Whenever we, as humans, find ourselves in a different social environment than the one we are used to, two conflicting interests seem to influence our behaviour: The social driving force, on the one hand, to integrate into said new environment, which oftentimes includes the adoption of a new culture, different values, lifestyles or even identities, supposedly stems from our desire to be part of a group. On the other hand, however, most people particularly value their individuality and only very reluctantly relinquish their own customs or culture. This very conflict of integration versus individuality also has a bearing on Gordon Sumner, known as the famous British singer and songwriter Sting, who was exposed to an unfamiliar sociocultural environment …show more content…
In making contact with others, we find out more about ourselves, as we are forced to challenge seemingly normal behavioural patterns and customs we have taken for granted. But Sting’s song goes beyond this conflict and also questions hegemonic perceptions of nationality, sexuality and gender. I aim at demonstrating how Sting deals with these concepts and, as a second step, attempt to deconstruct them in order to gain a better understanding of their impact. The song “Englishman in New York” operates on four distinctive levels or layers so to speak that have to be peeled off in order to penetrate to the core. From a methodological standpoint, a four-layer-analysis allows me to examine the individual content of each layer as well as to demonstrate how they are intertwined and act together in the process of delivering the essential message: Sting critically disputes prevalent patterns in society that propagate an imbalanced view on nationality, gender, and sexuality. Furthermore he draws attention to their underlying ideology in his agenda to promote the acceptance of different lifestyles and appreciation of
Alice Pung’s memoir highlights the cultural divide and explores it through the eyes of youth, reflecting upon the indentations her culture has made upon
In the reading by Peter Redman, he raises the argument that the ‘AIDS carrier” becomes the central representation of the HIV epidemic and how the representations of HIV cannot be narrowed down to one cause. In addition, the ‘AIDS carrier’ is represented as monster and the carrier spreads HIV from the deviant subpopulations to the mainstream. Also, AIDS has been connected to social and moral issues and singles out groups like gay men, black people, and young single women. These groups are then viewed as diseased subpopulations and that causes others to feel disgust and panic. The heterosexual men are then afraid to have physical or emotional contact with men in general and that’s why boundaries of heterosexual masculinity were produced.
In a time where sampling is a staple of hip-hop and other predominant, modern genres, it is not unreasonable for an artist to take ownership of past artifacts, even those which once were oppressed or used for oppression, as a way to reclaim the artifact itself, to subvert it, or otherwise reconstitute meaning. When we examine remixing and sampling in pop music in an academic way, we must consider how it is consumed by and therefore affects a non-academic audience. Understanding the audience is foundational to communication, after all. Radio listeners will not necessarily know where sampled pieces originate from, let alone their original contexts. And those effects should be further examined in the future.
Robert Wood traveled to Uganda in search of how the AIDS crisis had effected the men and women in the town of Bwaise. In his book AIDS and Masculinity in the African City: Privilege, Inequality, and Modern Manhood, he found that this crisis along with growing women’s economic opportunities have posed a threat on men’s sense of masculinity. These men are experiencing an identity crisis within their life because ideals in their work, authority, and sexuality are beginning to shift. This threat to a man’s masculinity is not only in Bwaise, but also in America. Gender equality and feminism have been on the rise and some men have felt threated by it for the same reason the Bwaise men feel threatened; it takes away their power and masculinity.
Native Americans Native Americans are very different from other tribes. They eat, live, dress and do many things differently. The things I’m going to be talking about in my interesting paper is What they eat? What they wear? Where they live?
He believes “Self-acceptance is part of the ideal, but without familial and social acceptance, it cannot ameliorate the relentless injustices to which many horizontal identity groups are subject and will not bring adequate reform”
She achieves her aim in highlighting that the prohibitive laws which reduce people like her to mere sexual bodies is a psycho-social remnant of the colonial past. She addresses a number of audiences within the piece, including the human rights community, the governments of both her native Trinidad and Tobago and The Bahamas, and by extension all citizens of the Caribbean and wider world who have been disenfranchised by laws that diminish their humanity and highlight their perceived iniquity. The implication of her essay is clear: if not just any body can be a citizen, the democracy which we have set up is in need of some adjustment. It relates to us because it reminds us that for every time we deny any body rights, we have failed to live up to the principles on which are postcolonial societies are supposed to be
Carrying such powerful lines as “the world is big / big and bright and round / and it's full of folks like me” (Simone, 1967), Backlash Blues became a popular song in the civil rights movement, allowing African Americans to express their proudness and protest racism in a more accessible way. Freedom songs such as Backlash Blues were and are still so significant to African Americans as they “sustain as well as … publicise the struggle[s]” they face (Stefani, 2015). Furthermore,
David Berreby touches on man-kind’s need for a sense of belonging in “It Takes a Tribe”. More specifically, he takes on the sense of belonging that people invent at college. This need for association, no matter how trivial it may seem, has a large effect on the subconscious. Berreby argues that once an individual realizes that they have been placed in a union, they segregate themselves unknowingly against those not in the union. Berreby concludes that while people may not be passionate about all the groups they are placed in, the groups they identify with stay with them for life.
Moreover, often highlighted in the values of this society is
Taylor Swift wasn’t always the ‘feminist’ that she claims to be, before her ‘empowering’ award speeches and squads, the young icon said in an interview that she does not want to be called a feminist. Marketplace feminism, based on Zeisler’s book, We Were Feminists Once, is a form of “branding feminism as an identity that anyone can and could consume.” The boom of feminism in pop culture led Taylor Swift and many artists went with the ‘trend’ that is feminism. Yet, majority fail to discuss sensitive issues that the media might think will not go well the audiences.
Love has always been a complicated emotion to experience, let alone study; however, Denise Brennan has captured the complexity of performing love in her book What’s Love Got to do With it?. What’s Love Got to do With it?, traces the evolution of Sosua, a small coastal Dominican town, struggling to resolve its traditional understandings of Dominican identity with its growing role in the transnational tourism economy. Europeans, particularly Germans, flocked to Sosua in the early 1990s in search of an “exotic”, and often erotic paradise (68). The influx both Dominican migrants and European immigrants as well as their associated cultures, goods, and ideas converged allowing Sosua to take on a transnational identity which Brennan describes and
When we write we are often confronted with some sort of “rhetorical situation”. This term is best described as a combination of factors. There is a rhetor(s), an exigence, an audience, and specific constraints to consider when analyzing a text. Through an interview with Professor Funnell, who teaches a course that aims to explore the representation of women in various facets of popular culture, I identified how these elements contribute to Beyoncé’s song, Flawless, and consequently discovered how to better address future situations regarding other texts. Music is a way for people to send a message through the lyrics.
In “Music and Identity”, Simon Frith disagrees with the idea of homology. He goes against the traditional ideas of homology that states that music is solely an expression of culture. He argues that it goes in reverse and that, instead of social groups coming together and agreeing on values to express in music, that music helps social groups come together and express and agree on values which they might share. This is practically the opposite of the homology model. Frith supports his argument with comparisons to African American music, of the ‘race records’ among others.
A complimentary comment on another woman’s outfit can be detected as an invitation into a bond. ‘Hearing together’ is a way to ‘build social relationships’ as they develop into a medium that is sonically produced (Blesser, Salter 2009: 4). Feld suggests that sensing and knowing can be obtained through sounding and listening; no space is understood without perceiving a cultural framework, and for women their cultural framework can encapsulate experiences of being a woman (Feld 2015: 14). Bonds can be created through topics of the body such as menstrual cycles, sexual relations, women’s global issues, amongst topics of every other kind. A relationship may be built through a related understanding of the cultural constraints that they may grapple with due to forms of marginalization.