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The authors investigate how American and Dutch rock music consumers navigate the whiteness of rock music practice and discourse. In doing so, they address the complex connection between aesthetic categories (popular music) and ethnoracial categories and to what extent this relationship is open or resistant to structural change.
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Beginning with President Trump’s speech against the national anthem protestors in September 2017, the authors consider how external sociopolitical events interacted with the network structure of the 2017 National Football League (NFL) to alter the salience of member identities and the resultant patterns of protest activity within the league. Using group membership data on the full population of 2,453 football players, the analysis tracks protest participation by membership in race and status groups and by the network variables of degree, betweenness, and closeness centrality.
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In a time of shrinking newsrooms, newspaper closings, fake news, alternative facts and outrage, and incursion from outsiders, why does professional journalism matter anymore? How can journalists, looking to defend their profession and the news they produce, claim authority over truth and fact? Michael Schudson engages these questions in Why Journalism Still Matters, a collection of writings on the value of today’s journalism for today’s democracy.
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Jody Agius Vallejo sits down with immigrant rights activist and attorney, Lizbeth Mateo.
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Using data from interviews with self-identified climate change skeptics, it becomes clear that there is a public misperception about climate change skepticism. Skeptics are concerned about pollution, support environmentally friendly policies, and oppose continued reliance on oil. Current climate change communication is problematic; here, we explore the policies that garner skeptics’ support.
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Domestic employment requires unique physical proximity of bodies from different social classes, and often from different racial and ethnic backgrounds. Despite the physical closeness, different strategies are used to reproduce class hierarchies among people, resulting in embodied inequality.
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Research on the dynamics of social change is often framed by what Damon Centola refers to in his new book How Behavior Spreads: The Science of Complex Contagions as “the convenience of classical epidemiological tropes” (p. 173) in which “contagions” spread from infected to susceptible individuals through interaction. Social networks became alluring to use in conjunction with this epidemiological frame because the two together evoke the determinism of electrical wiring, with charges traveling paths (ties) structured by the location of switches (nodes) in the line.
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This article expands on my presidential address to further bolster the case that sociology has, from its inception, been engaged in social justice. I argue that a critical review of our discipline and our Association’s vaunted empiricist tradition of objectivity, in which sociologists are detached from their research, was accomplished by a false history and sociology of sociology that ignored, isolated, and marginalized some of the founders.
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Standard narratives on the relationship between art and urban development detail art networks as connected to sources of dominant economic, social, and cultural capital and complicit in gentrification trends. This research challenges the conventional model by investigating the relationship between grassroots art spaces, tied to marginal and local groups, and the political economy of development in the Chicago neighborhood of Pilsen. Using mixed methods, I investigate Do‐It‐Yourself and Latinx artists to understand the construction and goals of grassroots art organizations.
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This article analyzes how four Black musical artists make “quiet,” or the inner life of African Americans, legible. Specifically, we consider ways that the quiet found within the lyrics of recent acclaimed albums from two hip-hop artists and two neo-soul artists—Kendrick Lamar’s DAMN (2017) and Rapsody’s Laila’s Wisdom (2017), Solange’s A Seat at the Table (2016) and Maxwell’s blackSUMMERS’night (2016), respectively—offer subtle, quotidian challenges to oppression, dehumanization, and objectification.
