. lege, we’re business,” Hornak In the mall, outside of Carson's The casual sports club chain said.
    [Show full text]
  • American Cool Exhibition List
    American Cool MUHAMMAD ALI Artist: Thomas Hoepker 1966 (printed 2013) Modern print Image: 38.1 × 56.8cm (15 × 22 3/8") Sheet: 50.8 x 61cm (20 x 24") Magnum Photos EXH.CL.86 FRED ASTAIRE Artist: Martin Munkacsi 1936 Gelatin silver print Image (Image, Accurate): 24.1 x 19cm (9 1/2 x 7 1/2") Sheet (Sheet, Accurate): 25.2 x 20.1cm (9 15/16 x 7 15/16") National Portrait Gallery, Smithsonian Institution NPG.93.98 LAUREN BACALL Artist: Alfred Eisenstaedt 1949 (printed 2013) Pigmented ink jet print Sheet: 48.3 × 33cm (19 × 13") Image: 40.3 × 27.9cm (15 7/8 × 11") EXH.EE.1648 JAMES BALDWIN Artist: Carl Van Vechten 1955 Gelatin silver print Image: 24.9 x 17.6 cm (9 13/16 x 6 15/16") Mat: 55.9 x 40.6 cm (22 x 16") National Portrait Gallery, Smithsonian Institution NPG.91.66 AFRIKA BAMBAATAA Artist: Laura Levine 1983 Gelatin silver print Image: 20.4 x 13.5 cm (8 1/16 x 5 5/16") Sheet: 25.3 x 20.2 cm (9 15/16 x 7 15/16") National Portrait Gallery, Smithsonian Institution NPG.2012.4 2/5/2014 ~ Images are for study purposes only and may not be reproduced without permission of the owner ~ Page 1 of 22 JEAN-MICHEL BASQUIAT Artist: Dmitri Kasterine 1986 Gelatin silver print Image: 38.3 x 37.7cm (15 1/16 x 14 13/16") Sheet: 50.5 x 40.6cm (19 7/8 x 16") National Portrait Gallery, Smithsonian Institution NPG.2011.24 BIX BEIDERBECKE Artist: Unidentified Artist c.
    [Show full text]