(www-uk1.csa.com) Tue Nov 28 22:59:12 EST 2006 CSA Multiple Databases Query: music scene Record 1 of 38 DN: Database Name CSA Sociological Abstracts TI: Title The Words Have Changed but the Ideology Remains the Same: Misogynistic Lyrics in Rap Music AU: Author Adams, Terri M.; Fuller, Douglas B. AF: Affiliation Dept Sociology & Anthropology, Howard U SO: Source Journal of Black Studies, vol. 36, no. 6, pp. 938-957, July 2006 IS: ISSN 0021-9347 DE: Descriptors *Misogyny; *Females; *Music; *Black Americans AB: Abstract Rap music emerged as an aesthetic cultural expression of the urban youth in the late 1970s. It has been denoted as the poetry of the youth who are often disregarded as a result of their race & class status. Since it first came on the music scene, rap has gone through a number of phases, & it has been used as a medium to express a variety of ideas, feelings, & emotions. Hope, love, fear, anger, frustration, pride, violence, & misogyny have all been expressed through the medium of rap. This article examines the use of misogynistic ideology in gangsta rap & traces the connection between its prevalence in rap & the larger cultural picture of how African American women have been characterized historically. 25 References. [Reprinted by permission of Sage Publications Inc., copyright 2006.] CD: CODEN JBLSAD LA: Language English PY: Publication Year 2006 PT: Publication Type Journal Article AK: Author Keywords misogyny; hip-hop; rap music; women CL: Classification 0850 mass phenomena; popular culture PB: Publisher Sage Publications, Thousand Oaks CA UD: Update 20061018 AN: Accession Number 200617671 JV: Journal Volume 36 JI: Journal Issue 6 JP: Journal Pages 938-957 DO: DOI 10.1177/0021934705274072 CP: Country of Publication United States Record 2 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Understanding Music in Movements: The White Power Music Scene AU: Author Futrell, Robert; Simi, Pete; Gottschalk, Simon AF: Affiliation Dept Sociology, UNLV SO: Source The Sociological Quarterly, vol. 47, no. 2, pp. 275-304, spring 2006 IS: ISSN 0038-0253 DE: Descriptors *Racism; *Whites; *Music; *United States of America AB: Abstract Relying on the analysis of ethnographic & documentary data, this article explains how U.S. White Power Movement (WPM) activists use music to produce collective occasions & experiences that we conceptualize as the movement's music scene. We use the concept "music scene" to refer to the full range of movement occasions in which music is the organizing principle. Members experience these not as discrete events, but as interconnected sets of situations that form a relatively coherent movement music scene. We emphasize three analytically distinct dimensions of this scene -- local, translocal, & virtual -- & specify how each contributes to emotionally loaded experiences that nurture collective identity. Participants claim that strong feelings of dignity, pride, pleasure, love, kinship, & fellowship are supported through involvement in the WPM music scene. These emotions play a central role in vitalizing & sustaining member commitments to movement ideals. 93 References. Adapted from the source document. EA: Email Address [mailto:rfutrell@unlv.nevada.edu] CD: CODEN SOLQAR LA: Language English PY: Publication Year 2006 PT: Publication Type Journal Article CL: Classification 0826 mass phenomena; social movements; 0828 mass phenomena; communication PB: Publisher Blackwell Publishing, Malden MA UD: Update 20061018 AN: Accession Number 200617595 JV: Journal Volume 47 JI: Journal Issue 2 JP: Journal Pages 275-304 CP: Country of Publication United States RE: References Aggressive Force. (N.d.). It's Okay to Be White. Retrieved August 14, 2003 (http://www.panzerfaust.com). RE: References Anti-Defamation League. (2002). ''The Consequences of Right-Wing Extremism on the Internet.'' Retrieved February 5, 2002 (http://www.adl.org/Internet/extremism%5Frw/cord_rock.asp). RE: References Anti-Defamation League. (2000). ''Deafening Hate: The Revival of Resistance Records.'' Retrieved February 5, 2002 (http://www.adl.org/resistance_records/Reviving.asp). RE: References Bell, Catherine. (1992). 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Lanham, MD: Rowman & Littlefield. RE: References Fox, Katherine J. (1987). ''Real Punks and Pretenders: The Social Organization of a Counterculture.''. Journal of Contemporary Ethnography, 16, 344-70. RE: References Frith, Simon. (1978). The Sociology of Rock. London: Constable. RE: References Frith, Simon. (1981). Sound Effects: Youth, Leisure, and the Politics of Rock ''n'' Roll. New York: Pantheon. RE: References Frith, Simon. (1996). ''Music and Identity.'' Pp. 108-27 in Questions of Cultural Identity, edited by Stuart Hall and Paul Du Gay. London: Sage. RE: References Futrell, Robert & Simi, Pete (2004). ''Free Spaces, Collective Identity, and the Persistence of U.S. White Power Activism.''. Social Problems, 51, 16-42. RE: References Gaines, Donna. (1994). ''The Local Economy of Suburban Scenes.'' Pp. 47-65 in Adolescents and Their Music: If It's Too Loud, You're Too Old, edited by Jonathan S. Epstein. New York: Garland. RE: References Garfinkel, Harold. (1967). Studies in Ethnomethodology. Englewood Cliffs, NJ: Prentice Hall. RE: References Gerlach, Luther P. (1971). ''Movements of Revolutionary Change: Some Structural Characteristics.''. American Behavioral Scientist, 14, 812-836. RE: References Gerlach, Luther P & Hine, Virginia H (1970). People, Power, Change: Movements of Social Transformation. Indianapolis, IN: Bobbs-Merrill. RE: References Gerlach, Luther P & Hine, Virginia H (1973). Lifeway Leap: The Dynamics of Change in America. Minneapolis: University of Minnesota Press. RE: References Goffman, Erving. (1959). ''The Presentation of Self.'' Everyday Life. Garden City, NY: Doubleday. RE: References Goffman, Erving. (1967). Interaction Ritual: Essays on Face to Face Behavior. Garden City, NY: Anchor Books. RE: References Goodrick-Clarke, Nicholas. (2002). Black Sun: Aryan Cults, Esoteric Nazism and the Politics of Identity. New York: New York University Press. RE: References Gordon, Steve L. (1989). ''Institutional and Impulsive Orientations in Selectively Appropriating Emotions to Self.'' Pp. 115-36 in the Sociology of Emotions: Original Essays and Research Papers, edited by David D. Franks and E. Doyle McCarthy. Greenwhich, CT: JAI Press. RE: References Grazian, David. (2004). ''The Symbolic Economy of Authenticity in the Chicago Blues Scene.'' Pp. 31-47 in Music Scenes: Local, Translocal, and Virtual, edited by Andy Bennett and Richard A. Peterson. Nashville, TN: Vanderbilt University Press. RE: References Hamm, Mark S. (1993). American Skinheads. Boston, MA: Northeastern University Press. RE: References Hamm, Mark S. (2002). In Bad Company: America's Terrorist Underground. Boston, MA: Northeastern University Press. RE: References Hirsch, Eric. (1990). Urban Revolt: Ethnic Politics in the Nineteenth Century Labor Movement. Berkeley: University of California Press. RE: References Hodkinson, Paul. (2004). ''Translocal Connections in the Goth Scene.'' Pp. 131-48 in Music Scenes: Local, Translocal, and Virtual, edited by Andy Bennett and Richard A. Peterson. Nashville, TN: Vanderbilt University Press. RE: References Hoffman, David S. (1996). The Web of Hate: Extremists Exploit the Internet. New York. Anti-Defamation League. RE: References Irwin, John. (1977). Scenes. Beverly Hills, CA: Sage. RE: References Jasper, James M. (1998). ''The Emotions of Protest: Affective and Reactive Emotions in and around Social Movements.''. Sociological Forum, 13, 397-424. RE: References Kaplan, Jeffrey & Weinberg, Leonard (1998). The Emergence of a Euro-American Radical Right. New Brunswick, NJ: Rutgers University Press. RE: References Kiecolt, K Jill. (2000). ''Self-Change in Social Movements.'' Pp. 110-31 in Self, Identity, and Social Movements, edited by Sheldon Stryker, Timothy J. Owens, and Robert W. White. Minneapolis: University of Minnesota Press. RE: References Kruse, Holly. (1993). ''Subcultural Identity and Alternative Music Culture.''. Popular Music, 121, 31-43. RE: References Loowe, Helene. (1998a). ''White Power Rock 'n' Roll: A Growing Industry.'' Pp. 126-47 in Nation and Race: The Developing Euro-American Racist Subculture, edited by Jeffery Kaplan and Tore Bjorgo. Boston, MA: Northeastern University Press. RE: References Loowe, Helene. (1998b). ''White Noise--An International Affair.'' Retrieved May 30, 2002 (http://www.freemuse.org/sw6649.asp). RE: References Max Resist and the Hooligans. (N.d.). Geile Macker (Keine Kacker). Retrieved August 14, 2003 (http://www.panzerfaust.com). RE: References McAdam, Doug. (1988). Freedom Summer. Chicago, IL: University of Chicago Press. RE: References McLaurin, M A & Peterson, R A (1992). You Wrote My Life: Lyrical Themes in Country Music. Philadelphia, PA: Gordon and Breach. RE: References Polletta, Francesca. (1999). ''Free Spaces' In Collective Action.''. Theory and Society, 28, 1-38. RE: References Polsky, Ned. (1967). Hustlers, Beats, and Others. Chicago, IL: Aldine. RE: References Roscigno, Vincent J, Danaher, William F & Summers-Effler, Erika (2002). ''Music, Culture, and Social Movements: Song and Southern Textile Worker Mobilization, 1929-1934.''. International Journal of Sociology and Social Policy, 22, 141-74. RE: References Rosenthal, Rob. (2003). ''Stoking the Fire: The Aims and Dilemmas of 'Movement' Musicians.'' Presented at the Annual Meeting of the American Sociological Association, August 16-19, Atlanta, GA. RE: References Sardiello, Robert. (1994). ''Secular Rituals in Popular Culture: A Case for Grateful Dead Concerts and Dead Head Identity.'' Pp. 115-39 in Adolescents and Their Music: If It's Too Loud, You're Too Old, edited by Jonathan S. Epstein. New York: Garland. RE: References Schechner, Richard. (1993). The Future of Ritual. London: Routledge. RE: References Screwdriver. (N.d.). Race and Nation. Retrieved August 14, 2003 (http://www.panzerfaust.com). RE: References Shibutani, Tomatsu. (1961). Society and Personality: An Interactionist Approach to Social Psychology. Englewood Cliffs, NJ: Prentice Hall. RE: References Southern Poverty Law Center. (2001a). ''From America with Hate.'' Intelligence Report 103. Retrieved August 29, 2001 (http://www.splcenter.org/intel/intelreport/article.jsp?aid=182). RE: References Southern Poverty Law Center. (2001b). ''Present at the Creation.'' Retrieved March 30, 2002 (http://www.splcenter.org/intelligenceproject/ip-index.html). RE: References Southern Poverty Law Center. (2002). ''White Power Bands.'' Retrieved May 30, 2002 (http://www.tolerance.org/news/article_hate.jsp?id=403). RE: References Straw, Will. (1991). ''Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music.''. Cultural Studies, 5, 3, 368-88. RE: References Street, John. (2003). ''Fight the Power: The Politics of Music and the Music of Politics.''. Government and Opposition, 38, 113-30. RE: References Taylor, Verta. (2000). ''Emotions and Identity in Women's Self-Help Movements.'' Pp. 271-99 in Self, Identity, and Social Movements, edited by Sheldon Stryker, Timothy J. Owens, and Robert W. White. Minneapolis: University of Minnesota Press. RE: References Taylor, Verta & Whittier, Nancy E (1995). ''Analytical Approaches to Social Movement Culture: The Culture of the Women's Movement.'' Pp. 163-86 in Social Movements and Culture, edited by Hank Johnston and Bert Klandermans. Minneapolis: University of Minnesota Press. RE: References Taylor, Verta & Whittier, Nancy E (1992). ''Collective Identity in Social Movement Communities: Lesbian Feminist Mobilization.'' Pp. 104-29 in Frontiers in Social Movement Theory, edited by Aldon D. Morris and Carol McClurg Mueller. New Haven, CT: Yale University Press. RE: References Van Dijk, Teun A. (1992). ''Discourse and the Denial of Racism.''. Discourse and Society, 3, 87-118. RE: References Youngland. (N.d.). Stand One, Stand All. Retrieved August 14, 2003 (http://www.panzerfaust.com). RE: References Ware, Vron & Back, Les (2002). Out of Whiteness: Color, Politics, and Culture. Chicago, IL: University of Chicago Press. RE: References Wellman, Barry. (1999). Networks in the Global Village. Boulder, CO: Westview Press. RE: References Wellman, Barry & Gulia, Milena (1999). ''Netsurfers Don't Ride Alone: Virtual Communities as Communities.'' Pp. 331-66 in Networks in the Global Village, edited by Barry Wellman. Boulder, CO: Westview Press. RE: References Wellman, Barry & Haythornthwaite, Caroline (2002). The Internet in Everyday Life. Oxford, UK: Blackwell. RE: References Willis, Paul. (1978). Profane Culture. London: Routledge. RE: References Willis, Paul, Jones, Simon, Canaan, Joyce & Hurd, Geoff (1990). Common Culture: Symbolic Work at Play in the Everyday Cultures of the Young. Boulder, CO: Westview Press. RE: References Wood, Elisabeth Jean. (2001). ''The Emotional Benefits of Insurgency in El Salvador.'' Pp. 267-81 in Passionate Politics: Emotions and Social Movements, edited by Jeff Goodwin, James Jasper, and Francesca Polletta. Chicago, IL: University of Chicago Press. RE: References Wuthnow, Robert. (1987). Meaning and Moral Order. Berkeley: University of California Press. Record 3 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Growing Up Punk: Negotiating Aging Identity in a Local Music Scene AU: Author Davis, Joanna R SO: Source Symbolic Interaction, vol. 29, pp. 63, 2006 IS: ISSN 0195-6086 DE: Descriptors *Indexing in process AB: Abstract Punk music, in its thirty-odd-year history, is traditionally conceived of as a youth subcultural phenomenon. As one of many ways to rebel, kids might choose or find in punk rock an anti-authoritarian, destructive, or anarchistic ideology that helps them manage the tumult of adolescence. But what happens next? In this conceptual article, the author is interested in how punks negotiate their identity as punks, as they age. She examines this by looking at people's experiences in a local punk scene. Based on these observations, she argues that 'aging identity' and 'the scene' are theoretical tools in a dialectic relationship with one another, which highlights the fluidity of both. This theory helps promote 'the scene' as a more useful concept than subculture. Furthermore, looking at the local punk rock music scene as a scene--rather than a subculture--illustrates how identity forms over time as a cumulative process, synthesized in the relationship between changing self and other. From her research on a punk scene, the author argues that to construct a long-term conception of scene involvement, punk scene members look to real and idealized others to demonstrate what they see as successful and unsuccessful ways of aging in connection with the music scene. PY: Publication Year 2006 PT: Publication Type Journal Article UD: Update 20061022 AN: Accession Number 06SP32146 JV: Journal Volume 29 JP: Journal Pages 63-69 Record 4 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Scratching Out Authorship: Representations of the Electronic Music DJ at the Turn of the 21st Century AU: Author Herman, Bill D. AF: Affiliation Annenberg School Communication, U Pennsylvania, Philadelphia SO: Source Popular Communication, vol. 4, no. 1, pp. 21-38, 2006 IS: ISSN 1540-5702 DE: Descriptors *Music; *Popular Culture; *Technology; *Authorship; *Cultural Capital AB: Abstract This article argues that the DJ is represented by the electronic music industry as the creative author of his or her music. I examine commercial discourse aimed at the consumer of DJ-mixed music, such as rave flyers & electronic music CDs, as well as discourse aimed at the DJ-consumer, such as trade magazines & gear catalogues. In all of this discourse, the DJ is presented as the culmination of creative musical technology, a musical author-god who carries on a long tradition of patriarchal authorship. In light of these observations, I argue that the DJ's authorship comes not from what he or she does but how those practices get represented in a capitalist system. Further, I argue that the industry instilled the DJ with authorship to fill a vacuum left by the increasing anonymity of dance music producers. The DJ becomes a tool for generating social capital within a music scene, & this social capital is turned into monetary capital via the sale of DJ-related commodities. 35 References. Adapted from the source document. EA: Email Address [mailto:revbillyherman@speedymail.org] LA: Language English PY: Publication Year 2006 PT: Publication Type Journal Article CL: Classification 0850 mass phenomena; popular culture PB: Publisher Lawrence Erlbaum, Mahwah NJ UD: Update 20061018 AN: Accession Number 200617677 JV: Journal Volume 4 JI: Journal Issue 1 JP: Journal Pages 21-38 CP: Country of Publication United States RE: References Barthes, R. (1977). From work to text. In S. Heath (Ed. & Trans.), Image-music-text (pp. 155-164). New York: Hill and Wang. (Original work published 1971). RE: References Bourdieu, P. (1993a). The field of cultural production, or: The economic world reversed. In R. Johnson (Ed. & Trans.), The field of cultural production: Essays on art and literature (pp. 29-73). Columbia, MD: Columbia University. (Original work published 1983). RE: References Bourdieu, P. (1993b). The production of belief: Contribution to an economy of symbolic goods. In R. Johnson (Ed. & Trans.), The field of cultural production: Essays on art and literature (pp. 74-111). Columbia, MD: Columbia University. (Original work published 1986). RE: References Breakbeat Science. (n.d.). Retrieved March 31, 2001, from http://www.breakbeatscience.com. RE: References Brewster, B & Broughton, F (2000). Last night a DJ saved my life: The history of the disc jockey. New York: Grove. RE: References RE: References Coombe, R J. (1998). Bridgeport Music, Inc. v. Dimension Films, 401 F.3d 647 (6th Cir. 2004). RE: References Crichton, M. (1990). Jurassic Park. New York: Knopf. RE: References Irene, D J. (2001, November). Global house diva 2, live in Ibiza. Mixer, 54, 79. RE: References Skribble, D J, Mixing, D J, Acid, A & Mixing, D J (1999). MDMA: Vol. 2 [CD]. New York: Warlock Records. RE: References Ede, L & Lunsford, A (1990). Singular texts/plural authors: Perspectives on collaborative writing. Carbondale: Southern Illinois University Press. RE: References Foucault, M. (1984). What is an author? In P. Rabinow (Ed. & Trans.), The Foucault reader (pp. 101-120). New York: Pantheon. (Original work published 1969). RE: References Gilbert, S & Gubar, S (1979). The madwoman in the attic: The woman writer and the nineteenth-century literary imagination. New Haven, CT: Yale University Press. RE: References Gill, C. (2001, January). Maas-ive attack. Remix, 3, 1, 19-22. RE: References Glaude, D & Mixing, D J (1999). Off the hook [CD]. West Hollywood, CA: Moonshine Records. RE: References Goodwin, A. (1988). Sample and hold: Pop music in the digital age of reproduction. Critical Quarterly, 30, 34-49. RE: References Herman, B. (2002). Theory jockey: A critical discourse analysis of the DJ in DJ culture. Unpublished master's thesis, Colorado State University, Fort Collins. RE: References Jordan, J T. (2000). Searching for the perfect beat: Flyer designs of the American rave scene. New York: Watson-Guptil Publications. RE: References Lessig, L. (2004). Free culture: How big media uses technology and the law to lock down culture and control creativity. New York: Penguin. RE: References (2001a, October). Mixer, 6, 9. RE: References (2001b, November). Mixer, 6, 10. RE: References Oakenfold, P & Mixing, D J (1999). Global Underground 002: New York [CD]. Los Angeles: Thrive Records. RE: References Ott, B & Herman, B (2003). Mixed messages: Resistance and reappropriation in rave culture. Western Journal of Communication, 67, 249-270. RE: References ProSound and Stage Lighting. (n.d.). Retrieved March 31, 2001, from http://www.pssl.com. RE: References ProSound and Stage Lighting. (2001a, October). RE: References ProSound and Stage Lighting. (2001b, November). RE: References (2001, January). Remix, 3, 1. RE: References Ressler, D. (2001, November). Confessions of a topless DJ. Mixer, 54, 62-63. RE: References Sanjek, D. (1994). ''Don't have to DJ no more'': Sampling and the ''autonomous'' creator. In M. Woodmansee & P. Jaszi (Eds.), The construction of authorship: Textual appropriation in law and literature (pp. 343-360). Durham, NC: Duke University Press. RE: References Satellite Records. (n.d.). Retrieved March 31, 2001, from http://www.satelliterecords.com. RE: References Stimpson, C. (1977). Sex, gender, and American culture. In L. Cater, A. Scott, & W. Martyna (Eds.), Women and men: Changing roles, relationships, and perceptions (pp. 201-244). New York: Praeger. RE: References Straw, W. (1999). Authorship. In B. Horner & T. Swiss (Eds.), Key terms in popular music and culture (pp. 199-208). Malden, MA: Blackwell. RE: References Thornton, S. (1996). Club cultures: Music, media and subcultural capital. London: Wesleyan University Press. RE: References Vaidhyanathan, S. (2001). Copyrights and copywrongs: The rise of intellectual property and how it threatens creativity. New York: New York University Press. RE: References Wild things. (2001, November). Five DJs tell us about their kinkiest nights on the job. Mixer, 54, 65. Record 5 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Inaudible Noise: Belgrade's Academy Club: Legacy, Old Locals and New Spaces AU: Author Todorovic, Milan; Bakir, Ali AF: Affiliation SAE Instit, London, UK SO: Source Leisure Studies, vol. 24, no. 4, pp. 415, Oct 2005 IS: ISSN 0261-4367 DE: Descriptors *Social Space; *Subcultures; *Serbia, Yugoslavia; *Leisure; *Music; *Clubs AB: Abstract This text deals with the transformation of spaces for 'underground' forms of leisure in Belgrade, Serbia. In these spaces, different styles of non-mainstream music are enjoyed by disparate social groups, referred to here as 'the underground scene'. The spatial & stylistic transformation of venues for 'creative leisure' in Belgrade is read in this article as an articulation of discourse. Fragmentation of music consumption is arguably a global trend acknowledged in many treatises. Discourses within the multifaceted Belgrade underground music scene seem to correspond to such fragmentation. In this case it was found that the development of such identity practices depends on the articulation of concrete social factors & constraints. This paper focuses on the Academy nightclub, its transformations & long-term impact on the Belgrade scene, including the emergence of other venues that have superseded, but have not fully surpassed, this seminal space. References. Adapted from the source document. EA: Email Address [mailto:milan.todorovic@sae.edu] CD: CODEN LESTDT LA: Language English PY: Publication Year 2005 PT: Publication Type Journal Article AK: Author Keywords scene, underground, 'creative leisure', membership, connoisseur, signifying community CL: Classification 0842 mass phenomena; sociology of leisure/tourism PB: Publisher Taylor & Francis/Routledge, Abingdon UK UD: Update 20061031 AN: Accession Number 200608880 JV: Journal Volume 24 JI: Journal Issue 4 JP: Journal Pages 415-434 DO: DOI 10.1080/02614360500200763 CP: Country of Publication United Kingdom RE: References Alvesson, M & Skoldberg, K (2000). Reflexive methodology: new vistas for qualitative research (London: Sage). RE: References Atkinson, P & Hammersley, M (1998). Ethnography and participant observation, in: N. Denzin & Y. Lincoln (Eds) The Landscape of Qualitative Research, pp. 110-136 (London: Sage). RE: References Barthes, R. (1977). Image, Music, Text (London: Fontana). RE: References Bastin, R. (1985). Participant observation in social analysis, in: R. Walker (Ed.) Applied Qualitative Research, pp. 92-99 (Aldershot: Dartmouth). RE: References Collin, M. (2001). This is Serbia Calling (London: Serpents Tail). RE: References Drummond, B. (2001). 45 (London: Abacus). RE: References Fetterman, D. (1998). Walking softly through the wilderness: ethics, in: D. Fetterman (Ed.) Ethnography: Step by Step, pp. 129-146 (London: Sage). RE: References Foucault, M. (1980). Power/Knowledge: Selected Interviews and Other Writings (London: Harvester Wheatsheaf). RE: References Glenny, M. (1996). The fall of Yugoslavia (London: Penguin). RE: References Gordy, E D. (1999). The Culture of Power in Serbia (University Park, PA: Pennsylvania State University Press). RE: References Gordy, E D. (2001). Kultura vlasti u Srbiji (Beograd: Geopoetika). RE: References Grossberg, L. (1986). History, politics and postmodernism: Stuart Hall and cultural studies, in: D. Morley & K.H. Chen (Eds) Stuart Hall: Critical Dialogues in Cultural Studies, pp. 151-173 (London: Routledge). RE: References Hall, S. (1980). Race, articulation and societies structured in dominance, in: Sociological Theories: Race and Colonialism, pp. 305-345 (Paris: UNESCO). RE: References Hannerz, U. (1996). Transnational Connections: Culture, people, places (London: Routledge). RE: References Harris, K. (2000). Roots?: the relationship between the global and the local within the Extreme Metal scene. Popular Music, 19, 1, pp. 13-30. RE: References Hebdige, D. (1993). Subculture: The Meaning of Style (London: Routledge). RE: References Kellner, D. (1997). Theory and cultural studies: the missed articulation, in: J. McGuigan (Ed.) Cultural Methodologies, pp. 12-41 (London: Sage). RE: References Kronja, I. (2001). Fatal Glow: Mass Psychology and Aesthetics of Turbo-Folk Subculture 1990-2000 (Beograd: Technokratia). RE: References Marcus, G E. (1998). What comes just after 'post'? The case of ethnography, in: N. Denzin & Y. Lincoln (Eds) The Landscape of Qualitative Research, pp. 383-406 (London: Sage). RE: References Milojevic, J. (2002). Od narodne muzike do turbo folka, Politika, Beograd 6-22 February. (Available from: www.politika.co.yu/2002/0206/indexdan.htm). RE: References Port, M van de. (1999). The articulation of soul: Gypsy musicians and the Serbian Other. Popular Music, 18, 3, pp. 291-308. RE: References Shank, B. (1994). Dissonant Identities: The Rock 'n' Roll Scene in Austin, Texas (Hanover, NH: Wesleyan University Press). RE: References Silber, L & Little, A (1995). The Death of Yugoslavia (London: Penguin). RE: References Straw, W. (1991). Systems of articulation, logics of change: communities and scenes in popular music. Cultural Studies, 5, 3, pp. 368-388. RE: References Todorovic, M. (2004). The underground music scene in Belgrade, Serbia: a multidisciplinary study. PhD thesis, Brunel University. RE: References Vujovic, Z & Kanjevac, D (1996). Akademija - Republika. VID-B92, VHS PAL, 30 min (Beograd: B92 Video). Record 6 of 38 DN: Database Name CSA Sociological Abstracts TI: Title World Music and the Search for Difference AU: Author Haynes, Jo AF: Affiliation Graduate School Education, U Bristol, UK SO: Source Ethnicities, vol. 5, no. 3, pp. 365, Sept 2005 IS: ISSN 1468-7968 DE: Descriptors *Music; *Differences; *England; *Cosmopolitanism; *Sociocultural Factors; *Race; *Ethnicity; *Cultural Values; *Social Attitudes AB: Abstract World music has been immersed in a series of complex ethical, political & aesthetic debates since its emergence as a new musical category in the 1980s. These debates have been fuelled by competing perspectives that portray world music as either an exemplar of progressive cosmopolitan politics that foster cultural hybridity or as reinforcing fixed & unitary conceptions of difference through an essentializing representation of cultures. By utilizing interviews with key people involved in the organization of world music in Britain, this article centralizes this tension by examining the role of difference in world music. Bourdieu's concept of cultural intermediary is used here as a descriptive label for the work of those involved in this research & as an explanatory tool to highlight how difference defines the interaction between the substantive & symbolic processes within the British world music scene. This article argues that the work of cultural intermediaries demonstrates the ambivalent cultural processes within the performance, management & consumption of world music. This is evident in the series of recursive shifts within world music that employ a model of difference that draws on both the binary logic of traditional meanings of race/ethnicity & hybridity. In so doing, this article also examines how world music affinity & consumption, which takes people across arbitrarily ascribed boundaries, challenges the idea that normative racialized identities are meant to provide a fixed set of cultural values, musical tastes & social attitudes. References. [Reprinted by permission of Sage Publications Ltd., copyright 2005.] EA: Email Address [mailto:jo.haynes@bristol.ac.uk] LA: Language English PY: Publication Year 2005 PT: Publication Type Journal Article AK: Author Keywords cosmopolitanism -- cultural intermediaries -- Englishness -- ethnicity -- hybridity -- race CL: Classification 0410 group interactions; social group identity & intergroup relations (groups based on race & ethnicity, age, & sexual orientation); 0850 mass phenomena; popular culture UD: Update 20061031 AN: Accession Number 200604324 JV: Journal Volume 5 JI: Journal Issue 3 JP: Journal Pages 365-385 DO: DOI 10.1177/1468796805054961 CP: Country of Publication United Kingdom RE: References Alexander, C & Alleyne, B (2002). 'Introduction: Framing Difference: Racial and Ethnic Studies in Twenty-First Century Britain'. Ethnic and Racial Studies, 25, 4, 541-51. RE: References Bakhtin, M. (1981). The Dialogic Imagination, trans. C. Emerson and M. Holquist. Austin, TX: University of Texas Press. RE: References Born, G & Hesmondhalgh, D (2000). Western Music and its Others: Difference, Representation, and Appropriation in Music. Berkeley, CA: University of California Press. RE: References Bourdieu, P. (1984). Distinctions: A Social Critique of the Judgement of Taste, trans. R. Nice, 1986. London: Routledge. RE: References Broughton, S. (2000). The Rough Guide to World Music Vol. 2 (including Latin & North America, Caribbean, India, Asia and Pacific). London: Rough Guides. RE: References Broughton, S, Ellingham, M & Trillo, R (1999). The Rough Guide to World Music Vol. 1 (including Africa, Europe and the Middle East). London: Rough Guides. RE: References Calhoun, C. (2002). 'The Class Consciousness of Frequent Travellers: Towards a Critique of Actually Existing Cosmopolitanism', in S. Vertovec and R. Cohen (eds) Conceiving Cosmopolitanism: Theory, Context, and Practice, pp. 86-109. New York: Oxford University Press. RE: References Crompton, R. (1998). Class and Stratification: an introduction to current debates (2nd edition). Cambridge: Polity Press. RE: References Denselow, R. (2004). 'We Created World Music'. 29 June, The Guardian (G2 Arts), 10-11. RE: References Duran, L. (1989). 'Key to N'Dour: Roots of the Senegalese Star'. Popular Music, 8, 3, 275-84. RE: References Erlmann, V. (1996). 'The Aesthetics of the Global Imagination: Reflections on World Music in the 1990s'. Public Culture, 8, 467-87. RE: References Fanon, F. (1986[1952]). Black Skin, White Maskes. London: Pluto Press. RE: References Firth, S. (2000). 'The Discourse of World Music', in G. Born and D. Hesmondhalgh (eds) Western Music and its Others: Difference, Representation, and Appropriation in Music. Berkeley, CA: University of California Press. RE: References Gilroy, P. (1993). The Black Atlantic: Modernity and Double Consciousness. London: Verso. RE: References Glanvill, R. (1989). 'World Music Mining: The International Trade in New Music', in Rhythms of the World, pp. 58-67. London: BBC Books. RE: References Guilbault, J. (1993). 'On Redefining the ''Local'' through World Music'. The World of Music, 2, 33-47. RE: References Gunaratnam, Y. (2003). Researching Race and Ethnicity: Methods, Knowledge and Power. London: Sage. RE: References Hall, S. (1992). 'The West and the Rest', in S. Hall and B. Grieben (eds) Formation of Modernity. London: Polity Press. RE: References Jeater, D. (1992). 'Roast Beef and Reggae Music: The Passing of Whiteness'. New Formations, 19, 107-21. RE: References Jowers, P. (1993). 'Beating New Tracks: WOMAD and the British World Music Movement', in S. Miller (ed.) The Last Post: Music After Modernism. Manchester and New York: Manchester University Press. RE: References Kumar, K. (2003). The Making of English National Identity. Cambridge, and New York: Cambridge University Press. RE: References Nayak, A. (1999). 'White English Ethnicities: Racism, Anti-racism and Student Perspectives'. Race Ethnicity and Education, 2, 2, 177-226. RE: References N'Dour, Y. (1992). 'World Music or a World of Musics? An African Perspective', in T. Brooman and I. Gibson (eds) Worldwide: Ten Years of WOMAD, pp. 63-5. London: WOMAD Communications and Virgin Records. RE: References Negus, K. (2002). 'The Work of Cultural Intermediaries and the Enduring Distance Between Production and Consumption'. Cultural Studies, 16, 4, 510-15. RE: References Nixon, S & Gay, P du (2002). 'Who Needs Cultural Intermediaries?'. Cultural Studies, 16, 4, 495-500. RE: References Phoenix, A. (1997). '''I'm White! So What?'' The Construction of Whiteness For Young Londoners', in M. Fine, L. Weis, C. Powell and L. Mun Wong (eds) Off White: Readings on Race, Power, and Society, pp. 187-97. London: Routledge. RE: References Shuker, R. (2001). Understanding Popular Music (2nd edition). London and New York: Routledge. RE: References Taylor, T D. (1997). Global Pop: World Music, World Markets. London and New York: Routledge. RE: References Werbner, P. (1997). 'Introduction: The Dialectics of Cultural Hybridity', in T. Modood and P. Werbner (eds) Debating Cultural Hybridity: Multicultural Identities and The Politics of Anti-Racism, pp. 1-26. London: Zed Books. RE: References WOMAD. (2000). Official festival programme, WOMAD Festival, Rivermead, Reading. Record 7 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Alternative to What? Subcultural Capital and the Commercialization of a Music Scene AU: Author Moore, Ryan AF: Affiliation Dept Sociology & Anthropology, Colgate U, Hamilton, NY SO: Source Deviant Behavior, 2005, 26, 3, May-June, 229-252 IS: ISSN 0163-9625 DE: Descriptors *Subcultures; *Youth Culture; *Commercialization; *Music; *Deviant Behavior; *Social Integration; *Cultural Capital; *Appropriation AB: Abstract This paper examines the commercialization of an alternative youth subculture. Sociologists have typically focused on the ways that authorities have attempted to repress & censor youthful rebellion, but less attention has been given to their appropriation by mass media & consumer markets. In fact, I argue that condemnation by authorities has often made deviance more alluring for some young people, while commercialization appears to dilute the adversarial qualities of youth culture. I use the concept "subcultural capital" to explain both the economic value of youthful rebellion & the process of co-optation that occurs when it is absorbed into the consumer culture. While labeling & other disciplinary forms of societal reaction have attempted to enforce the boundary between deviance & normality, commercialization can have the opposite effect of conflating these boundaries. 44 References. Adapted from the source document. EA: Email Address [mailto:rmmoore@mail.colgate.edu] CD: CODEN DEBEDF LA: Language English PY: Publication Year 2005 PT: Publication Type Journal Article (aja) CP: Country of Publication United States CL: Classification 0850 mass phenomena; popular culture UD: Update 200508 AN: Accession Number 200514555 JV: Journal Volume 26 JI: Journal Issue 3 JP: Journal Pages 229-252 RE: References Albini, Steve. (1997). ``The Problem With Music.'' Pp. 164-76. In Commodify Your Dissent: Salvos from The Baffler, edited by Thomas Frank and Matt Weiland. New York: W.W. Norton & Company. RE: References Azerrad, Michael. (1994). Come As You Are: The Story of Nirvana. New York: Doubleday. RE: References Becker, Howard S. (1963). Outsiders: Studies in the Sociology of Deviance, enlarged edition. New York: Free Press. RE: References Bell, Daniel. ([1976] [1996]). The Cultural Contradictions of Capitalism. New York: Basic Books. RE: References Best, Joel. (2004). Deviance: Career of a Concept. Belmont, CA: Wadsworth. RE: References Bourdieu, Pierre. (1984). Distinction: A Social Critique of the Judgement of Taste. Richard Nice (tr.). Cambridge: Harvard University Press. RE: References Brooks, David. (2000). Bobos in Paradise: The New Upper Class and How They Got There. New York: Touchstone. RE: References Cloward, Richard A & Ohlin, Lloyd E (1960). Delinquency and Opportunity. New York: Free Press. RE: References Cohen, Albert K. (1955). Delinquent Boys: The Culture of the Gang. New York: Free Press. RE: References Cohen, Stanley. (1972). Folk Devils and Moral Panics: The Creation of Mods and Rockers. London: MacGibbon and Kee. RE: References Coupland, Douglas. (1991). Generation X: Tales for an Accelerated Culture. New York: St. Martin's Press. RE: References Donaton, Scott. (1993). ``The Media Wakes Up to Generation X.''. February 1, Advertising Age, 16. RE: References Dotter, Daniel. (1994). ``Rock and Roll is Here to Stray: Youth Subculture, Deviance, and Social Typing in Rock's Early Years.'' Pp. 87-114. In Adolescents and Their Music: If It's Too Loud, You're Too Old, edited by Jonathon S. Epstein. New York: Garland. RE: References Fox, Kathryn Joan. (1987). ``Real Punks and Pretenders: The Social Organization of a Counterculture.''. Journal of Contemporary Ethnography, 16, 344-70. RE: References Frank, Thomas. (1997). The Conquest of Cool: Business Culture, Counter-culture, and the Rise of Hip Consumerism. Chicago: The University of Chicago Press. RE: References Frank, Thomas & Weiland, Matt (1997). Commodify Your Dissent: Salvos from The Baffler. New York: W.W. Norton & Company. RE: References Gilbert, James. (1986). A Cycle of Outrage: America's Reaction to the Juvenile Delinquent in the 1950s. New York: Oxford University Press. RE: References Gladwell, Malcolm. (1997). ``The Coolhunt.'' Pp. 360-73. In The Consumer Society Reader, edited by Juliet B. Schor and Douglas B. Holt. New York: New Press. RE: References Goode, Erich. (2002). ``Does the Death of the Sociology of Deviance Claim Make Sense?''. The American Sociologist, 33, 107-18. RE: References Harmon, Larry. (1996). ``Token Indie Band.''. April 11, San Diego Weekly Reader, 76. RE: References Harvey, David. (1989). The Condition of Postmodernity. Cambridge: Blackwell. RE: References Hebdige, Dick. (1979). Subculture: The Meaning of Style. New York: Routledge. RE: References Hirsch, Paul. (1972). ``Processing Fads and Fashions: An Organization-Set Analysis of Cultural Industry Systems.''. American Journal of Sociology, 77, 639-59. RE: References Hodkinson, Paul. (2002). Goth: Identity, Style, and Subculture. New York: Berg. RE: References Hustwit, Gary. (1994). Releasing an Independent Record. San Diego: Rockpress. RE: References Huyssen, Andreas. (1986). After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington, IN: Indiana University Press. RE: References Marin, Rick. (1992). ``Grunge: A Success Story.''. November 15, New York Times, 9. RE: References Marx, Gary. (1981). ``Ironies of Social Control: Authorities as Contributors to Deviance through Escalation, Nonenforcement, and Covert Facilitation.''. Social Problems, 28, 221-46. RE: References Matza, David. (1964). Delinquency and Drift. New York: John Wiley & Sons. RE: References Miller, J Mitchell, Wright, Richard A & Dannels, David (2001). ``Is Deviance `Dead'?: The Decline of a Sociological Research Specialization.''. American Sociologist, 32, 43-59. RE: References Modleski, Tania. (1986). Studies in Entertainment. Bloomington, IN: Indiana University Press. RE: References Muggleton, David. (2000). Inside Subculture: The Postmodern Meaning of Style. New York: Berg. RE: References Muggleton, David & Weinzierl, Rupert (2003). The Post-Subcultures Reader. New York: Berg. RE: References Nirvana. (1991). Nevermind. David Geffen Company. RE: References Peterson, Karla. (1994). ``Independents' Days: Concerts, Workshops Offer a Sounding Board for Struggling Musicians.''. October 4, San Diego Union-Tribune, E-1. RE: References Redhead, Steve. (1997). From Subcultures to Clubcultures: An Introduction to Popular Cultural Studies. Cambridge: Blackwell. RE: References Ritchie, Karen. (1992). ``Get Ready for `Generation X.' ''. November 9, Advertising Age, 21. RE: References (1995). Rolling Stone History of Style. E!. RE: References RE: References Smith, Paul. (1997). Rolling Stone History of Style. 1995. Marketing to Generation X. New York: Lexington Books. RE: References Sumner, Colin. (1994). The Sociology of Deviance: An Obituary. Buckingham: Open University Press. RE: References Thornton, Sarah. (1994). ``Moral Panic, The Media and British Rave Culture.'' Pp. 176-92. In Microphone Fiends: Youth Music and Youth Culture, edited by Andrew Ross and Tricia Rose. New York: Routledge. RE: References Thornton, Sarah. (1995). Club Cultures: Music, Media, and Subcultural Capital. Hanover: Wesleyan University Press. RE: References Walker, Michael. (1993). ``San Diego, Alternatively.''. October 18, Los Angeles Times Magazine, 24-9. Record 8 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Subcultures, Scenes or Tribes? None of the Above AU: Author Hesmondhalgh, David AF: Affiliation Faculty Social Sciences, Open U, Milton Keynes, UK SO: Source Journal of Youth Studies, 2005, 8, 1, Mar, 21-40 IS: ISSN 1367-6261 DE: Descriptors *Subcultures; *Youth Culture; *Popular Culture; *Concepts; *Music AB: Abstract The concept of subculture has been criticised a great deal in recent research on youth & popular music. Two concepts have emerged as offering new ways of conceiving musical collectivities, particularly among young people: scenes, & tribes (or neo-tribes). I offer criticisms of the work of advocates of both terms. I also argue, however, that there is no possibility of a return to the concept of subculture in any adequate sociology of popular music, even if the concept may have some residual use in the sociology of youth. I discuss the potential advantages of the concepts of genre & articulation as a way of at least beginning to address some of the problems raised in the literature on subcultures, scenes & tribes, concerning the politics of musical collectivities. The common feature of the three terms under discussion is that they have been discussed by those concerned with the relationship between youth & popular music, & I close by reflecting on the relationship between the study of these two entities. I suggest that the assumption that there is a close relationship between youth & popular music was the result of particular historical circumstances & I argue that, while the study of young people's relationships with popular music remains a topic of interest, the privileging of youth in studies of music has actually become an obstacle to a more fully developed understanding of music & society. 43 References. Adapted from the source document. EA: Email Address [mailto:d.j.hesmondhalgh@open.ac.uk] LA: Language English PY: Publication Year 2005 PT: Publication Type Journal Article (aja) CP: Country of Publication United Kingdom CL: Classification 0207 sociology: history and theory; theories, ideas, & systems UD: Update 200512 AN: Accession Number 200522159 JV: Journal Volume 8 JI: Journal Issue 1 JP: Journal Pages 21-40 RE: References Bauman, Z. (1992). Intimations of Postmodernity, Routledge, London. RE: References Bennett, A. (1999). `Subcultures or neo-tribes? Rethinking the relationship between youth, style and musical taste'. Sociology, vol. 33, no. 3, pp. 599-617. RE: References Bennett, A. (2000). Popular Music and Youth Culture, Macmillan, Basingstoke. RE: References Blackman, S & France, A (2001). `Youth marginality under ``postmodernism'', in Culture and Citizenship, ed. Nick Stevenson, Sage, London. RE: References Born, G. (2000). `Music and the representation/articulation of sociocultural identities', in Western Music and its Others: Difference, Representation and Appropriation in Music, eds G. Born & D. Hesmondhalgh, University of California Press, Berkeley, pp. 31-37. RE: References Chambers, I. (1976). `A strategy for living', in Resistance Through Rituals: Youth Subcultures in Post War Britain, eds S. Hall & T. Jefferson, Hutchinson, London, pp. 157-166. RE: References Clarke, J, Hall, S, Jefferson, T & Roberts, B (1976). `Subcultures, cultures and class: a theoretical overview', in Resistance Through Rituals: Youth Subcultures in Post War Britain, eds S. Hall & T. Jefferson, Hutchinson, London, pp. 9-74. RE: References Coleman, J S. (1961). The Adolescent Society, Free Press, Glencoe, IL. RE: References Crafts, S D, Cavicchi, D, Keil, C & Music in Daily Life Project (1993). My Music, Wesleyan University Press, Hanover, CT. RE: References Fornas, J. (1995). Cultural Theory and Late Modernity, Sage, London. RE: References Fornas, J, Lindberg, U & Sernhede, O (1995). In Garageland: Rock, Youth and Modernity, Routledge, London. RE: References Frith, S. (1981). Sound Effects: Youth, Leisure and the Politics of Rock `n' Roll, Pantheon, New York. RE: References Frith, S. (1995). `The Stockton conference: recollections and commentaries', in Popular Music: Style and Identity, eds W. Straw, S. Johnson, R. Sullivan & P. Friedlander, The Centre for Research on Canadian Cultural Industries and Institutions, Montreal, p. iii. RE: References Frith, S. (1996). Performing Rites, Oxford University Press, Oxford. RE: References Hall, S. (1996). `On postmodernism and articulation: an interview with Stuart Hall', in Stuart Hall: Critical Dialogues, eds D. Morley & K.-H. Chen, Routledge, London, pp. 131-150. RE: References Harker, D. (1992). `Still crazy after all these years? What was popular music in the 1960s?', in Cultural Revolution? The Challenge of the Arts in the Sixties, ed. B. Moore-Gilbert, London, Routledge, pp. 236-254. RE: References Harris, K. (2000). ` ``Roots?'': the relationship between the global and the local within the extreme metal scene'. Popular Music, vol. 19, no. 1, pp. 13-30. RE: References Harris, K. (2001). Transgression and Mundanity: The Global Extreme Metal Music Scene. Ph.D. Dissertation, Goldsmiths College, University of London. RE: References Hebdige, D. (1979). Subculture: The Meaning of Style, Methuen, London. RE: References Hesmondhalgh, D. (1995). `Justified and ancient: primitivism and futurism in contemporary urban dance music', British Sociological Association Conference, University of Leicester. RE: References Hesmondhalgh, D & Negus, K (2002). Popular Music Studies, Arnold, London. RE: References Hodkinson, P. (2002). Goth: Identity, Style and Subculture, Berg, Oxford. RE: References Laing, D. (1985). One Chord Wonders: Power and Meaning in Punk Rock, Open University Press, Buckingham. RE: References Lynd, R S & Lynd, H M (1929). Middletown: A Study in Contemporary American Culture, Harcourt Brace, New York. RE: References Maffesoli, M. (1995). The Time of the Tribes: The Decline of Individualism in Mass Society, Sage, London. RE: References Malbon, B. (1999). Clubbing: Dancing, Ecstasy and Vitality, Routledge, London and New York. RE: References Massey, D. (1998). `The spatial construction of youth cultures', in Cool Places: Geographies of Youth Cultures, eds T. Skelton & G. Valentine, Routledge, London, pp. 121-129. RE: References Middleton, R. (1990). Studying Popular Music, Open University Press, Buckingham. RE: References Neale, S. (1980). Genre, British Film Institute, London. RE: References Negus, K. (1999). Music Genres and Corporate Cultures, Routledge, London. RE: References Neumann-Braun, K. (2003). ` ``Computer music is cool!'' Theoretical implications of ambivalences in contemporary trends in music reception', 12th Biennial Conference of the International Association for the Study of Popular Music, Montreal. RE: References Pini, M. (2001). Club Cultures and Female Subjectivity, Macmillan, Basingstoke. RE: References Rose, T. (1994). Black Noise: Rap and Black Culture in Contemporary America, Wesleyan University Press, Middletown, CT. RE: References Shank, B. (1994). Dissonant Identities: The Rock `n' Roll Scene in Austin, Texas, Wesleyan University Press, Hanover, CT. RE: References Shepherd, J. (1982). `A theoretical model for the sociomusicological analysis of popular musics'. Popular Music, vol. 2, pp. 145-177. RE: References Shields, R. (1992). `The individual, consumption cultures and the fate of community', in Lifestyle Shopping: The Subject of Consumption, Routledge, London, pp. 99-113. RE: References Stahl, G. (2001). `Tracing out an Anglo-Bohemia: musicmaking and myth in Montreal'. Public, vol. 22/23, pp. 99-121. RE: References Straw, W. (1991). `Systems of articulation, logics of change: communities and scenes in popular music'. Cultural Studies, vol. 5, no. 3, pp. 368-388. RE: References Straw, W. (2001). `Scenes and sensibilities'. Public, vol. 22/23, pp. 245-257. RE: References Toynbee, J. (2000). Making Popular Music, Arnold, London. RE: References Williams, R. (1977). Marxism and Literature, Oxford University Press, Oxford. RE: References Willis, P. (1978). Profane Culture, Routledge Kegan & Paul, London. RE: References Willis, P. (2000). The Ethnographic Imagination, Polity, Cambridge. Record 9 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Tamworth, Australia's 'Country Music Capital': Place Marketing, Rurality, and Resident Reactions AU: Author Gibson, Chris; Davidson, Deborah AF: Affiliation Faculty Built Environment, U New South Wales, Australia SO: Source Journal of Rural Studies, 2004, 20, 4, Oct, 387-404 IS: ISSN 0743-0167 DE: Descriptors *Music; *Marketing; *Festivals; *Tourism; *Social Response; *Rural Areas; *Social Identity AB: Abstract Since the 1970s, Tamworth has become well known as Australia's 'country music capital'. Its annual Country & Western Music Festival has become the leading event of its type in Australia, attracting over 60,000 visitors every year. The festival, & country music more generally, have become central to the town's identity & tourism marketing strategies. This article discusses the social constructions that have surrounded Tamworth's transition to 'country music capital' - of the 'rural', & of 'country' - within the context of debates about the politics of place marketing. Textual analysis of promotional material & built landscapes reveals representations of rurality (or 'senses of the rural'). In their most commercial form, representations of rurality converge on a dominant notion of 'country', quite different from the 'countryside' & 'rural idyll' in England. This dominant, or normative 'country' forms the basis of imagery for the festival, the Town's marketing strategy, & associated advertising campaigns by major sponsors. It is predominantly masculine, white, working class & nationalist. But links between musical style & discourses of place are complex. Colonial British histories, Celtic musical traditions & North American popular culture all inform 'country' in Tamworth, dissipating nationalist interpretations. Normative constructions also contrast with other, heterogeneous ruralities in Australia, that include the lived experiences of rural Australians, & on stage - in country music - where multiple 'ruralised' identities are performed. Even those who stand to benefit from place promotion have been uncertain about country music & 'the country', because of associated discourses of Tamworth as 'hick' & 'redneck'. In the final section of the paper, reactions of residents to constructions of Tamworth as country music capital are discussed, via the results of a simple resident survey. In contrast to previous studies of the disempowering politics of place marketing, Tamworth residents were on the whole supportive of the new associations & images for the town, despite 'hick' connotations, as it has become a centre for 'country', & for country music. Reasons for this are explored, & resistances discussed. The result is a complex & entangled politics of national identity, gender, race & class, where meanings for place are variously interpreted & negotiated. 2 Tables, 5 Figures, 93 References. [Copyright 2004 Elsevier Ltd.]. EA: Email Address [mailto:cgibson@unsw.edu.au] CD: CODEN JRSTFW LA: Language English PY: Publication Year 2004 PT: Publication Type Journal Article (aja) CP: Country of Publication Netherlands CL: Classification 0850 mass phenomena; popular culture UD: Update 200504 AN: Accession Number 200506297 JV: Journal Volume 20 JI: Journal Issue 4 JP: Journal Pages 387-404 RE: References Aldskogius, H. (1993). Festivals and meets: the place of music in `summer sweden'. 75B, 55-72 Geografiska Annaler. RE: References Allen, M. (1988). The Tamworth Country Music Festival. Horwitz Grahame, Sydney. RE: References Allen, L, Hafer, H, Long, P & Perdue, R (1993). Rural residents' attitudes toward recreation and tourism development. Journal of Travel Research, 31, 27-33. RE: References Anderson, K. (2003). White natures: Sydney's Royal Agricultural Show in post-humanist perspective. 28, 422-441 Transactions of the Institute of British Geographers. RE: References Atkinson, C Z. (1997). Whose New Orleans? Music's place in the packaging of New Orleans for tourism. 91-106 In: Abram, S., Waldren, J.D., MacLeod, D.V.L. (Eds.), Tourists and Tourism: Identifying People with Place. Oxford, Berg. RE: References Australia Council. (1998). Miles Ahead: Arts Marketing that Works in Regional Australia. Australia Council, Sydney. RE: References Bell, D. (1997). Anti-idyll: rural horror. 94-108 In: Cloke, P., Little, J. (Eds.), Contested Countryside Cultures: Otherness, Marginalisation and Rurality. Routledge, London. RE: References Bennett, T, Emmison, M & Frow, J (2001). Social class and cultural practice in contemporary Australia. 193-214 In: Bennett, T., Carter, D. (Eds.), Culture in Australia: Policies, Publics and Programs. Cambridge University Press, Melbourne. RE: References Bessiere, J. (1998). Local development and heritage: traditional food and cuisine as tourist attractions in rural areas. 38, 21-34 Sociologia Ruralis. RE: References Bourdieu, P. (1984). Distinction: a Social Critique of the Judgement of Taste. Routledge, London. RE: References Brunt, P & Courtney, P (1999). Host perceptions of sociocultural impacts. 26, 493-515 Annals of Tourism Research. RE: References Bunce, M. (1994). The Countryside Ideal: Anglo-American Images of Landscape. Routledge, London. RE: References Cloke, P. (1993). The countryside as commodity: new rural spaces for leisure. 53-67 In: Glyptis, S. (Ed.), Leisure and the Environment. Belhaven, London. RE: References Cohen, S. (1997). More than the Beatles: popular music, tourism and urban regeneration. 71-90 In: Abram, S., Waldren, J.D., MacLeod, D.V.L. (Eds.), Tourists and Tourism: Identifying People with Place. Berg, Oxford. 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RE: References Little, J & Austin, P (1996). Women and the rural idyll. Journal of Rural Studies, 12, 101-111. RE: References Lockie, S. (2000). Crisis and conflict: shifting discourses of rural and regional australia. In: Pritchard, B., McManus, P. (Eds.), Land of Discontent: The Dynamics of Change in Rural and Regional Australia. UNSW Press, Sydney. RE: References Loftman, P & Nevin, B (1998). Pro-growth local economic development strategies: civil promotion and local needs in britain's second city, 1981-1996. 129-148 In: Hall, T., Hubbard, P. (Eds.), The Entrepreneurial City. Wiley, London. RE: References Max Ellis Marketing. (1999). How Tamworth Became Country Music Capital. Max Ellis Marketing, Tamworth. RE: References McCool, S & Martin, S (1994). Community attachment and attitudes toward tourism development. Journal of Travel Research, 32, 29-34. RE: References McGuirk, P, Winchester, H & Dunn, K (1998). On losing the local in responding to urban decline: the Honeysuckle redevelopment, New South Wales. 107-128 In: Hall, T., Hubbard, P. (Eds.), The Entrepreneurial City. Wiley, London. RE: References McIntyre, P. (2003). `Never mind the bullocks': the Tex pistols and Tamworth. 145-158 In: Hayward, P. (Ed.), Outback and Urban: Australian Country Music. The Australian Institute of Country Music Press, Gympie. RE: References McKay, P. (2004). Patriot games. 31/1/2004, D1 Sydney Morning Herald. RE: References McLeay, C. (1994). The `Dunedin sound': New Zealand rock and cultural geography. 2, 38-50 Perfect Beat. RE: References Miles, M. (1998). A game of appearance: public art and urban development--complicity of sustainability? In: Hall, T., Hubbard, P. 203-244 (Eds.), The Entrepreneurial City. Wiley, England. RE: References Mitchell, C J A. (1998). Entrepreneurialism, commodification and creative destruction: a model of post-modern community development. 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RE: References Owen, K A. (2002). The Sydney 2000 olympics and urban entrepreneurialism: local variations in urban governance. 40, 323-336 Australian Geographical Studies. RE: References Park, D C & Coppack, P (1994). The role of rural sentiment and vernacular landscapes in contriving sense of place in the city's countryside. 76B, 161-172 Geografiska Annaler. RE: References Peterson, R A. (1997). Creating Country Music: fabricating authenticity. University of Chicago Press, Chicago. RE: References Phillips, M, Fish, R & Agg, J (2001). Putting together ruralities: towards a symbolic analysis of rurality in the British mass media. Journal of Rural Studies, 17, 1-27. RE: References Seddon, G. (1997). Landprints: Reflections on Place and Landscapes. Cambridge University Press, Melbourne. RE: References Simmons, D. (1994). Community participation in tourism planning. 15, 98-108 Tourism Management. RE: References Smith, G. (1994). Australian country music and the hillbilly yodel. 13, 297-311 Popular Music. RE: References Smith, S J. (1997). Beyond geography's visible worlds: a cultural politics of music. 21, 502-529 Progress in Human Geography. RE: References Smith, D & Phillips, D (2001). Socio-cultural representations of greentrified Pennine rurality. Journal of Rural Studies, 17, 457-469. RE: References Stevenson, A. (2001). Great linedancing Grandpas! If this is Hicksville, it sure is catching. 24/1/2001, 5 The Sydney Morning Herald. RE: References Tamworth City Council. (1997). Various unpublished, untitled file documents. Tamworth City Council, Tamworth. RE: References Tamworth City Council. (2004). Tamworth Country Music Festival--Introduction. http://www.tamworth.nsw.gov.au/default.asp?iNavCatID=578&iSubCatID=774. RE: References Thomas, B. (1994). Pop go the country cliches. 16/1/1994, 134 Sun Herald. RE: References Tonts, M & Greive, S (2002). 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RE: References Winchester, H P M, McGuirk, P M & Dunn, K M (1996). Constructing places for the market: the case of Newcastle, NSW. International Journal of Heritage Studies, 2, 41-58. Record 10 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Cultural Scenes AU: Author Straw, Will AF: Affiliation Dept Art History & Communications Studies, McGill U, Montreal, Quebec SO: Source Loisir et Societe/Society and Leisure, vol. 27, no. 2, pp. 411-422, fall 2004 IS: ISSN 0705-3436 DE: Descriptors *Cultural Activities; *Cities; *Social Life; *Social Behavior; *Interdisciplinary Approach AB: Abstract This article draws on the experience of a five-year interdisciplinary research project concerned with urban culture in four cities. It develops the notion of scene to account for the loose boundaries which surround urban cultural activity & the complex relationships of this activity to broader patterns of social life within cities. The textures of urban life are produced in the ongoing investment & change which characterize the history of scenes. Using examples from Manchester, England & Montreal, Quebec, this article shows how cultural activities such as music do not simply inhabit scenes, but work upon the social & institutional foundations of cities so as to produce distinctive complexes of knowledge & behaviour. 20 References. Adapted from the source document. EA: Email Address [mailto:william.straw@mcgill.ca] CD: CODEN LOSODG LA: Language English PY: Publication Year 2004 PT: Publication Type Journal Article CL: Classification 1218 urban sociology; urban sociology UD: Update 20061018 AN: Accession Number 200601044 JV: Journal Volume 27 JI: Journal Issue 2 JP: Journal Pages 411-422 CP: Country of Publication Canada RE: References Allor, M. (1997). ''Locating cultural activity: The 'Main' as chronotope and heterotopia.''. Topia: A Canadian Journal of Cultural Studies, 1, pp. 42-53. RE: References Auge, M. 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RE: References Latour, B. (2000, January-March). ''When things strike back: A possible contribution of 'science studies' to the social sciences.''. The British Journal of Sociology, 51, 1, pp. 107-123. RE: References (2005, February 6). ''Cold fusion: Montreal's explosive music scene,''. New York Times, p. A1. RE: References Nord, P G. (1986). Paris shopkeepers and the politics of resentment. Princeton, NJ: Princeton University Press. RE: References Perez, R. (2005, February). ''The next big scene: Montreal.''. Spin, pp. 61-65. RE: References Shank, B. (1994). Dissonant identities: The rock'n'roll scene in Austin, Texas. Hanover & London: Wesleyan University Press. RE: References Siegel, J. (1986). Bohemian Paris: Culture, politics, and the boundaries of bourgeois life, 1830-1930. Baltimore & London: Johns Hopkins University Press. RE: References Smith, R C. (1995). Utopia and dissent: Art, poetry, and politics in California. Berkeley, Los Angeles, & London: University of California Press. RE: References Stahl, G. (2001). Tracing out an Anglo-bohemia: Musicmaking and myth in Montreal. Public 20/21 (special issue on ''Cities/Scenes''): 99-121. RE: References Thornton, S. (1995). Club cultures: Music, media and subcultural capital. London: Verso. RE: References Willems-Braun, B. (1994). Situating cultural politics: Fringe festivals and the production of spaces of intersubjectivity. Economy and Planning D: Society and Space, 12, 75-104. Record 11 of 38 DN: Database Name CSA Sociological Abstracts TI: Title The 'Failure' of Youth Culture: Reflexivity, Music and Politics in the Black Metal Scene AU: Author Kahn-Harris, Keith SO: Source European Journal of Cultural Studies, 2004, 7, 1, Feb, 95-111 IS: ISSN 1367-5494 DE: Descriptors *Youth Culture; *Music; *Blacks; *Reflexivity; *Racism; *Subcultures AB: Abstract This article examines an enduring question raised by subcultural studies: how youth culture can be challenging & transgressive, yet 'fail' to produce wider social change. This question is addressed through a case study of the black metal music scene. The black metal scene flirts with violent racism, yet has resisted embracing outright fascism. The article argues that this is due to the way in which music is 'reflexively antireflexively' constructed as a depoliticizing category. It is argued that an investigation of such forms of reflexivity might explain the enduring 'failure' of youth cultures to change more than their immediate surroundings. 44 References. [Copyright 2004 Sage Publications Ltd.]. EA: Email Address [mailto:kkahnharris@yahoo.co.uk] LA: Language English PY: Publication Year 2004 PT: Publication Type Journal Article (aja) CP: Country of Publication United Kingdom CL: Classification 0850 mass phenomena; popular culture UD: Update 200412 AN: Accession Number 200412542 JV: Journal Volume 7 JI: Journal Issue 1 JP: Journal Pages 95-111 RE: References Adorno, T W. (1973). Philosophy of Modern Music. London: Sheed and Ward. RE: References Arnett, J J. (1995). Metalheads: Heavy Metal Music and Adolescent Alienation. Boulder, CA: Westview Press. RE: References Attali, J. (1985). Noise: The Political Economy of Music. Manchester: Manchester University Press. RE: References Bennett, A. (1999). Subcultures or Neo-tribes? Rethinking the Relationship Between Youth, Style and Musical Taste. Sociology, 33, 3, 599-618. RE: References Blum, A. (2001). Scenes. Public, 22, 3, 7-36. RE: References Bourdieu, P. (1993). The Field of Cultural Production. Oxford: Polity Press. RE: References Cayton, C. (1999). Black Metal Unmasked. Searchlight, 288, 13-17. RE: References Chanan, M. (1994). Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism. London: Verso. RE: References Cohen, S. (1987). Folk Devils and Moral Panics: The Creation of Mods and Rockers. Oxford: Basil Blackwell. RE: References Durant, A. (1984). Conditions of Music. London: Macmillan. RE: References Fornas, J. (1997). Text and Music Revisited. Theory, Culture & Society, 14, 3, 109-23. RE: References Gaines, D. (1990). Teenage Wasteland: Suburbia's Dead End Kids. New York: HarperCollins. RE: References Gelder, K & Thornton, S (1997). The Subcultures Reader. London: Routledge. RE: References Giddens, A. (1984). 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Textual Poachers: Television Fans and Participatory Culture. London: Routledge. RE: References Kahn-Harris, K. (2002). `Death Metal and the Limits of Musical Expression', in M. 81-99 Cloonan and R. Garofalo (eds) Policing Popular Music, Philadelphia, PA: Temple University Press. RE: References Kahn-Harris, K. (2004). `Unspectacular Subculture? Transgression and Mundanity in the Global Extreme Metal Scene', in A. forthcoming, Bennett and K. Kahn-Harris (eds) After Subculture. London: Palgrave. RE: References Lash, S. (1994). `Reflexivity and its Doubles: Structure, Aesthetics, Community', in U. 110-73 Beck, A. Giddens and S. Lash (eds) Reflexive Modernization: Politics, Tradition and Aesthetics in the Modern Social Order, Cambridge: Polity Press. RE: References LeBlanc, L. (1999). Pretty in Punk: Girls' Resistance in a Boys' Subculture. New Brunswick, NJ: Rutgers University Press. RE: References Moynihan, M & Soderlind, D (1998). Lords of Chaos: The Bloody Rise of the Satanic Metal Underground. Venice, CA: Feral House. RE: References Muggleton, D. (2000). Inside Subculture: The Postmodern Meaning of Style. Oxford: Berg. RE: References Olson, M J V. (1998). `"Everybody Loves Our Town": Scenes, Spatiality, Migrancy', in T. 269-90 Swiss, J. Sloop and A. Herman (eds) Mapping the Beat: Popular Music and Contemporary Theory, Oxford: Blackwell. RE: References Padamsee, R. (1999). The Devil Comes to Moscow. Terrorizer, 64, 10-11. RE: References Potter, J & Wetherell, M (1987). Discourse and Social Psychology: Beyond Attitudes and Behaviour. London: Sage. RE: References Radway, J. (1987). Reading the Romance. London: Verso. RE: References Redhead, S. (1998). The Clubcultures Reader: Readings in Popular Cultural Studies. Oxford: Blackwell. RE: References Shank, B. (1994). Dissonant Identities: The Rock `n' Roll Scene in Austin, Texas. Hanover, CT: Wesleyan University Press. RE: References Skelton, T & Valentine, G (1998). Cool Places: Geographies of Youth Cultures. London: Routledge. RE: References Steinke, D. (1996). `Satan's Cheerleaders', Spin. Feb, 62-70. RE: References Straw, W. (1991). Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music. Cultural Studies, 5, 3, 368-88. RE: References Straw, W. (2001). Scenes and Sensibilities. Public, 22, 3, 245-57. RE: References Walser, R. (1993). Running with the Devil: Power, Gender and Madness in Heavy Metal Music. Hanover, CT: Wesleyan University Press. RE: References Weinstein, D. (2000). Heavy Metal: The Music and its Culture. New York: Da Capo Press. RE: References Wells, S. (1998). `Is This the Most Evil Man in Rock?', New Musical Express. 5 Sept, 17-20. RE: References Widdicombe, S & Wooffitt, R (1995). The Language of Youth Subcultures: Social Identity in Action. London: Harvester Wheatsheaf. RE: References Willis, P. (1977). Learning to Labour. Aldershot: Gower. RE: References Willis, P. (1978). Profane Culture. London: Routledge & Kegan Paul. Record 12 of 38 DN: Database Name CSA Sociological Abstracts TI: Title The "Arab Wave" in World Music after 9/11 AU: Author Swedenburg, Ted AF: Affiliation U Arkansas, Fayetteville SO: Source Anthropologica, 2004, 46, 2, 177-188 IS: ISSN 0003-5459 DE: Descriptors *Music; *United States of America; *Entertainment Industry; *Arab Americans; *Discursive Practices; *Cultural Transmission; *Culture Contact; *Arab Countries AB: Abstract This paper investigates the paradoxical surge in popularity of Arab music, post 9/11, in the U.S. world music scene. It charts the gradual incursion of Arab popular music into the U.S. from the late 1980s, showing how this was on the one hand, a progressive phenomenon, given U.S. antipathy toward Arabs & Islam, & on the other, that such gains were won through the deployment of anti-fundamentalist & exoticising discourses. In the post-9/11 period, Arab music has entered the U.S. at a time of both increased public hostility & interest toward Arabs & the Middle East. The heightened popularity of Arab music has arguably been a source of pride for Arab-Americans & a means of creating more acceptance for Arab culture in the U.S. Whether the growing marketability of Arab music will have significant progressive consequences, however, will depend on the nature of political mobilization on Middie East issues in the U.S. & how that activity is aligned with cultural practice. 45 References. Adapted from the source document. EA: Email Address [mailto:tsweden@uark.edu] CD: CODEN ATRPBS LA: Language English PY: Publication Year 2004 PT: Publication Type Journal Article (aja) CP: Country of Publication Canada CL: Classification 0850 mass phenomena; popular culture UD: Update 200510 AN: Accession Number 200518509 JV: Journal Volume 46 JI: Journal Issue 2 JP: Journal Pages 177-188 RE: References Ali, Lorraine. (2002). 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Arab Noise and Ramadan Nights: Rai, Rap and Franco-Maghrebi Identity, Displacement, Diaspora, and Geographies of Identity, Smadar Lavie and Ted Swedenburg (eds.), Durham: Duke University Press: 119-155. RE: References Hesmondhalgh, David. (1995). Nation and Primitivism: Multiculturalism in Recent British Dance Music, paper delivered at the International Association for the Study of Popular Music conference, Glasgow, July. RE: References Hourani, Albert. (1991). A History of the Arab Peoples, Cambridge: Harvard University Press. RE: References Hutnyk, John. (2000). Critique of Exotica: Music, Politics and the Culture Industry, London: Pluto Press. RE: References Kinney, Jay. (1994). Sufism Comes to America. Winter, Gnosis Magazine, 30, 18-23. RE: References Klein, Naomi. (2002). No Logo: Taking Aim at the Brand Bullies, New York: Picador. RE: References Levitas, Daniel. (2003). The Radical Right after 9/11. July 22-29, The Nation, 19-23. RE: References Lindquist, David. (2003). 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Being Israeli: The Dynamics of Multiple Citizenship, Cambridge: Cambridge University Press. RE: References Shannon, Jonathan. (2003). Sultans of Spin: Syrian Sacred Music on the World Stage. American Anthropologist, 105, 2, 266-277. RE: References Swedenburg, Ted. (2001a). Islamic Hip-Hop vs. Islamophobia: Aki Nawaz, Natacha Atlas, Akhenaton, Global Noise: Rap and Hip-Hop outside the U.S., Tony Mitchell (ed.), Middletown: Wesleyan University Press: 57-85. RE: References Swedenburg, Ted. (2001b). Arab ``World Music'' in the U.S. Middle East Report, 219, 34-37. RE: References Taylor, Timothy D. (1997). Global Pop: World Music, World Markets, New York: Routledge. RE: References Star, Toronto. (2002). Middle East Meets West, February 14: 3. RE: References Wee, Tommy. (2003). Miles Ahead of His Time, The Straits Times (Singapore), May 23. Record 13 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Identifying the Perceived and Diagnosed Prevalence of Ecstasy Dependence among Club Rave Attendees AU: Author Yacoubian, George S., Jr.; Peters, Ronald J.; Palacios, Wilson R.; Link, Tanja C. AF: Affiliation PIRE, Calverton, MD SO: Source Journal of Ethnicity in Substance Abuse, vol. 3, no. 4, pp. 33, 2004 IS: ISSN 1533-2640 DE: Descriptors *Drug Abuse; *Psychedelic Drugs; *Addiction AB: Abstract The "rave" phenomenon has been a major element in the resurgence of psychedelic drug use in Western society. Purportedly central to raves is the use of "club drugs," such as 3,4-methylenedioxymethamphetamine (MDMA or "ecstasy"). To date, however, no studies have attempted to estimate MDMA dependence among rave attendees. In the current study, personal drug data were collected from 154 adult "club rave" attendees along the Baltimore-Washington corridor between September & November 2002. The Center for Substance Abuse Research (CESAR) Arrestee Drug Screener (CADS) was used to screen for ecstasy dependence. Seventeen percent of the sample was diagnosed with probable MDMA-dependence. MDMA-dependent rave attendees were significantly more likely than non-dependents to be male, white, & to have used most illicit drugs during the 12 months preceding the interview. Logistic regression identified that gender, race, & past-year use of marijuana & PCP were the strongest predictors of MDMA dependence. Implications for these findings are discussed. Tables, References. Adapted from the source document. COPIES ARE AVAILABLE FROM: HAWORTH DOCUMENT DELIVERY CENTER, The Haworth Press, Inc., 10 Alice Street, Binghamton, NY 13904-1580 EA: Email Address [mailto:gyacoubian@pire.org] LA: Language English PY: Publication Year 2004 PT: Publication Type Journal Article AK: Author Keywords CADS, club raves, dependence, MDMA CL: Classification 2079 sociology of health and medicine; substance use/abuse & compulsive behaviors (drug abuse, addiction, alcoholism, gambling, eating disorders, etc.) UD: Update 20061031 AN: Accession Number 200605942 JV: Journal Volume 3 JI: Journal Issue 4 JP: Journal Pages 33-45 DO: DOI 10.1300/J233v03n04_03 CP: Country of Publication United States RE: References Critcher, C. (2000). 'Still Raving': Social Reaction to Ecstasy. Leisure Studies, 19, pp. 145-162. RE: References Weir, E. (2000). Raves: A Review of the Culture, the Drugs and the Prevention of Harm. Canadian Medical Association Journal, 162, 13, pp. 1843-1848. RE: References Yacoubian, G. (2001). The Global Proliferation of Ecstasy. International Journal of Comparative Criminology, 1, pp. 127-136. RE: References Leinwand, D & Fields, G (April 19, 2000). Crack Down on Ecstasy. USA Today, pp. A1, A4. RE: References Schwartz, R H & Miller, N S (1997). MDMA (Ecstasy) and the Rave: A Review. Pediatrics, 100, 4, pp. 705-708. RE: References Randall, T. (1992). ''Rave'' Scene, Ecstasy Use, Leap Atlantic. Journal of the American Medical Association, 268, p. 1506. RE: References Arria, A, Yacoubian, G, Fost, E & Wish, E D (2002). Ecstasy Use among Club Rave Attendees. Archives of Pediatrics and Adolescent Medicine, 156, pp. 295-296. RE: References Yacoubian, G & Wish, E D (in press). Exploring the Validity of Self-Reported Ecstasy Use among Club Rave Attendees. Journal of Psychoactive Drugs. RE: References Yacoubian, G, Boyle, C L, Harding, C A & Loftus, E A (2003). Estimating the Prevalence and Perceived Harm of Ecstasy and Other Drugs among Club Rave Attendees. Journal of Drug Education, 33, 2, pp. 187-196. RE: References Yacoubian, G, Deutsch, J & Schumacher, E (2004). Estimating the Prevalence of Ecstasy Use among Club Rave Attendees. Contemporary Drug Problems, 3, 163-177. RE: References Boys, A, Lenton, S & Norcross, K (1997). Polydrug Use at Raves by a Western Australian Sample. Drug and Alcohol Review, 16, pp. 227-234. RE: References Brown, E R S, Jarvie, D R & Simpson, D (1995). Use of Drugs at 'Raves,'. Scottish Medical Journal, 40, pp. 168-171. RE: References Gross, S R, Barrett, S P, Shestowsky, J S & Pihl, R O (2002). Ecstasy and Drug Consumption Patterns: A Canadian Rave Population Study. Canadian Journal of Psychiatry, 47, 6, pp. 546-551. RE: References Palacios, W R & Fenwick, M E (2002). E is for Ecstasy: A Participant-Observation of Ecstasy Use, in P.F. Cromwell (Ed.), In Their Own Words: Criminals on Crime, 3rd Edition, Roxbury Publishing Company, Los Angeles, pp. 295-301. RE: References Siokou, C. (2002). Rave Culture. Youth Studies Australia, 21, 1, pp. 11-19. RE: References Bogt, T Ter, Engels, R, Hibbel, B, Van Wel, F & Verhagen, S (2002). ''Dancestasy'': Dance and MDMA Use in Dutch Youth Culture. Contemporary Drug Problems, 29, pp. 157-181. RE: References Thornton, S. (1996). Club Cultures: Music Media and Subcultural Capital, University Press of New England, Hanover. RE: References Tossman, P, Boldt, S & Tensil, M D (2001). The Use of Drugs Within the Techno Party Scene in European Metropolitan Cities. European Addiction Research, 7, pp. 2-23. RE: References Winstock, A R, Wolff, K & Ramsey, J (2002). 4-MTA: A New Synthetic Drug on the Dance Scene. Drug and Alcohol Dependence, 67, pp. 111-115. RE: References Winstock, A R, Griffiths, P & Stewart, D (2001). Drugs and the Dance Music Scene: A Survey of Current Drug Use Patterns among a Sample of Dance Music Enthusiasts in the UK. Drug and Alcohol Dependence, 64, pp. 9-17. RE: References Riley, S C E, James, C, Gregory, D, Dingle, H & Cadger, M (2001). Patterns of Recreational Drug Use at Dance Events in Edinburgh, Scotland. Addiction, 96, pp. 1035-1047. RE: References Measham, F, Parker, H & Aldridge, J (2001). Dancing on Drugs: Risk, Health and Hedonism in the British Club Scene, Free Association, London. RE: References Zhao, H, Brenncisen, R, Scholer, A, McNally, A J, ElSohly, M A, Murphy, T P & Salamone, S J (2001). Profiles of Urine Samples Taken from Ecstasy Users at Rave Parties: Analysis by Immunoassays, HPLC, and GC-MS. Journal of Analytical Toxicology, 25, pp. 258-269. RE: References Collin, M & Godfrey, J (1997). Altered State: The Story of Ecstasy Culture and Acid House, Serpent's Tail, New York. RE: References Cooper, G A, Allen, D L, Scott, K S, Oliver, J S, Ditton, J & Smith, I D (2000). Hair Analysis: Self-Reported Use of ''Speed'' and ''Ecstasy'' Compared with Laboratory Findings. Journal of Forensic Sciences, 45, pp. 400-406. RE: References Lenton, S & Davidson, P (1999). Raves, Drugs, Dealing and Driving: Qualitative Data from a West Australian Sample. Drug and Alcohol Review, 18, pp. 153-161. RE: References Lenton, S, Boys, A & Norcross, K (1997). Raves, Drugs and Experience: Drug Use by a Sample of People Who Attend Raves in Western Australia. Addiction, 92, 10, pp. 1327-1337. RE: References Sherlock, K & Conner, M (1999). Patterns of Ecstasy Use amongst Club-Goers on the UK 'Dance Scene,'. International Journal of Drug Policy, 10, pp. 117-129. RE: References Wijngaart, V, Braam, R, Bruin, D, Fris, M, Maalste, N J M & Verbraeck, H T (1999). Ecstasy Use at Large-Scale Dance Events in the Netherlands. Journal of Drug Issues, 29, 3, pp. 679-702. RE: References Forsyth, A J M. (1996). Places and Patterns of Drug Use in the Scottish Dance Scene. Addiction, 91, pp. 511-521. RE: References Forsyth, A J M. (1996). Are Raves Drug Supermarkets. The International Journal of Drug Policy, 7, 2, pp. 105-110. RE: References Jansen, K L R. (1999). Ecstasy (MDMA) Dependence. Drug and Alcohol Dependence, 53, pp. 121-124. RE: References Wish, E D, Petronis, K R & Yacoubian, G (2002). CADS: Two Short Screeners for Cocaine and Heroin Dependence among Arrestees. Journal of Drug Issues, 32, 3, pp. 907-920. RE: References Robins, L N, Cottler, L, Bucholz, K & Compton, W (1995). Diagnostic Interview Schedule for DSM-III-R. St. Louis, MO: Washington University Department of Psychiatry. RE: References Bolla, K I, McCann, U D & Ricaurte, G A (1999). Memory Impairment in Abstinent MDMA (''ecstasy'') Users. Neurology, 51, pp. 1532-1537. RE: References Morgan, M J. (2000). Ecstasy (MDMA): A Review of Its Possible Persistent Psychological Effects. Psychopharmacology, 152, 3, pp. 230-248. RE: References Peroutka, S J, Newman, H & Harris, H (1988). Subjective Effects of 3,4-Methylene-dioxymethamphetamine in Recreational Users. Neuropsychopharmacology, 1, pp. 273-277. RE: References Montoya, A G, Sorrentino, R, Lukas, S E & Price, B H (2002). Long-Term Neuropsychiatric Consequences of ''Ecstasy'' (MDMA): A Review. Harvard Review of Psychiatry, 10, pp. 212-220. RE: References Ricaurte, G A, McCann, U D, Szabo, Z & Scheffel, U (2000). Toxicodynamics and Long-Term Toxicity of the Recreational Drug, 3,4-Methylenedioxymethamphetamine (MDMA, 'ecstasy'). Toxicology Letters, pp. 112-113, 143-146. RE: References Karch, S. (1995). Ecstasy in Glasgow. Forensic Drug Abuse Advisor, 7, 3, pp. 19. RE: References Randall, T. (1992). Ecstasy-Fueled 'Rave' Parties Become Dances of Death for English Youth. Journal of the American Medical Association, 268, pp. 1505-1506. RE: References Urbach, B J, Reynolds, K M & Yacoubian, G (2003). Exploring the Relationship Between Race and Ecstasy Involvement among a Sample of Arrestees. Journal of Ethnicity in Substance Abuse, 1, 4, pp. 1-13. RE: References Yacoubian, G, Arria, A, Fost, E & Wish, E D (2002). Estimating the Prevalence of Ecstasy Use among Juvenile Offenders. Journal of Psychoactive Drugs, 34, 2, pp. 209-213. RE: References Yacoubian, G, Green, M & Peters, R (2003). Identifying the Prevalence and Correlates of Ecstasy and Other Club Drug (EOCD) Use among High School Seniors. Journal of Ethnicity in Substance Abuse, 2, 2, pp. 53-66. RE: References Yacoubian, G. (2003). Correlates of Ecstasy Use among Students Surveyed through the College Alcohol Survey. Journal of Drug Education, 33, 1, pp. 61-69. RE: References Yacoubian, G. (2002). Correlates of Ecstasy Use among 10th Graders Surveyed Through Monitoring the Future. Journal of Psychoactive Drugs, 34, 2, pp. 225-230. RE: References Yacoubian, G. (2002). Correlates of Ecstasy Use among High School Seniors Surveyed Through Monitoring the Future. Drugs: Education, Prevention and Policy, 10, 1, pp. 65-72. RE: References Yacoubian, G. (2002). Assessing the Temporal Relationship Between Race and Ecstasy Use among High School Seniors. Journal of Drug Education, 32, 3, pp. 213-225. RE: References Yacoubian, G. (2002). The Emergence of Ecstasy: Findings from the National Household Survey on Drug Abuse, Justice Policy Journal, 1(2), http://www.cjcj.org/jpj/index.php. RE: References Yacoubian, G & Urbach, B J (2004). Exploring the Temporal Relationship Between Race and the Use of Ecstasy: Findings from the National Household Survey on Drug Abuse. Journal of Ethnicity in Substance Abuse, 3, 3, pp. 67-77. RE: References Yacoubian, G. (2003). Correlates of Ecstasy Use among Students Surveyed through the 1997 College Alcohol Survey. Journal of Drug Education, 33, 1, pp. 61-69. Record 14 of 38 DN: Database Name CSA Sociological Abstracts TI: Title The Importance of Culture and Context: Rethinking Risk and Risk Management in Young Drug Using Populations AU: Author Duff, Cameron AF: Affiliation Centre Youth Drug Studies, Australian Drug Foundation, North Melbourne, Victoria SO: Source Health, Risk & Society, 2003, 5, 3, Nov, 285-299 IS: ISSN 1369-8575 DE: Descriptors *Risk Assessment; *Risk; *Drug Abuse; *Experts; *Social Policy; *Discourse; *Youth; *Australia; Risk Society; Harm Reduction AB: Abstract This paper explores the place of risk & risk management within contemporary Australian drug policy debates, focusing on the Howard Government's Tough on Drugs strategy. In exploring the conceptual bases of this strategy, this paper suggests that the characterizations of risk discernible in Australian debates have been dominated by a narrow group of 'expert' discourses leading to a range of gaps & omissions in the development of drugs policies. Furthermore the paper suggests that such omissions have significant implications for the development of harm reduction strategies within young drug using populations in Australia & elsewhere. In developing these arguments, the paper draws upon the work of Ulrich Beck & Anthony Giddens. Of particular interest is Beck's account of the tension between 'expert' & 'non-expert' risk assessments within contemporary risk management debates. In privileging more 'expert' risk knowledge, this paper suggests that Australian drug policies have ignored the range of 'non-expert' risk management strategies that exist within young drug using populations, & concludes that this ignorance of the culture & the context of young people's drug use further undermines the efficacy of health promotion efforts within these populations. 49 References. Adapted from the source document. EA: Email Address [mailto:cameron@adf.org.au] LA: Language English PY: Publication Year 2003 PT: Publication Type Journal Article (aja) CP: Country of Publication United Kingdom CL: Classification 2462 policy, planning, forecasting; policy sciences UD: Update 200412 AN: Accession Number 200409707 JV: Journal Volume 5 JI: Journal Issue 3 JP: Journal Pages 285-299 RE: References AUSTRALIAN INSTITUTE OF HEALTH AND WELFARE (AIHW). (2002). 2001 National Drug Strategy Household Survey: First Results. (Canberra, Australian Institute of Health and Welfare). RE: References BALLARD, R, GILLESPIE, A & IRWIN, R (1994). Principles for Drug Education in Schools. (Belconnen, ACT, University of Canberra Press). RE: References BAXTER, S, GOULD, M, KELLY, G, MAGAREY, S & TAYEH, H (2002). Ecstasy and the Dance Music Scene: An Assessment of the Attitudes and Behaviours of University Students in Melbourne. (Health Promotion Unit--Faculty of Medicine, Monash University). RE: References BECK, U. (1992). Risk Society: Towards a New Modernity (London, Sage). RE: References BRERETON, D. (2000). `The History and Politics of Prohibition'. in: G. STOKES, P. CHALK and K. GILLEN (Eds) Drugs and Democracy: In Search of New Directions (Melbourne, Melbourne University Press). RE: References BROOKMAN, C. (2001). `` `Forever Young': Consumption and Evolving Neo-Tribes in the Sydney Rave Scene''. Unpublished Honours Thesis. (Department of Geography, The University of Sydney). RE: References BUNTON, R. (2001). `Knowledge, Embodiment and Neo-Liberal Drug Policy'. Contemporary Drug Problems, 28, pp. 221-243. RE: References CARROLL, T. (2000). Illicit Drugs: Research to Aid in the Development of Strategies to Target Young People (Sydney, Blue Moon Research and Planning). RE: References CROFT, N, LEE, A, BERTOLOT, J & GRUZELIER, J (2001). `The Relative Contributions of Ecstasy and Cannabis to Cognitive Impairment'. Psychopharmacology, 153, pp. 373-379. RE: References DALE, A & MARSH, A (2000). Evidence Based Practice Indicators for Alcohol and Other Drug Interventions: Literature Review (Perth, Western Australia Drug Abuse Strategy Office). RE: References DIETZE, P. (1998). `Strategies for the Reduction of Alcohol and Other Drug Related Harm', in: M. HAMILTON, A. KELLEHEAR and G. RUMBOLD (Eds) Drug Use in Australia: A Harm Minimisation Approach (Melbourne, Oxford University Press). RE: References DILLON, P & DEGENHARDT, L (2001). `Ketamine and GHB: New Trends in Club Drug Use?'. Journal of Substance Use, 6, pp. 11-15. RE: References FITZGERALD, J & SEWARDS, T (2002). Drug Policy: The Australian Approach. ANCD Research Paper Number 5 (Canberra, The Australian National Council on Drugs). RE: References FOUCAULT, M. (1998). Different spaces (Translated by Robert Hurley), in: J. FUABION (Ed.) Aesthetics, Method and Epistemology (New York, New Press). RE: References FOX, N. (1999). `Postmodern Reflections on `Risks', `Hazards' and `Life-Choices' '', in: D. LUPTON (Ed.) Risk and Sociocultural Theory: New Directions and Perspectives (Cambridge, The Cambridge University Press). RE: References FRANCE, A. (2000). `Towards a Sociological Understanding of Youth and their Risk-Taking'. Journal of Youth Studies, 3, pp. 317-333. RE: References FRY, C & MILLER, P (2002). Victorian Drug Trends: Findings from the Illicit Drug Reporting System (IDRS) (Sydney, National Drug and Alcohol Research Centre). RE: References GIDDENS, A. (1991). Modernity and Self Identity: Self and Society in the Late-Modern Age (Cambridge, Polity Press). RE: References GIDDENS, A. (1999). `Risk'. 1999 BBC Reith Lectures-Lecture 2 (London, British Broadcasting Corporation). RE: References GREEN, E, MITCHELL, W & BUNTON, R (2000). `Contextualizing Risk and Danger: An Analysis of Young People's Perceptions of Risk'. Journal of Youth Studies, 3, pp. 109-126. RE: References HALL, W. (2001). `Reducing the harms of cannabis use: the policy debate in Australia'. Drug and Alcohol Dependence, 62, pp. 163-174. RE: References LANG, E. (1998). `Drugs in Society: A Social History'. in: M. HAMILTON, A. KELLEHEAR and G. RUMBOLD (Eds) Drug Use in Australia: A Harm Minimisation Approach. (Melbourne, Oxford University Press). RE: References LIBERAL PARTY OF AUSTRALIA (LPA). (2002). Tough on Drugs: The Right Approach for the Right Results (Sydney, Liberal Party of Australia). RE: References LINTZERIS, N. (1998). `Drug Use and Policy in Australia: Limitations and Possibilities'. in: M. Hamilton, A. Kellehear and G. RUMBOLD (Eds) Drug Use in Australia: A Harm Minimisation Approach (Melbourne, Oxford University Press). RE: References LUPTON, D. (1999a). Risk: Key Ideas (London, Routledge). RE: References LUPTON, D. (1999b). Risk and the Ontology of Pregnant Embodiment. in: D. LUPTON (Ed.) Risk and Sociocultural Theory: New Directions and Perspectives (Cambridge, The Cambridge University Press). RE: References LUPTON, D & TULLOCH, J (2002). `Life Would be Pretty Dull Without Risks: Voluntary Risk-Taking and its Pleasures'. Health, Risk and Society, 4, pp. 113-124. RE: References LYNSKEY, M, HEATH, A, BUCHOLZ, K, SLUTSKE, W, MADDEN, P, NELSON, E, SATHAM, D & MARTIN, N (2003). Escalation of Drug Use in Early Onset Cannabis Users vs Co-Twin Controls. Journal of the American Medical Association, 289, pp. 427-433. RE: References MAJOR, C. (1998). Cannabis and youth: the drug of choice. Connexions: Alcohol and Other Drug Issues, 18, pp. 4-11. RE: References MCBRIDE, N, MIDFORD, R, FARRINGTON, F & PHILLIPS, M (2000). Early Results from a School Alcohol Harm Minimisation Study. Addition, 95, pp. 1021-1042. RE: References MCCALLUM, T. (1998). Drug Use by Young Females. (Canberra, Commonwealth Department of Health and Family Services (AGPS)). RE: References MCKEY, J. (1998). The Rise of Zero Tolerance. Connexions: Alcohol and Other Drug Issues, 18, pp. 11-15. RE: References MILES, S. (2000). Youth Lifestyles in a Changing World (Buckingham, Open University Press). RE: References MOORE, D. (2002). Opening up the Cul-de-sac of Youth Drug Studies: A Contribution to the Construction of Some Alternative Truths. Contemporary Drug Problems, 29, pp. 13-64. RE: References MURNANE, A, SMITH, A, CROMPTON, L, SNOW, P & MUNRO, G (2000). Beyond Perceptions: A Report on Alcohol and Other Drug Use among Gay, Lesbian, Bisexual and Queer Communities in Victoria (Melbourne, The ALSO Foundation). RE: References PARKER, H, ALDRIDGE, J & MEASHAM, F (1998). Illegal Leisure: The Normalization of Adolescent Drug Use (London, Routledge). RE: References RHODES, T. (2002). ``The `Risk Environment': A Framework for Understanding and Reducing Drug-Related Harm''. International Journal of Drug Policy, 13, pp. 85-94. RE: References ROCHE, A & EVANS, K (2000). Harm Reduction. in: G. STOKES, P. CHALK and K. GILLEN (Eds) Drugs and Democracy: In Search of New Directions (Melbourne, Melbourne University Press). RE: References ROHL, T. (2000). Evaluating the National Drug Strategy. in: G. STOKES, P. CHALK and K. GILLEN (Eds) Drugs and Democracy: In Search of New Directions (Melbourne, Melbourne University Press). RE: References SIOKOU, C. (2002). Seeking the Vibe: The Melbourne Rave Scene. Youth Studies Australia, 21, pp. 11-18. RE: References SOLOWIJ, N. (1998). Cannabis and Cognitive Functioning (Cambridge, Cambridge University Press). RE: References STOKES, G, CHALK, P & GILLEN, K (2000). Drugs and Democracy: In Search of New Directions (Melbourne, Melbourne University Press). RE: References TOPP, L & DARKE, S (2001). New South Wales Party Drugs Trends 2000 - Technical Report 113 (Sydney, National Drug and Alcohol Research Centre). RE: References TOUMBOUROU, J. (2002). Drug Prevention Strategies: A Developmental Settings Approach. Prevention Research Evaluation Report Number 2 (Melbourne, The Drug Prevention Network). RE: References TULLOCH, J. (1999). `Fear of Crime and the Media: Sociocultural Theories of Risk'. in: D. LUPTON (Ed.) Risk and Sociocultural Theory: New Directions and Perspectives (Cambridge, The Cambridge University Press). RE: References WEINBERG, N, RAHDERT, E, COLLIVER, J & GLANTZ, M (1998). `Adolescent Substance Abuse: A Review of the Last 10 Years'. Journal of the American Academy of Child and Adolescent Psychiatry, 37, pp. 252-261. RE: References WODAK, A. (2000). `Developing More Effective Responses'. in: G. STOKES, P. CHALK and K. GILLEN (Eds) Drugs and Democracy: In Search of New Directions (Melbourne, Melbourne University Press). RE: References WODAK, A & MOORE, T (2002). Modernising Australia's Drug Policy (Sydney, UNSW Press). RE: References ZIMMER, L & MORGAN, J (1997). Marijuana Myths, Marijuana Facts: A Review of the Scientific Evidence (New York, The Lindesmith Centre). Record 15 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Evolution, Extinction, or Status Quo? Canadian Performing Arts Audiences in the 1990s AU: Author Fisher, Timothy C G; Preece, Stephen B AF: Affiliation School Business Economics, Wilfrid Laurier U, Waterloo, Ontario SO: Source Poetics, 2003, 31, 2, Apr, 69-86 IS: ISSN 0304-422X DE: Descriptors *Canada; *Theater Arts; *Music; *Preferences; *Culture; *Popular Culture; *Cultural Change; *Individual Differences AB: Abstract This paper contributes to the 'culture of consumption' [Poetics 28 (2000) 207] research stream. Specifically, we examine hypotheses laid out by Peterson [Poetics 21(1992) 243] using Canadian musical concert audience data from the 1990s. Results show that while the number of those who attend only classical music concerts ('snobs') is in decline, those who attend both classical & other types of music concert ('omnivores') is up sharply. Overall, the classical music concert attendance is unchanged for the period. Multivariate regression analysis is used to identify sources of the changes in the incidence of snobs & omnivores. We find that shifts in individual behavior, as opposed to demographic changes in the population, are primarily responsible for the decrease in snobs. In addition, snobs are increasingly more likely to be drawn from older age groups. Omnivores are younger & more likely to live in urban areas than snobs. Despite their more varied choices, omnivores display the same level of attendance frequency as snobs at classical music events & a greater attendance frequency than snobs at theatre & dance performances. 5 Tables, 1 Figure, 32 References. [Copyright 2003 Elsevier B.V.]. EA: Email Address [mailto:spreece@wlu.ca] CD: CODEN POETD5 LA: Language English PY: Publication Year 2003 PT: Publication Type Journal Article (aja) CP: Country of Publication Netherlands CL: Classification 1331 sociology of language and the arts; sociology of art (creative & performing) UD: Update 200412 AN: Accession Number 200419422 JV: Journal Volume 31 JI: Journal Issue 2 JP: Journal Pages 69-86 RE: References Balfe, Judith & Peters, Monnie (2000). Public involvement in the arts. 81-107 In: Cherbo, Joni M., Wyszomirski, Margaret J. (Eds.), The Public Life of the Arts in America. Rutgers University Press, New Brunswick, NJ. RE: References Brooks, Arthur. (1997). Toward a demand-side cure for cost disease in the performing arts. Journal of Economic Issues, 31, 197-207. RE: References Burkhardt, Paul. (1999). The production and Consumption of the Commodity Community: Playing, Working and Making it in the Local Music Scene. Unpublished PhD Dissertation, University of Arizona. RE: References Card, David & Riddell, WCraig (1993). Unionization in Canada and the U. S.: a tale of two countries. In: Card, David, Freeman, Richard B. (Eds.), Small Differences that Matter: Labor Markets and Income Maintenance in Canada and the United States. University of Chicago Press, Chicago. RE: References Crane, Diana. (1992). High culture versus popular culture revisited. In: Lamont, Michele, Fournier, Marcel (Eds.), Cultivating Differences: Symbolic Boundaries and the Making of Inequality. University of Chicago Press, Chicago. RE: References Currie, Harry. (2002). And the band plays on. March 2, C1 The Record. RE: References DiMaggio, Paul & Mohr, John (1985). Cultural capital, educational attainment, and marital selection. American Journal of Sociology, 90, 1231-1261. RE: References DiMaggio, Paul & Useem, Michael (1978). Social class and arts consumption: the origins and consequences of class differences in exposure to the arts in America. Theory and Society, 5, 141-161. RE: References Fox, Beth & Marshall, Meryl (1999). Exploring intersections: entertainment and the arts. Journal of Arts Management, Law and Society, 29, 122-126. RE: References Gans, Herbert. (1974). Popular Culture and High Culture. Basic Books, New York. RE: References Hands in their pockets. (2001). The Economist. August 18, 67-69. RE: References Heilbrun, James. (1997). The competition between high culture and popular culture as seen in the New York Times. Journal of Cultural Economics, 21, 29-40. RE: References Heilbrun, James & Gray, Charles (1993). The Economics of Art and Culture. Cambridge University Press, Cambridge. RE: References Hughes, Michael & Peterson, Richard (1983). Isolating cultural choice patterns in the U. American Behavioral Scientist, 26, 459-478 S. population. RE: References Kirchberg, Volker. (1999). Boom, bust and recovery? Arts audience development in Germany between, 1980 and, 1996. Cultural Policy, 5, 219-254. RE: References Kolb, Bonita. (2002). The effect of generational change on classical music concert attendance and orchestra's response in the UK and US. Cultural Trends, 41. RE: References Kolb, Bonita. (2001). Ethnic attendance at arts events: the case of the un-diverse classical music concert. In: the Proceedings for The Sixth International Conference on Arts and Cultural Management, Brisbane, Australia. RE: References Kotler, Philip & Scheff, Joanne (1997). Standing Room Only: Strategies for Marketing the Performing Arts. Harvard Business School Press, Boston. RE: References Levine, Lawrence. (1988). Highbrow/Lowbrow. The Emergence of Cultural Hierarchy in America. Harvard University Press, Cambridge. RE: References Marsden, Peter & Shelton Reed, John (1983). Cultural choice among southerners. American Behavioral Scientist, 26, 479-492. RE: References McCarthy, Kevin, Brooks, Arthur, Lowell, Julia & Zakaras, Laura (2001). The Performing Arts in a New Era. Rand Publications, San Francisco. RE: References NEA. (2000). Research Division Reports No. 42. Age and Arts Participation, 1982-1997. Seven Locks Press, Santa Ana, CA. RE: References Oaxaca, Ronald L. (1973). Male-female wage differentials in urban labour markets. International Economic Review, 14, 693-709. RE: References Peterson, Richard & Simkus, Albert (1992). How musical tastes mark occupational status groups. In: Lamont, Michele, Fournier, Marcel (Eds.), Cultivating Differences: Symbolic Boundaries and the Making of Inequality. University of Chicago Press, Chicago. RE: References Peterson, Richard. (1990). Audience and industry origins of the crisis in classical music programming: towards world music. 207-227 In: Pankratz, David B., Morris, Valerie B. (Eds.), The Future of the Arts. Praeger, New York. RE: References Peterson, Richard. (1992). Understanding audience segmentation: from elite and mass to omnivore and univore. Poetics, 21, 243-258. RE: References Peterson, Richard & Kern, Roger (1996). Changing highbrow taste: from snob to omnivore. American Sociological Review, 61, 900-907. RE: References Scheff, Joanne, Dodge, Robin & Welch, Heather (1999). In: the Proceedings for The Sixth International Conference on Arts and Cultural Management, Helskini, Finland. RE: References Smith, Terry. (2000). Chamber Music Presentations for Early Childhood Audiences. Unpublished Doctoral Dissertation, University of Rochester, New York. RE: References Van Eijck, Koen. (2001). Social differentiation in musical taste patterns. Social Forces, 79, 1163-1185. RE: References Van Eijck, Koen. (2000). Richard A. Poetics, 28, 207-224 Peterson and the culture of consumption. RE: References Weber, Max. (1946). Class, status, party. 180-195 In: Gerth, Hans, Mills, C. Wright (Eds.), From Max Weber: Essays in Sociology. Oxford University Press, New York. Record 16 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Chicano Music and Latino Rap and Its Influence on Gang Violence and Culture AU: Author Morales, Gabe SO: Source Journal of Gang Research, 2003, 10, 2, winter, 55-63 IS: ISSN 1079-3062 DE: Descriptors *Music; *Gangs; *Hispanic Americans; *Subcultures; *Mexican Americans AB: Abstract Music has played a historical role with Latino gangs, & gang culture has also influenced popular Latino artists. The history of gang influence upon music, dating back to bandido days of the 1800s, is briefly outlined. Symbols entrenched within the Hispanic street gang culture that originated within the music scene is examined, & Chicano/Latino gangster rap messages, early rap & hip hop, West Coast Chicano rap, Norteno rappers, Tejano & Mid-West rappers, & the East Coast sound is described. Law enforcement is advised to keep current with "the beat out on the street & know the jailhouse rap." This style of music may increase in popularity with the increasing numbers of Latino youth in the US. Therefore, professionals working with gang members should be aware of the role music has historically played in gang culture & the increased use of music by gangs to get support & new members for their gangs. E. Sanchez. LA: Language English PY: Publication Year 2003 PT: Publication Type Journal Article (aja) CP: Country of Publication United States CL: Classification 2151 social problems and social welfare; juvenile delinquency. 0850 mass phenomena; popular culture UD: Update 200312 AN: Accession Number 200312492 JV: Journal Volume 10 JI: Journal Issue 2 JP: Journal Pages 55-63 Record 17 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Popular Music and Teenagers in Post-Communist Poland AU: Author Kotarba, Joseph A SO: Source Studies in Symbolic Interaction, 2002, 25, 233-246 IS: ISSN 0163-2396 DE: Descriptors *Music; *Social Identity; *Adolescents; *Poland; *Postcommunist Societies; *Youth Culture; *Popular Culture; *Culture Contact; *Social Change AB: Abstract This paper examines the relationship between popular music & adolescent identity in Poland. I will specifically discuss how this relationship has evolved within the context of complex changes occurring in Polish society over the past 20 years. This analysis is largely derived from interviews with & observations of young people in Wroclaw, Krakow, & Katowice, Poland in 1992 & 1999. Before the revolutionary events of the late 1980s, popular music in Poland reflected the drudgery of everyday life under communism & the severe economic constraints placed on young people's musical experiences. Since the democratic revolution in 1989, the popular music scene has become increasingly complex & fragmented. Styles of music have expanded three ways. (1) Polish youth now have access to all the popular music available to American or British youth via the Internet, Euro MTV, etc. (2) Polish artists are devising local versions of this globalized music. (3) Polish artists are creating new music that is true to traditional, even folk, musical styles. The net effect of these trends is the availability of the kind of musical resources long used by Western adolescents to create the identity of the "teenager." 25 References. Adapted from the source document. CD: CODEN SSYIDV LA: Language English PY: Publication Year 2002 PT: Publication Type Journal Article (aja) CP: Country of Publication United States CL: Classification 0850 mass phenomena; popular culture UD: Update 200212 AN: Accession Number 200209636 JV: Journal Volume 25 JP: Journal Pages 233-246 RE: References Arnett, J. (1991). Adolescents and Heavy Metal Music: From the Mouths of Metalheads. Youth and Society, 23, 1, 76-98. RE: References Bollag, B. (1992). The Curtain Parts, and Rap Emerges. The New York Times, August 23. RE: References Coleman, J. (1961). The American Adolescent. Glencoe, IL: The Free Press. RE: References Denzin, N. K. (1992). Symbolic Interaction and Cultural Studies. Cambridge, MA: Blackwell. RE: References Dziegiel, L. (1998). Paradise in a Concrete Cage. Cracow: Arcana. RE: References Frith, S. (1981). Sound Effects: Youth, Leisure, and the Politics of Rock 'n' Roll. New York: Pantheon. RE: References Gaines, D. (1994). In Search of Death. Spin, 10(l), 52-58. RE: References Grossberg, L. (1988). It's a Sin: Essays on Postmodernism, Politics and Culture. Sidney: Power Publications. RE: References Harvey, D. (1987). The Condition of Postmodernity: An Inquiry into the Origins of Cultural Change. Cambridge, MA: Basil Blackwell. RE: References Hebdige, D. (1979). Subculture: The Meaning of Style. New York: Methuen. RE: References Hine, T. (1999). The Rise and Decline of the Teenager. American Heritage, (September), 71-82. RE: References Jameson, F. (1984). Postmodernism, or the cultural logic of late capitalism. New Left Review, 146, 53-92. RE: References Kan, A. & Hayes, N. (1994). Big Beat in Poland. In S. P. Ramet (Ed.), Rocking the State: Rock Music and Politics in Eastern Europe and Russia (pp. 41-53). Boulder, CO: Westview. RE: References Kotarba, J. A. (1994). The Postmodernization of Heavy Metal Music. The Case of Metallica. In J. Epstein (Ed.), Adolescents and their Music (pp. 141-163). Hamden, CT: Garland. RE: References Kotarba, J. A. (1993). Rock Music in Poland Since the Fall of Communism. February, 1993, University of Missouri-Columbia, Paper presented at 'On The Beat. Rock 'N Rap, Mass Media and Society' Conference. School of Journalism. RE: References Kotarba, J. A. (1991). Postmodernism, Ethnography and Culture. Studies in Symbolic Interaction, 12, 45-52. RE: References Kotarba, J. A. (1991). Rock Music as a Medium for AIDS Intervention. AIDS Education and Prevention, 3, 1, 47-49. RE: References Murray, P. & Holmes, L. (1994). Europe. Rethinking the Boundaries. Aldershot, Australia: Ashgate. RE: References RE: References O'Rourke, P. J. (1988). New York Times. Global Smarming. America's Pop Influence. January 30, 30-31. RE: References Pekacz, J. (1992). On Some Dilemmas of Polish Post-Communist Rock Culture. Popular Music, 11, 2, 205-208. RE: References Pells, R. (1997). Not Like Us. New York: Basic Books. RE: References Ryback, T. W. (1990). Rock Around the Bloc. A History of Rock Music in Eastern Europe and the Soviet Union. New York: Oxford University Press. RE: References Warsaw Voice. (1996). Just Another Royal Visit, 39.414, 23. RE: References Weinstein, D. (1991). Heavy Metal. A Cultural Sociology. New York: Lexington Books. Record 18 of 38 DN: Database Name CSA Sociological Abstracts TI: Title OUT OF WHITENESS: COLOR, POLITICS, AND CULTURE AU: Author Ware, Vron; Back, Les AF: Affiliation Yale U, New Haven, CT SO: Source xii+326pp, Chicago: U Chicago Press, 2002 DE: Descriptors *Whites; *Racism; *Black White Relations; *Ethnic Identity; *Cultural Identity; *Social Constructionism; *Popular Culture; Great Britain; United States of America AB: Abstract Examines the process through which "whiteness" is socially constructed - & alternatively challenged - in the US & GB, drawing primarily on data obtained via ethnographic interviews & participation in various antiracist efforts. Radical opposition toward racist thought & practice is explored in an analysis of a "new abolitionism" project, & everyday ways of blurring the color boundary are identified, focusing on the cultures of music & literature. Case studies are offered of white writers who artificially darkened their skin in order to experience the black world; collaboration between white & black musicians in Big Band, jazz, & rhythm & blues music; blackface in vaudeville; interracial jitterbug dancing in the 1920s; & the "white power" or "skinhead" music scene on the Internet. Four main themes guide the book: (1) a rejection of the ontological status of racial categories in the designation of human attributes in favor of an analysis of how whiteness is constructed as a normative structure, discourse of power, & form of identity; (2) a widening of the contemporary debate on whiteness beyond US studies, (3) an exploration of reasons why & processes through which persons in white-dominated societies engage in antiracist acts or performances that challenge white privilege, & (4) a rejection of the notion that white supremacy is the only way that whites can assure their place in multicultural societies & an endorsement of critical reflection on the forces that maintain whiteness as an identity. K. Hyatt Stewart. IB: ISBN 0226873420 NT: Notes Edition date: 2002 PB: Publisher xii+326pp, Chicago: U Chicago Press LA: Language English PY: Publication Year 2002 PT: Publication Type Book (bka) CL: Classification 0410 group interactions; social group identity & intergroup relations (groups based on race & ethnicity, age, & sexual orientation) LC: LC Control Number 2001048010 UD: Update 200212 AN: Accession Number 200215915 Record 19 of 38 DN: Database Name CSA Sociological Abstracts TI: Title From cantautori to posse: Sociopolitical Discourse, Engagement and Antagonism in the Italian Music Scene from the 60s to the 90s AU: Author Anselmi, William AF: Affiliation Dept Modern Languages & Cultural Studies, U Alberta SO: Source Critical Studies, 2002, 19, 1, 17-45 IS: ISSN 0923-411X DE: Descriptors *Italy; *Music; *Discourse; *Popular Culture; *Political Culture; *Political Attitudes; Habermas, Jurgen AB: Abstract The passage from one millennium to another is always ripe with specific cultural endeavors prone to mark &/or highlight historical transitions as to what the future holds. This particular process, as far as our cultural age is concerned, seems to favor the end of history (as in Francis Fukuyama & others); a passage into a system that voids the lifeworld (as in Habermas) of its historicity. A critical reading of the Italian music scene in its antagonistic & engaged forms in the last 30 years can perhaps contribute to elucidating what this process entails. From the role & practice of the cantautore (engaged singer-songwriter) emerging in the 1960s & continuing until today, to the appearance of the posse (of American derivation, but part of a specific anthro-political territory & mixing of genres such as rap, reggae, hip hop, dub, ska, & raggamuffin), in the late 1980s, the Italian engaged & antagonistic music scene provides us with an alternate reading of recent Italian sociopolitical history. Such a practice, an alternate interpretation, can be utilized by the reader to dispel the chimera of pseudo-hegemonizing views with regards to our present, modern times. This essay, while presenting a specific history of the line that ties the cantautori to the posse, also focuses on two specific albums: Fabrizio De Andr's Storia di un impiegato (Story of a Bureaucrat, 1973) & Claudio Lolli's Disoccupate le strade dei sogni (Unoccupy the Streets of Dreams, 1977). 29 References. Adapted from the source document. CD: CODEN CRSDE8 LA: Language English PY: Publication Year 2002 PT: Publication Type Journal Article (aja) CP: Country of Publication Netherlands ID: Identifiers Fukuyama, Francis CL: Classification 0850 mass phenomena; popular culture UD: Update 200312 AN: Accession Number 200313487 JV: Journal Volume 19 JI: Journal Issue 1 JP: Journal Pages 17-45 Record 20 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Music and Locality: Newer Dynamics in Turkish Music under Globalization AU: Author Tekelioglu, Orhan AF: Affiliation Bilkent U SO: Source International Sociological Association, Brisbane, Australia (ISA), 2002 DE: Descriptors *Turkey; *Historical Development; *Cultural Change; *Music; *Popular Culture; *Global Local Relationship; *Globalization AB: Abstract With a project for building a westernized nation-state, the Turkish political leaders gave a special emphasis to cultural politics. During the foundation years (particularly the 1930s), the rulers called for an immediate cultural synthesis, called East-West synthesis, to break with the Ottoman past. This synthesis had to comprise two important components: the Turkish or the 'genuine' one; and the Western or the 'true' one, defining the identity of the Turkish people in future. The idea of the synthesis in music was based on new tunes, which would be composed according to Western musical scales. The target was creating a new high-culture with elite taste, and was never interested in the existing popular music of the day. Nevertheless, a powerful challenge of the popular music created by a handful of musicians, originally from religious musical practice, appeared against the musical reforms and established its non-revolutionary and non-western taste. Despite ceaseless counter-measures from the side of the state, Turkish popular music has established its spontaneous synthesis, a unique and local amalgam of different musical genres which has ended up with an immense popularity. After the privatization of TV and Radio broadcasting in the 1990s, the shape and the outcome of the global influence have drastically changed, the exchange between the global and local cultures have been doubled. Yet one could not speak of the invasion of the global culture in Turkish popular music, rather new hybrid forms have appeared and seemed to stand longer. The paper examines this recent development and focuses particularly upon the globalization and local challenges in the Turkish popular music scene at the brink of new century. LA: Language English PY: Publication Year 2002 PT: Publication Type Conference Paper (acp) CL: Classification 0850 mass phenomena; popular culture UD: Update 200412 AN: Accession Number 2004S02083 Record 21 of 38 DN: Database Name CSA Sociological Abstracts TI: Title What Difference Does It Make? Women's Pop Cultural Production and Consumption in Manchester AU: Author Richards, Nicola; Milestone, Katie AF: Affiliation c/o Milestone-Manchester Metropolitan U, UK SO: Source Sociological Research Online, 2000, 5, 1, May IS: ISSN 1360-7804 DE: Descriptors *Popular Culture; *Working Women; *Sexism; *Femininity; *Music; *Consumption; *Occupational Segregation; *Occupational Structure; *England AB: Abstract This paper explores the experiences of women in small cultural businesses and is based upon interviews with women working in a range of contexts in Manchester's popular music sector. The research seeks to promote wider consideration of women's roles in cultural production and consumption. We argue that it is necessary that experiences of production and consumption be understood as inter-related processes. Each part of this process is imbued with particular gender characteristics that can serve to reinforce existing patterns and hierarchies. We explore the ways in which female leisure and consumption patterns have been marginalised and how this in turn shapes cultural production. This process influences career choices but it is also reinforced through the integration of consumption into the cultural workplace. Practices often associated with the sector, such as the blurring of work and leisure and 'networking', appear to be understood and operated in significantly different ways by women. As cultural industries such as popular music are predicated upon the colonisation of urban space we explore the use of the city and the particular character of Manchester's music scene. We conclude that, despite the existence of highly contingent and individualised identities, significant gender power relations remain evident. These are particularly clear in discussion of the performative and sexualised aspects of the job. Adapted from the source document. RL: Resource Location [URL:http://www.socresonline.org.uk/] LA: Language English PY: Publication Year 2000 PT: Publication Type Journal Article (aja) CP: Country of Publication United Kingdom ID: Identifiers Manchester, England CL: Classification 0850 mass phenomena; popular culture UD: Update 200012 AN: Accession Number 200012181 JV: Journal Volume 5 JI: Journal Issue 1 Record 22 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Identity Formation and Ontological Security on the Edge: The Case of Straightedge AU: Author Allan, Kenneth; Kidder, Jeffrey AF: Affiliation Sociology Dept, U North Carolina, Greensboro 27402 [tel/fax: 336-334-3695 SO: Source Southern Sociological Society (SSS), 2000 DE: Descriptors *Youth Culture; *Abstinence; *Social Identity; *Rituals; *Morality; *Subcultures; *Music; *Dance; *Boundary Maintenance AB: Abstract Using the youth culture "straightedge" as a case study, the social processes used in conducting an identity with strong moral boundaries under the conditions of late/postmodern cultural fragmentation are explored. Special attention is devoted to understanding how ritual performance, in this case an aggressive form of dance, is able to produce a high sense of ontological security about the identity & belief system. Straightedge is an identifiable element within the hardcore music scene that has the distinctive quality of having high moral values associated with abstinence from any drug (including cigarettes, beer/wine, liquor, & at times, legal, medical drugs) &, in many cases, from eating any animal products (including milk & eggs). Moreover, many straightedge abstain from sex, or at least promiscuous sex, & many avoid caffeine. In addition to the moral element of the culture, this particular group is of interest to the study of identities in late/postmodernity because of its relationship to a broader subculture group: straightedge functions within & identifies with the broader hardcore culture yet is able to establish & maintain a separate identity. Data include focused interviews with group members, unobtrusive observations of shows, & content analyses of lyrics & scene-specific magazines. EA: Email Address [mailto:kdallan@uncg.edu] LA: Language English PY: Publication Year 2000 PT: Publication Type Conference Paper (acp) CL: Classification 0410 group interactions; social group identity & intergroup relations (groups based on race & ethnicity, age, & sexual orientation) UD: Update 200012 AN: Accession Number 2000S38712 Record 23 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Subcultures or Neo-Tribes? Rethinking the Relationship between Youth, Style and Musical Taste AU: Author Bennett, Andy AF: Affiliation Dept Sociology, Darwin Coll, U Kent, Canterbury, UK SO: Source Sociology, 1999, 33, 3, Aug, 599-617 IS: ISSN 0038-0385 DE: Descriptors *Youth Culture; *Music; *Dance; *Popular Culture; *Subcultures; *England; *Sociological Theory; *Theoretical Problems; *Modern Society AB: Abstract Argues that, as with subcultural theory, the concept of subculture is unworkable as an objective analytical tool in sociological work on youth, music, & style - the musical tastes & stylistic preferences of youth, rather than being tied to issues of social class, as subculture maintains, are in fact examples of the late-modern lifestyles in which notions of identity are constructed rather than given, & fluid rather than fixed. Such fluidity, it is maintained, is also a characteristic of the forms of collective association that are built around musical & stylistic preference. Using Michel Maffesoli's (1996) concept of tribus (tribes) & applying this to an ethnographic study of the contemporary dance music scene in Newcastle upon Tyne, England, it is argued that the musical & stylistic sensibilities exhibited by the young people involved are clear examples of a form of late-modern sociality rather than a fixed subcultural group. 52 References. Adapted from the source document. CD: CODEN SLGYA5 LA: Language English PY: Publication Year 1999 PT: Publication Type Journal Article (aja) DO: DOI 10.1177/0038038599033003007 CP: Country of Publication United Kingdom CL: Classification 0850 mass phenomena; popular culture UD: Update 200012 AN: Accession Number 200002489 JV: Journal Volume 33 JI: Journal Issue 3 JP: Journal Pages 599-617 Record 24 of 38 DN: Database Name CSA Sociological Abstracts TI: Title The rise of recorded Tejano music in the post-World War II years, 1946-1964 AU: Author Miguel, Guadalupe San Jr SO: Source Journal of American Ethnic History, vol. 19, pp. 26, 1999 IS: ISSN 0278-5927 DE: Descriptors *History; *Latin music; *Hispanic Americans; *Musicians & conductors; *United States; *US AB: Abstract Between 1946 and 1964, the Tejano music scene changed dramatically as a result of the impact of American culture, regionally recording companies, increased socio-economic opportunities, and other factors. PY: Publication Year 1999 UD: Update 20061022 AN: Accession Number 06SP71419 JV: Journal Volume 19 JP: Journal Pages 26-49 Record 25 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Dancing with the Enemy: Cuban Popular Music, Race, Authenticity, and the World-Music Landscape AU: Author Hernandez, Deborah Pacini AF: Affiliation Dept American Civilization Brown U SO: Source Latin American Perspectives, 1998, 25, 3(100), May, 110-125 IS: ISSN 0094-582X DE: Descriptors *Cuba; *Music; *Popular Culture; *Globalization; *Cultural Transmission; *Ethnic Identity; *Cultural Identity AB: Abstract World music is defined as all music that is not Western art music. These musical forms have great communicative power because they speak to particular national, racial, regional, or ethnic identities. During the 1980s, musics from Africa, Brazil, & the English & French Caribbean circulated outside their countries of origin. Cuban music, which had virtually disappeared from the world music scene after the Cuban revolution, was taken up in this general current. This process was in part driven by the fact that Cuba has supported Afro-Cuban musical traditions during the revolutionary period & cultivated its Afro-Cuban cultural heritage as part of an explicit political ideology of Pan-African & Pan-Caribbean identity. However, for Cuban musicians to make a dramatic impact on the world music industry, they must escape the legacies of isolation produced by the US cultural embargo & negotiate the complexities of the global political & cultural economy. It is hoped that, as they succeed in this endeavor, Cuban musicians do not lose their ability to nurture & reinterpret Cuba's diverse musical traditions. The work of musician/producer David Byrne in promoting postrevolutionary Cuban music in the US is highlighted. 26 References. D. Ryfe. LA: Language English PY: Publication Year 1998 PT: Publication Type Journal Article (aja) CP: Country of Publication United States CL: Classification 0850 mass phenomena; popular culture. 0410 group interactions; social group identity & intergroup relations (groups based on race & ethnicity, age, & sexual orientation) UD: Update 199912 AN: Accession Number 9911553 JV: Journal Volume 25 JI: Journal Issue 3 JP: Journal Pages 110-125 Record 26 of 38 DN: Database Name CSA Sociological Abstracts TI: Title The War on Jazz, or Jazz Goes to War: Toward a New Cultural Order in Wartime Japan AU: Author Atkins, E Taylor AF: Affiliation Northern Illinois U SO: Source Positions, 1998, 6, 2, fall, 345-392 IS: ISSN 1067-9847 DE: Descriptors *World War II; *Music; *Popular Culture; *Japan; *Government Regulation; *Social Criticism; *Cultural Conflict; *State Society Relationship AB: Abstract Explores the situation of the jazz community in Japan during WWII, drawing on a variety of historical materials. Jazz became embedded in the Japanese music scene in the early 1930s, but was altered by incorporating traditional folk melodies & patriotic lyrical themes into the conventional rhythmic base & instrumentation. In the late 1930s, jazz came under attack by conservative cultural critics who viewed it as part of a wider cultural invasion of the West. The jazz recording industry reacted to these criticisms by aligning itself very closely with the Japanese state. While much of jazz was banned during the war years, its altered form was employed as one method of mobilizing culture in the service of the war effort. Musicians engaged in a complicated process of compliance & resistance in response to the pressure of state regulation, ultimately opening new creative avenues. Despite popular memory of the wartime period as a dark age for jazz, it is concluded that wartime jazz had more creative promise than the postwar decades, when musicians were stifled by a lack of confidence & feelings of inauthenticity. D. Ryfe. CD: CODEN POSIFA LA: Language English PY: Publication Year 1998 PT: Publication Type Journal Article (aja) CP: Country of Publication United States ID: Identifiers jazz CL: Classification 0850 mass phenomena; popular culture. 1331 sociology of language and the arts; sociology of art (creative & performing) UD: Update 199912 AN: Accession Number 9913082 JV: Journal Volume 6 JI: Journal Issue 2 JP: Journal Pages 345-392 Record 27 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Youth Dance Cultures-The Experience of Intramundane Salvation (innerweltliche Erlosung) in the Ritual Dance Practice of the Techno Youth Culture AU: Author Corsten, Michael AF: Affiliation Max-Planck-Instit Human Development, Lentzeallee 94 Berlin D-14195 Federal Republic Germany [tel/fax: 49-30-824-06-293/99-39 SO: Source International Sociological Association (ISA), 1998 DE: Descriptors *Dance; *Youth Culture; *Religious Rituals; *Sacredness; *Berlin, Federal Republic of Germany; Salvation AB: Abstract Examines the "sacred" in modernity, which is suggested to have become intramundane, & how it is experienced in contemporary youth culture. Discussed are these interrelations & their further specifities via the interpretative reconstruction of typical descriptions of 65 participants of the Berlin, Federal Republic of Germany, Techno Music Scene. In interviews, participants described the ecstatic experience of the feeling of transgression, to move (or "fly") into another world. The development of such ecstatic states are accompanied by certain interaction rules that are kept by the participants. The narrative descriptions of the body-related interactions of the dancers show a strict differentiation between the rules kept on the dance floor & the rules outside of the dancing place. From the standpoint of the sociology of religion, the strict differentiation of rules could be interpreted as an awareness of the sacred. The extraordinary experience of the self & of meeting/touching the Other in the dance situation is only possible because this practice is taken as sacred. Therefore, the participants follow the rules of a ritualistic order that is only valid in the process of the ritual. EA: Email Address [mailto:corsten@mpib-berlin.mpg.de] LA: Language English PY: Publication Year 1998 PT: Publication Type Conference Paper (acp) CL: Classification 1939 the family and socialization; adolescence & youth UD: Update 199812 AN: Accession Number 98S34009 Record 28 of 38 DN: Database Name CSA Sociological Abstracts TI: Title The Trance Music Scene in Israel AU: Author Regev, Motti AF: Affiliation Hebrew U Jerusalem, Mount Scopus IL-91905 Israel SO: Source International Sociological Association (ISA), 1998 DE: Descriptors *Music; *Israel; *Popular Culture AB: Abstract Examines the art world of "trance" music in Israel, which is specific to a segment of the larger scene of electronic "dance" music in the contemporary field of popular music. Unlike existing tendencies to concentrate on subcultural aspects of trance, focus here is on practices of music creation & production. Findings are presented from a study of the Israeli trance music scene, which gained transnational recognition & success during the 1990s. Examined are issues such as the nature of a musical "work in trance;" the difference between live & recorded music in trance; the artistic ideology held by musicians & critics; & the working of the trance music market. These & other issues illuminate larger questions regarding the meaning of avant-garde & experimentalism in the contemporary field of popular music, & the global-local relations in this field. LA: Language English PY: Publication Year 1998 PT: Publication Type Conference Paper (acp) CL: Classification 0850 mass phenomena; popular culture UD: Update 199812 AN: Accession Number 98S35737 Record 29 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Techno Music Scene as a Post-Traditional Global Youth Culture AU: Author Corsten, Michael AF: Affiliation Lentzealle 94, D-14195 Berlin Federal Republic Germany SO: Source International Sociological Association (ISA), 1998 DE: Descriptors *Youth Culture; *Music; *Popular Culture; *Globalization; Berlin, Federal Republic of Germany AB: Abstract Mass communication, especially the mass distribution of popular culture articles - eg, records or compact discs - have made globalized youth culture possible. However, local youth cultures, ie, scenes established by young people meeting at specific places that are seen as their own, remain. The techno music & dance culture is such a scene established by "cool places." As such a scene, it delimits itself from globalized mass culture, although it still has its own global personal networks in booking agencies, party organizers, & disk jockeys. Evidence is presented from a qualitative study of 64 insiders of the Berlin (Federal Republic of Germany) techno scene. Interviews with a subgroup of disk jockeys & party organizers highlight the global network aspect of this youth culture. LA: Language English PY: Publication Year 1998 PT: Publication Type Conference Paper (acp) CL: Classification 0850 mass phenomena; popular culture UD: Update 199812 AN: Accession Number 98S37536 Record 30 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Selling-Out: Constructing Authenticity and Success in Chicago's Indie Rock Scene AU: Author Smith-Lahrman, Matthew Bock AF: Affiliation Northwestern U, Evanston IL 60208 SO: Source Dissertation Abstracts International, A: The Humanities and Social Sciences, 1997, 57, 11, May, 4936-A IS: ISSN 0419-4209 DE: Descriptors *Popular Culture; *Subcultures; *Music; *Musicians; *Career Patterns; Chicago, Illinois CD: CODEN DABAA6 NT: Notes Available from UMI, Ann Arbor, MI. Order No. DA9714685. LA: Language English PY: Publication Year 1997 PT: Publication Type Dissertation (dis) CP: Country of Publication United States ID: Identifiers "indie" rock music scene, Chicago, Illinois, success/authenticity construction; participant observation CL: Classification 0850 mass phenomena; popular culture UD: Update 199712 AN: Accession Number 9713203 JV: Journal Volume 57 JI: Journal Issue 11 Record 31 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Raregrooves and Raregroovers: A Matter of Taste, Difference and Identity AU: Author Bakare-Yusuf, Bibi AF: Affiliation U Warwick SO: Source BLACK BRITISH FEMINISM: A READER, Mirza, Heidi Safia [Ed], London: Routledge, 1997, pp 81-96 DE: Descriptors *Blacks; *Females; *United Kingdom; *Music; *Dance; *Popular Culture; *Cultural Pluralism; *Cultural Identity; Bourdieu, Pierre AB: Abstract Examines the raregroove music & dance scene of the 1980s to ascertain how black women in the UK make choices with regard to music in an effort to articulate the plurality of their identities. Raregroove music is described as an eclectic mix of black musical genres that arose in London, England, at warehouse parties & on pirate radio stations. Drawing on the work of Pierre Bourdieu (1977), it is suggested that the participation of black women in the raregroove music scene was s subversive response to a totalizing definition of female black identity. The multicultural character of this music scene was particularly attractive to black women intent on transgressing homogeneous ideas of black & female activities & roles. However, their struggles & choices cannot be compared to those of black women in other subcultures, as each group was responding to specific socioeconomic & cultural circumstances. It is concluded that this more complex theorizing of black & female identity more correctly located them in the contradictory locations that define their experience. 33 References. D. Ryfe. IB: ISBN 0415152895 NT: Notes Edition date: 1997 LA: Language English PY: Publication Year 1997 PT: Publication Type Book Chapter (bca) CL: Classification 2959 feminist/gender studies; feminist studies. 0410 group interactions; social group identity & intergroup relations (groups based on race & ethnicity, age, & sexual orientation) UD: Update 199912 AN: Accession Number 9912325 Record 32 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Adorno, Jazz and Racism: "Uber Jazz" and the 1934-7 British Jazz Debate AU: Author Wilcock, Evelyn SO: Source Telos, 1996, 107, spring, 63-80 IS: ISSN 0090-6514 DE: Descriptors *Adorno, Theodor Wiesengrund; *Popular Culture; *Music; *Racism; *Critical Theory; *Great Britain; Intellectual History AB: Abstract Interprets Theodor W. Adorno's essay, "Uber Jazz" (1936), in terms of broader British debates concerning racism & popular culture & in terms of the state of Adorno's concerns at the time. Adorno argued that jazz was closely associated with the commercial music industry, &, to the extent that this industry confined jazz musicians to playing music that attracted largely wealthy, white audiences, it was a racist form of music. This interpretation is contextualized in terms of Adorno's experience of discrimination as a Jew in Germany & in terms of the racist music scene that greeted him when he became an exile in GB. Adorno's critique of the conventional depiction of jazz as black music identified a central tension in the relation between ethnicity, aesthetics, & social subordination that still resonates today. D. M. Smith. CD: CODEN TLOSA4 LA: Language English PY: Publication Year 1996 PT: Publication Type Journal Article (aja) CP: Country of Publication United States CL: Classification 1331 sociology of language and the arts; sociology of art (creative & performing). 2580 radical sociology; critical sociology UD: Update 199812 AN: Accession Number 9801584 JV: Journal Volume 107 JP: Journal Pages 63-80 Record 33 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Neighborhood Change and Identity Construction in an Artist's Scene: The Case of Wicker Park AU: Author Lloyd, Richard; Straughn, Jeremy AF: Affiliation Dept Sociology U Chicago, IL 60637 SO: Source American Sociological Association (ASA), 1996 DE: Descriptors *Neighborhoods; *Neighborhood Change; *Chicago, Illinois; *Subcultures; *Artists AB: Abstract During the first half of the 1990s, Wicker Park, a historically working-class neighborhood of Chicago, IL, achieved significant local & national celebrity as a thriving artists' community & music scene. Proclaimed by mass media outlets such as Billboard Magazine & the New York Times to be among the premier sites of avant-garde cultural production in the US, Wicker Park has undergone a remarkable image or identity transformation from an obscure, largely Hispanic & white ethnic working-class district in the 1980s to the definitive "Bohemian" center of Chicago in the 1990s. Some of the factors & processes that led to the national acclaim accorded to Wicker Park since the early 1990s are examined, tracing the neighborhood's development from the artistic invasion of the 1980s & the emergence of requisite support institutions to its emergence as an artists' scene recognizable to insiders & outsiders alike. Discussed in conclusion are the processes that characterize the scene as a more or less definable subculture & also make it susceptible both to identity dilution by new incoming residents & to gentrification. EA: Email Address [mailto:lloyd@cicero.uchicago.com] NT: Notes Complete paper available from Sociology*Express. Prepaid orders only. Telephone: (800) 752-3945 or (858) 695-8803. Fax: (858) 695-0416. E-mail: info@csa.com LA: Language English PY: Publication Year 1996 PT: Publication Type Conference Paper (acp) ID: Identifiers artists' community/music scene development, 1990s Wicker Park neighborhood, Chicago, Illinois, identity transformation CL: Classification 1218 urban sociology; urban sociology UD: Update 199612 AN: Accession Number 96S32592 Record 34 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Writing, Ranting, and Riot Grrrls: Third Wave Feminism and the Politics of Underground Culture AU: Author Duncombe, Stephen Ross AF: Affiliation State U New York Coll, Old Westbury 11568-0210 [Tel: 516-876-3104 SO: Source Society for the Study of Social Problems (SSSP), 1995 DE: Descriptors *Feminism; *Young Adults; *Group Identity; *Underground Movements; *Membership; *Youth Culture; *Subcultures; *Politics; *Females AB: Abstract Explores the identity formation & possible political impact of a network of young women who call themselves Riot Grrrls. With one foot in the underground cultural music scene of the 1980s & one foot in the long tradition of feminism, these women have formed a loose network, expressing themselves through the modern underground press: Zines. Using examples from zines as well as interviews with participants, an attempt is made to define what it means to be a Riot Grrrl, & investigate the role that zines, & the network of which they are part, play in these women's lives. Particular focus will be paid to the interaction between the politics of feminism & social movements, & those of bohemian culture, & the potentialities & problems that result. The discussion is situated within the larger question of the efficacy of cultural politics within an advanced capitalist society that seems to thrive on cultural innovation & dissent. EA: Email Address [mailto:srdgc@cunyvm.cuny.edu] LA: Language English PY: Publication Year 1995 PT: Publication Type Conference Paper (acp) ID: Identifiers identity formation/political impact, Riot Grrrls group; interviews CL: Classification 2959 feminist/gender studies; feminist studies UD: Update 199512 AN: Accession Number 95S31207 Record 35 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music AU: Author Straw, Will AF: Affiliation School Studies Art & Culture Carleton U, Ottawa Ontario K1S 5B6 SO: Source Cultural Studies, 1991, 5, 3, Oct, 368-388 IS: ISSN 0950-2386 DE: Descriptors *Popular Culture; *Entertainment Industry; *Subcultures; *Music; *Communities AB: Abstract A theoretical perspective is offered on music's involvement in the complex construction & mediation of meaning, affect, & relevancy, contending that the opposing concepts of a musical scene & a musical community are instrumental in explaining the fragmentation of heartland rock by age & taste factors. The musical scene is a continually evolving, pluralistic aggregation of musical differences, while the musical community is found among a stable population group committed to various permutations within a particular musical idiom. The recent trends in dance music & alternative rock are interpreted within these concepts. While no one particular rock idiom can replace the classic format that flourished in the 1960s-1970s, the notion of musical scene is appropriate to describe the myriad of current rock styles competing for a greater listener base. Dance-based pop, alternative rock, heavy metal, hip-hop, & rap all appeal to specialized segments of the listening public. Alternative rock music enshrines specific forms of connoisseurship with links to musical communities. 22 References. J. Sadler. CD: CODEN CUSTE9 LA: Language English PY: Publication Year 1991 PT: Publication Type Journal Article (aja) CP: Country of Publication United Kingdom ID: Identifiers rock music evolution/fragmentation, changing popular music scene/audience CL: Classification 1331 sociology of language and the arts; sociology of art (creative & performing) UD: Update 199212 AN: Accession Number 92Z2812 JV: Journal Volume 5 JI: Journal Issue 3 JP: Journal Pages 368-388 Record 36 of 38 DN: Database Name CSA Sociological Abstracts TI: Title The Purifiers of Rock OT: Original Title Les Purificateurs du rock AU: Author Seca, Jean-Marie AF: Affiliation U Reims, F-51097 Cedex France SO: Source Cahiers Internationaux de Sociologie, 1991, 38, 90, Jan-June, 121-130 IS: ISSN 0008-0276 DE: Descriptors *Paris, France; *Popular Culture; *Music; *Marginality; *Psychosocial Factors; *Subcultures; *Social Processes AB: Abstract In a discussion of the proliferation of marginal cultures & their underlying psychological & social processes, it is suggested that because of their complexity & the prevalence of moral relativism, contemporary social systems create an "acid state," defined as an identity adrift. This acid state affects all social groups to different degrees according to age & amount of cultural & economic pressure experienced. Here, drawing on ethnographic data from participant observation of the Paris (France) rock scene in 1982-1986, involving interviews with 106 noncommercial groups, it is suggested that the behavior of rock minorities epitomizes the acid state, by reflecting social & cultural reconstruction processes, in a world permanently deconstructed. Drawing an analogy with the Protestant sects described by Max Weber, both the individualist character of these neoritual practices & the importance of proliferating marginally cultural experiences in contemporary social systems are highlighted. A typological framework for amateur rock activities in France is suggested based on the theory & methodology described. AA Tr & Modified by J. Sadler. CD: CODEN CISOB9 LA: Language French PY: Publication Year 1991 PT: Publication Type Journal Article (aja) CP: Country of Publication France ID: Identifiers marginal cultures, underlying psychological/social processes, proliferation; 1982-1986 ethnographic data; rock music scene, Paris, France CL: Classification 0850 mass phenomena; popular culture UD: Update 199212 AN: Accession Number 92Y3328 JV: Journal Volume 38 JI: Journal Issue 90 JP: Journal Pages 121-130 Record 37 of 38 DN: Database Name CSA Sociological Abstracts TI: Title When the Sinners Remake the French Revolution $... OT: Original Title Quand les Sinners referont la Revolution francaise $... AU: Author Saucier, Robert SO: Source Communication et Information, 1986, 8, 2, Aug-Sept, 50-81 IS: ISSN 0382-7798 DE: Descriptors *Quebec; *Popular Culture; *Music AB: Abstract The popular music scene in Quebec in the 1980s is examined. Rock groups & their fans have undergone rapid transformations, but these "generation gaps" between successive waves of pop music are recognized reluctantly, or not at all, by those who promote & regulate the music business. Reasons for this situation & its relevance for the decline in the industry are discussed, drawing on experience as a researcher for Radio Quebec. 3 Tables, 2 Graphs. Modified HA. CD: CODEN CNFODF LA: Language French PY: Publication Year 1986 PT: Publication Type Journal Article (aja) CP: Country of Publication Canada ID: Identifiers popular music scene, Quebec; 1980s CL: Classification 1331 sociology of language and the arts; sociology of art (creative & performing) UD: Update 198712 AN: Accession Number 87R7916 JV: Journal Volume 8 JI: Journal Issue 2 JP: Journal Pages 50-81 Record 38 of 38 DN: Database Name CSA Sociological Abstracts TI: Title Rock Music and Social Change, 1953-1978 AU: Author Burton, Thomas L AF: Affiliation U Alberta, Edmonton T6G 2E1 SO: Source Loisir and Societe/Society and Leisure, 1985, 8, 2, fall, 665-683 IS: ISSN 0705-3436 DE: Descriptors *Popular Culture; *Music; *Social Change; *Western Society AB: Abstract The evolution of rock music & its relationship to social change from 1953 to 1978 are examined. Following its emergence on the popular music scene in 1953, rock music appears to have gone through three stages of development: the struggle for acceptance (1953-1959); acculturation & assimilation (1958-1970); & diversification & fragmentation, (1968-1978). These stages are outlined by reference to dominant motifs & performers, & then related to general changes in Western (especially US) society during the period. The evolution of the music does not explain the changes, nor vice versa; but there does appear to be considerable correlation between broad social development & the evolution of the musical form. 1 Table, 7 References. Modified HA. CD: CODEN LOSODG LA: Language English PY: Publication Year 1985 PT: Publication Type Journal Article (aja) CP: Country of Publication Canada ID: Identifiers rock music evolution, social change implications; 1953-1978 CL: Classification 0850 mass phenomena; popular culture UD: Update 198612 AN: Accession Number 86Q9921 JV: Journal Volume 8 JI: Journal Issue 2 JP: Journal Pages 665-683