Author Archives: WR Force

Book Review—The Cosmopolitan Canopy: Race and Civility in Everyday Life by Elijah Anderson

In his newest book, Elijah Anderson turns his micro-sociological attention to those places in the modern US city that foster racial understanding and harmony. In The Cosmopolitan Canopy Anderson claims that a pluralistic embrace of social difference is supported most readily by the titular “canopies” that he explores in contemporary Philadelphia. Over the span of an astounding thirty years of observation, Anderson attempts to convey an image of how people “live race” (xvi) in ways that challenge old forms of inequality.

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Another Two Cents on England (and Crawley): Masculinity, Culture, and Tucson

As is often the case with graduate students, I just spent several months in a dissertation-induced haze and only recently had a chance to go through the latest issues of Gender & Society. Among these was the February 2011 issue that included a symposium on Paula England’s 2010 article on the “uneven/stalled gender revolution.” England’s over-reliance on the structural and institutional aspects of gender was underscored by several savvy pieces of Sociology, including a response by Sara Crawley that emphasizes the cultural and micro-level pieces of the puzzle. Crawley takes England and other scholars to task for the assumption that institutionally-derived identity frames (such as mother, principal, or senator) are more specific and organized than those identities not bound directly to a single institution (i.e. race, class, gender, sexuality, subculture—or, “cultural identities”). The latter identity projects may be more diffuse but are arguably omni-relevant: their meaning is embedded in all social action.

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The Black Keys: Keeping It Real

Dan Auerbach of The Black Keys, from Wikimedia Commons

The Black Keys are one of the most familiar bands in rock music right now. In addition to being popular and well-liked in indie rock and hipster circles, their moody sound is ubiquitously present in an array of TV ads (like Zales and Cadillac) and film (Twilight Saga: Eclipse) soundtracks. In a recent Fresh Air episode (January 31, 2011) host Terry Gross asks the two members of The Black Keys, Dan Auerbach and Patrick Carney, if they had been accused of “selling out” as a result of their willingness to allow their music to be used in the hocking of commercial products like underwear or big budget vampire films. What struck me as Sociologically interesting in this question is the assumption that The Black Keys, as opposed to Sting or Katy Perry, should experience the commercialization of their music as problematic.

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