Color Line

Purpose The purpose of this paper is to provide an in-depth consideration of the color line in the US music market, much deeper treatment than that of a superficial social construct. Design/methodology/approach Content analysis was performed using archives from the Performing Arts Division of the New York Public Library. Findings A complex intersection of social and capitalist influences is fueled by culture and economics, filtered through the contributions of artists and media. Six major categories: social, media, artist, culture, industry, and economics contribute to its development and propagation. It continues to affect contemporary music markets. Research limitations/implications Interpretation of archival data is subject to availability of material and subjectivity of the researcher. Steps were taken to minimize bias. The research implies an opportunity for the US music market to celebrate diversity and social justice. Practical implications Focusing on the symbolic use of mus...

Langston Hughes' essay “The Negro Artist and the Racial Mountain,” takes a socio
-economic perspective and displays how Negro artists are compelled to reject their heritage and culture to advance their notoriety and careers thus, systematically augmenting the notion of white superiority and further subverting the inclination of racial individuality.

Buck, Christopher. “David Bottoms.” American Writers, Supplement XXVIII. Ed. Jay Parini. Farmington Hills, MI: Charles Scribner’s Sons/The Gale Group, 2018. Pp. 21–36. ISBN-13: 978-0684325170. (Published/Released September 2017.)

EXCERPT
A particularly poignant poem is “Stumptown Attends the Picture Show,” which, as the poet indicates right after the title, is “on the first attempt at desegregation in Canton, Georgia” (AH, p. 14):
______________
Word has come and Martha the ticket girl
stands behind the candy counter
eating popcorn and smoking Salems.
Beside her the projectionist,
having canned the Vivien Leigh
and come downstairs to watch the real show,
leans folding chairs against the theater doors,
guards his glass counter
like saloon keepers in his Westerns
guard the mirrors hung above their bars.

Outside, good old boys line the sidewalk,
string chain between parking meters
in front of the Canton Theater,
dig in like Rebs in a Kennesaw trench.
From the street, policeman and sheriff’s deputies
address their threats to proper names,
try to maintain any stability.
Someone has already radioed the State Boys.

Through the glass door Martha watches
the moon slide over the Jones Mercantile.
In front of Landers’ Drugstore
a streetlight flickers like a magic lantern,
but Martha cannot follow the plot,
neither can the projectionist.

Only one thing is certain:
elements from different worlds are converging,
spinning toward confrontation,
and the State Boys are winding down some country road,
moving in a cloud of dust towards the theater marquee.
______________
This poem never attracted the attention and critical claim that it rightly deserves. It is a masterpiece of understatement, an almost casual look at profound social change in progress, to which the ticket girl and projectionist are oblivious (“but Martha cannot follow the plot, / neither can the projectionist”).

In an almost documentary fashion, “Stumptown Attends the Picture Show” is a showpiece exemplifying the prevailing social “reptile brain” among many white Americans in the Deep South, so steeped as it was in racial prejudice. It is almost a perfect poem as a snapshot of that time and place, where Canton, Georgia, represents America at large.

The actual event took place on Monday, August 11, 1964, as four young African American men attempted to integrate the Canton Theater on Main Street. “Stumptown” is the nickname for an African American section of Canton, where David Bottoms grew up. We are never shown the attempted desegregation of the local movie theater (presumably by unnamed African Americans from Stumptown), but only the prelude (which could well have been the result of a wild rumor).

The siege mentality is strikingly depicted, and the poem’s ending—“Only one thing is certain: / elements from different worlds are converging, / spinning toward confrontation”— is as close as Bottoms ever comes to outright social commentary. …

Available in the Gale Virtual Reference Library (GVRL) database:

Purpose
The purpose of this paper is to provide an in-depth consideration of the color line in the US music market, much deeper treatment than that of a superficial social construct.

Design/methodology/approach
Content analysis was performed using archives from the Performing Arts Division of the New York Public Library.

Findings
A complex intersection of social and capitalist influences is fueled by culture and economics, filtered through the contributions of artists and media. Six major categories: social, media, artist, culture, industry, and economics contribute to its development and propagation. It continues to affect contemporary music markets.

Research limitations/implications
Interpretation of archival data is subject to availability of material and subjectivity of the researcher. Steps were taken to minimize bias. The research implies an opportunity for the US music market to celebrate diversity and social justice.

Practical implications
Focusing on the symbolic use of music, marketers have the opportunity to empower consumers to embrace diversity, reversing the trajectory of the color line.

Social implications
Embracing cultural heritage and celebrating diversity can promote economic gain without detriment to cultural interests.

Originality/value
The present research provides a much deeper consideration of the color line in the American Music Market than previous literature does. The consideration includes a combination of forces, from profit focused to cultural.

Given Marx’s “stages” view of world history and western-Europe-centric empirical expectation of a socialist revolution, it was not exactly obvious how to adopt socialist idea(l)s to the socioeconomic and -politica realities of Russia, eastern Europe, or China. The socialist “bloc’s” post-1960 commitment to a global-progressive reading of the victories of the anti-colonial struggles and their outpouring of interest in what was called the recently independent “Third World” produced new challenges and exciting new opportunities for cosmopolitan intellectuals in the “eastern bloc.” This paper attempts a brief reconstruction of some of the resulting puzzles and attempted interpretations as they emerge from a fascinating and intellectually compelling book outlining a socialist reading of two years’ experiences by the first Hungarian journalist ever to be stationed permanently in equatorial Africa—specifically, in Accra, the capital of Kwame Nkrumah’s post-independence Ghana.

Purpose The purpose of this paper is to provide an in-depth consideration of the color line in the US music market, much deeper treatment than that of a superficial social construct. Design/methodology/approach Content analysis was performed using archives from the Performing Arts Division of the New York Public Library. Findings A complex intersection of social and capitalist influences is fueled by culture and economics, filtered through the contributions of artists and media. Six major categories: social, media, artist, culture, industry, and economics contribute to its development and propagation. It continues to affect contemporary music markets. Research limitations/implications Interpretation of archival data is subject to availability of material and subjectivity of the researcher. Steps were taken to minimize bias. The research implies an opportunity for the US music market to celebrate diversity and social justice. Practical implications Focusing on the symbolic use of mus...

Mass media consumption has increased markedly in recent years. One unintended consequence of this increase is the proliferation of risky consumption, including online and offline pornography. Although the literature has noted a series of predictive variables (age, gender, ethnicity, socioeconomic status, and family structure), recent studies have suggested including values and lifestyles as relevant factors in consumption decisions. The objective of the present study was to examine whether adolescents’ lifestyles were relevant predictors of the consumption of pornography both on the Internet and in magazines or videos. A cross-sectional observational study design that included a representative sample of 9,942 Colombian adolescents (Mage=14.93, SD=2.47) was used. To control the effects of sociodemographic, structural, and individual variables, their lifestyles were examined using a multiple regression analysis and mediation analysis. The results indicated that a positive intrafamilia...