Rethinking the American Public

2020 ◽  
pp. 139-154
Author(s):  
Christopher Chávez

National Public Radio (NPR) was designed with two clear mandates: to engage listeners more directly in civic discourses and to represent the diversity of the nation. The degree to which NPR has delivered on these mandates has been a point of contention. Critics of NPR have argued that, by creating programming for white, middle-class boomers, NPR has consistently served an audience that is already inclined to engage civically. In recent years, however, profound demographic change has put NPR at odds with an American electorate that is becoming increasingly culturally, ethnically, and linguistically diverse. In this chapter, the author explores how NPR defines its ideal Latinx listener and the resources it invests in creating relevant programming for that listener. At 18 percent of the US population, Latinxs are becoming an increasingly important part of the American electorate that NPR is tasked with serving. Based on interviews with public radio practitioners and a review of NPR and Corporation for Public Broadcasting (CPB) strategic documents, the author argues that NPR has defined its ideal Latinx listener in ways that are congruent with its current target-audience profile. Such targeting practices have important implications for who gets to participate in civic discourses and who is excluded.

2020 ◽  
Vol 17 (1) ◽  
pp. 112-135 ◽  
Author(s):  
Shelley Cobb

This article argues that cis, hetero, abled, middle-class, white men – as a group and as an identity category – are the structuring absence of inequality discourse and, as a consequence, it is ‘diverse’ persons who bear both the burden of and any hope for changing the film industry. By ‘re-reading’ gender inequality data, diversity initiatives and inclusion rhetoric, this article shows the ways in which they elide men's domination of the film industry and perversely reinforce it as the norm. Articulating how data on gender representation behind the camera can both illuminate inequality and be used to obfuscate it, the article looks closely at selected reports in order to see what they do and do not tell us about gender inequality and the unequal presence of men in the industry. As the dominating demographic of the film-making workforce, the white middle-class male is also the structuring absence of the inclusion rhetoric which maintains the status quo of inequality in the film industry by interpellating ‘diverse’ persons as outsiders who must gain the attention of the white middle-class men who may or may not choose to include them.


2021 ◽  
Vol 12 ◽  
Author(s):  
Jeffrey M. Rogers ◽  
Kirsten E. Smith ◽  
Justin C. Strickland ◽  
David H. Epstein

Kratom products available in the United States are becoming increasingly diverse both in terms of content and in terms of how they are marketed. Prior survey research indicates that kratom has been primarily used in the US to self-treat anxiety, depression, pain, fatigue, and substance use disorder (SUD) symptoms. Kratom is also well-known for its use as a short- or long-term full opioid agonist substitute. Therefore, use may be greater in regions particularly impacted by addiction to prescription opioids. Use may also be greater in demographic groups targeted by media outlets (such as specific podcasts) in which kratom is touted. Here, we aimed to determine whether lifetime and past-year kratom use were associated with region of residence and with being young, White, post-secondary educated, and employed. To strengthen confidence in our findings, we analyzed data from two sources: our own crowdsourced online convenience sample and the 2019 National Survey on Drug Use and Health (NSDUH). In our sample (N = 2,615), 11.1% reported lifetime and 6.7% reported past-year kratom use, and the odds of kratom use were higher among people who were White, younger, at least high school educated, employed, and above the poverty line, as well as those reporting nonmedical opioid use, past-year SUD, or lifetime SUD treatment; residence was not a significant predictor. In NSDUH data, suburban residence and other demographic factors, concordant with those from the crowdsourced sample, were associated with kratom use. Taken together, the findings support a general “White middle-class suburban” profile of the modal kratom user, but more research is needed to understand it. In the interim, focus should be on our finding that lifetime nonmedical opioid use was associated with an up to five times greater likelihood of past-year kratom use, suggesting that drug-use history may presently be the strongest predictor of kratom use.


2016 ◽  
Vol 1 (2) ◽  
pp. 143-158
Author(s):  
Ayesha Sharma

The author argues that the mainstream US feminist historical documentation framework—the feminist waves—have organized feminist history to primarily record historical events that involve high status women (i.e white middle-class cisgender women). This paper dissects the feminist waves to suggest that their key events and actors represent the centering of a socially privileged group. The author analyzes the framework to understand the ways in which the waves may encourage this privileging—largely through the erasure and exclusion of the personal and political truths of the most vulnerable feminists and their satyagraha against intertwining inequalities at the grassroots.


Res Rhetorica ◽  
2020 ◽  
Vol 7 (2) ◽  
Author(s):  
Alexander Ruser

Radio and television broadcasters accuse climate scientists of “promoting a global warming hoax”, recommending that they be “named and fi red, drawn and quartered” (Rush Limbaugh); commit “hara kiri” (Glenn Beck); and be “publicly flogged” (Mark Morano). Conservative media are crucial in promoting climate skepticism. Likewise, climate skepticism resonates well with white middle-class men. But why does the middle class continue to support “radical” positions? This article focuses on Anti-Intellectualism to explain why climate skeptic rhetoric resonates with “Middle American Radicals” (MARS).


2021 ◽  
Vol 49 (2) ◽  
pp. 222-230
Author(s):  
Ronit Elk ◽  
Shena Gazaway

AbstractCultural values influence how people understand illness and dying, and impact their responses to diagnosis and treatment, yet end-of-life care is rooted in white, middle class values. Faith, hope, and belief in God’s healing power are central to most African Americans, yet life-preserving care is considered “aggressive” by the healthcare system, and families are pressured to cease it.


2012 ◽  
Vol 22 (1) ◽  
pp. 79-115 ◽  
Author(s):  
Martin Scanlan

This study creates life history portraits of two White middle-class native-English-speaking principals demonstrating commitments to social justice in their work in public elementary schools serving disproportionately high populations of students who are marginalized by poverty, race, and linguistic heritage. Through self-reported life histories of these principals, I create portraits that illustrate how these practitioners draw motivation, commitment, and sustenance in varied, complicated, and at times contradictory ways.


Popular Music ◽  
2016 ◽  
Vol 36 (1) ◽  
pp. 55-74
Author(s):  
Tom Perchard

AbstractThis article takes an imagined, transnational living room as its setting, examining jazz's place in representations of the ‘modern’ middle-class home across the post-war West, and exploring the domestic uses that listeners both casual and committed made of the music in recorded form. In magazines as apparently diverse asIdeal Homein the UK andPlayboyin the US, a certain kind of jazz helped mark a new middlebrow connoisseurship in the 1950s and 60s. Yet rather than simply locating the style in a historical sociology of taste, this piece attempts to describe jazz's role in what was an emergent middle-class sensorium. The music's sonic characteristics were frequently called upon to complement the newly sleek visual and tactile experiences – of furniture, fabrics, plastics, the light and space of modern domestic architecture – then coming to define the aspirational bourgeois home; an international modern visual aesthetic was reflected back in jazz album cover art. But to describe experience or ambience represents a challenge to historical method. As much as history proper, then, it's through a kind of experimental criticism of both music and visual culture that this piece attempts to capture the textures and moods that jazz brought to the postwar home.


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