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Panic cord g fresh download12/23/2023 Analysis of transcripts from one-to-one interviews with participants (pupils) aged 11–17 years reveals various ways in which music-making facilitated positive change such as increased confidence, improved attitudes towards teachers and peers, feelings of calm, and better communication skills. This paper comprises a small-scale, qualitative study of one such intervention in a secondary school in the South of England. Resulting research has often highlighted the social, psychological and emotional benefits involved although few studies have explored the connections between music-making and mentoring with young people in educational contexts. In recent years a plethora of arts-based projects and interventions targeting marginalised children and young people have emerged a number of which have focussed specifically on music-making. By examining Rachel Bloom’s edgy and jarring appropriation of a pop-cultural artistic convention together with the ancient practice of embedding songs in the Hebrew Bible, I hope to deepen insights gained from both of the comparanda, particularly regarding the construction and consciousness of one's Self and Others. The analysis pairs three biblical women’s songs with songs from Season 1 of CXG: Miriam’s Song of the Sea (Exod 15) with “Flooded with Justice” Deborah’s victory song (Judges 5) with “Women Gotta Stick Together” and Hannah’s prayer (1 Sam 2) with “JAP Battle Rap.” The socio-literary and cultural textual analysis is informed by feminist studies and adapts the critical approaches of “reciprocal illumination” and “weak comparison” from contemporary religious studies. It highlights aspects of embedded song pertaining to (un)reality, imagination, canon, and social consciousness. This article compares the interjection of songs in CXG and in biblical narratives. The use of song is a key feature of the innovative television musical dramedy Crazy Ex-Girlfriend (CXG). This study shows how the legitimization of new cultural boundaries demands an interplay between social distinction and moralization. All three pathways resonate strongly with new middle-class dispositions. news articles on binge-watching (n: 681), we discern three pathways through which intensive video-on-demand watching is reframed: first, the shows that are binge-watched are high quality second, binge-watching can be controlled, at least by the right type of audiences and third, binge-watching is fun, in that if undertaken in moderation, it can be good for viewers. Through inductive and deductive coding of U.S. We argue that moral panic is not only a strategy that can be employed to condemn cultural practices, but by deflecting moral concerns through mechanisms of social distinction, it can also allow intermediaries to normalize new cultural phenomena. The current study takes “binge-watching” as a discursive anchor point to investigate this process. This often takes place by raising moral panic, as it draws attention to new cultural practices and asks tastemakers to take a stance. When novel consumption behaviors emerge, cultural intermediaries may be mobilized to make sense of it and potentially legitimize it. The rise of video-on-demand streaming services has facilitated more intensive television watching. This paper presents an effort in cultural criminology to make sense of this episode in the social control of music and argues that a historical approach to moral panics, conceived as cultural struggles, has important analytical advantages because of its relative detachment from the immediacy of an intensely debated social concern. The moral panic faded rather quickly after a warning label for music recordings was adopted, which remains in place today. Senate and produced an intense debate, involving members of the community and musicians, litigation in the courts and legal discussions, police actions, as well as research by academic experts. Instigated by the Parents Music Resource Center (PMRC), a voluntary group set up in 1985 by several politically well-connected women, this peculiar chapter in the control of music led to a hearing in the U.S. Informed by a moral panic perspective, I analyze the music labeling debate in the United States from the mid 1980s until the early 1990s.
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