Music of the bars and clubs of Austin, Texas has long been recognized as defining one of a dozen or more musical "scenes" across the country. In Dissonant Identities, Barry Shank, himself a musician who played and lived in the Texas capital, studies the history of its popular music, its cultural and economic context, and also the broader ramifications of that music as a signifying practice capable of transforming identities. While his focus is primarily on progressive country and rock, Shank also writes about traditional country, blues, rock, disco, ethnic, and folk musics. Using empirical detail and an expansive theoretical framework, he shows how Austin became the site for "a productive contestation between two forces: the fierce desire to remake oneself through musical practice, and the equally powerful struggle to affirm the value of that practice in the complexly structured late-capitalist marketplace."

This book presents ideas, evidence and guidance for those interested in using the most recent advances in knowledge about learning and human development to enhance medical education's ability to form competent, caring and publicly responsible physicians. It does this by establishing the development of a professional identity in medical students and residents as a primary goal of medical education. This new approach is emerging from experience and experiment by medical educators articulating a new way of understanding their mission. It is an optimistic book - the voices are those of the leaders, theorists and experienced practitioners who have found in this new approach a promising way to confront the challenges of a new era in medicine. It summarizes the theoretical basis of identity formation, outlines our current knowledge of how best to assist learners as they acquire a professional identity, and addresses the issue of assessment of progress towards this goal.

This volume explores the ways in which music scenes are not merely physical spaces for the practice of collective musical life but are also inscribed with and enacted through the articulation of cultural memory and emotional geography. The book draws on empirical data collected in cites throughout Australia. In terms of understanding the relationship between music scenes and participants, much of the existing popular music literature tends to avoid one key aspect of scene: its predominant past-tense and memory-based nature. Nascent music scenes may be emergent and on-going but their articulation in the present is often based on past events, ideas and histories. There is a noticeable gap between the literature concerning popular music ethnography and the growing body of work on cultural memory and emotional geography. This book is a study of the conceptual formation and use of music scenes by participants. It is also an investigation of the structures underpinning music scenes more generally.

It goes without saying that identity has long been a recurrent topic in studies of American culture. The struggle between group sameness and individual uniqueness is a common issue in understanding diversity in the United States on several levels—including how our differences have not always resulted in national celebration. Terms such as “hybridity,” “performativity,” “transnationalism,” and “border zones” are part of the current theoretical vocabulary and, for some, deploy a fresh language of possibility, one promising to undermine the conformist values of monocultural perspectives. To that end, Culturcide and Non-Identity across American Culture explores theories and practices of identity from a broad perspective to grasp how varied, diffuse, and distorted they can be, especially when that identity seems boringly familiar. The subjects range from hip-hop parodies to punk preppies to pachuco-ska, thus crossing the lines of genre, medium, and discipline to blur the borderline dividing the kinds of texts to which these theories can “legitimately” be applied.

How are national identities constructed and articulated through music? Popular music has long been associated with political dissent, and the nation state has consistently demonstrated a determination to seek out and procure for itself a stake in the management of 'its' popular musics. Similarly, popular musics have been used 'from the ground up' as sites for both populist and popular critiques of nationalist sentiment, from the position of both a globalizing and a 'local' vernacular culture. The contributions in this book arrive at a critical moment in the development of the study of national cultures and musicology. The book ranges from considerations of the ideological focus of cultural nationalism through to analyses of musical hybridity and musical articulations of other kinds of identities at odds with national identity. The processes of global homogenization are thereby shown to have brought about a transitional crisis for national cultural identities: the evolution of these identities, particularly with reference to the concept of 'authenticity' in music, is situated within broader debates on power, political economy and constructions of the self. Theorizations of practice are employed after the manner of Bourdieu, Gramsci, Goffman, Gadamer, Habermas, Bhabha, Lacan and Žižek. Each contribution acts as a case study to characterize the strategies through which differing modes of musical discourse engage, critique or obscure discourses on national identity. The studies include discussions of: musical representations of Irishness; the relationship between Afropop and World Music; Norwegian club music; the revival of traditional music in Serbia; resistance to cultural homogeneity in Brazil; contemporary Uyghur song in Northwest China; rap and race in French society; technobanda from the barrios of Los Angeles, and Spanish/Moroccan raï. In this way, the book seeks to characterize the ideological configurations that help to activate and sustain hegemonic, ambivalent and dissident articulations of national identity and musical practices.

Identity is defined in many different ways in various disciplines in the social sciences and sub-disciplines within psychology. The developmental psychological approach to identity is characterized by a focus on developing a sense of the self that is temporally continuous and unified across the different life spaces that individuals inhabit. Erikson proposed that the task of adolescence and young adulthood was to define the self by answering the question: Who Am I? There have been many advances in theory and research on identity development since Erikson's writing over fifty years ago, and the time has come to consolidate our knowledge and set an agenda for future research. The Oxford Handbook of Identity Development represents a turning point in the field of identity development research. Various, and disparate, groups of researchers are brought together to debate, extend, and apply Erikson's theory to contemporary problems and empirical issues. The result is a comprehensive and state-of-the-art examination of identity development that pushes the field in provocative new directions. Scholars of identity development, adolescent and adult development, and related fields, as well as graduate students, advanced undergraduates, and practitioners will find this to be an innovative, unique, and exciting look at identity development.

This handbook provides an authoritative, up-to-date overview of the social psychology of group processes. The topics covered include group decisions, juries, group remembering, roles, status, leadership, social identity and group membership, socialization, group performance, negotiation and bargaining, emotion and mood, computer-mediated communication, organizations and mental health. Provides an authoritative, up-to-date overview of the social psychology of group processes. Written by leading researchers from around the world to provide a classic and current overview of research as well as providing a description of future trends within the area. Includes coverage of group decisions, juries, group remembering, roles, status, leadership, social identity and group membership, socialization, group performance, negotiation and bargaining, emotion and mood, computer-mediated communication, organizations and mental health. Essential reading for any serious scholar of group behavior. Now available in full text online via xreferplus, the award-winning reference library on the web from xrefer. For more information, visit www.xreferplus.com

Sonic Synergies: Music, Technology, Community, Identity focuses on the new and emerging synergies of music and digital technology within the new knowledge economies. Eighteen scholars representing six international perspectives explore the global and local ramifications of rapidly changing new technologies on creative industries, local communities, music practitioners and consumers. Diverse areas are considered, such as production, consumption, historical and cultural context, legislation, globalization and the impact upon the individual. Drawing on a range of musical genres from jazz, heavy metal, hip-hop and trance, and through several detailed case studies reflecting on the work of professional and local amateur artists, this book offers an important discussion of the ways in which the face of music is changing. Approaching these areas from a cultural studies perspective, this text will be a valuable tool for anyone engaged in the study of popular culture, music or digital technologies.

Throughout his career, Johnny Cash has been depicted—and has depicted himself—as a walking contradiction: social protestor and establishment patriot, drugged wildman and devout Christian crusader, rebel outlaw hillbilly thug and elder statesman. Leigh H. Edwards explores the allure of this paradoxical image and its cultural significance. She argues that Cash embodies irresolvable contradictions of American identity that reflect foundational issues in the American experience, such as the tensions between freedom and patriotism, individual rights and nationalism, the sacred and the profane. She illustrates how this model of ambivalence is a vital paradigm for American popular music, and for American identity in general. Making use of sources such as Cash's autobiographies, lyrics, music, liner notes, and interviews, Edwards pays equal attention to depictions of Cash by others, such as Vivian Cash's publication of his letters to her, documentaries and music journalism about him, Walk the Line, and fan club materials found in the archives at the Country Music Foundation in Nashville, to create a full portrait of Cash and his significance as a cultural icon.

An examination of Austin’s rapid economic and creative growth and local attitudes toward the Texas capitol’s transformation as an urban center. Austin, Texas, at the beginning of the twenty-first century, is experiencing one of the most dynamic periods in its history. Wedged between homogenizing growth and a long tradition of rebellious nonconformity, many Austinites feel that they are amid a battle for the city’s soul. From this struggle, a movement has emerged as a form of resistance to the rapid urban transformation brought about in recent years: “Keep Austin Weird” originated in 2000 as a grassroots expression of place attachment and anti-commercialization. Its popularity has led to its use as a rallying cry for local business, as a rhetorical tool by city governance, and now as the unofficial civic motto for a city experiencing rapid growth and transformation. By using “Keep Austin Weird” as a central focus, Joshua Long explores the links between sense of place, consumption patterns, sustainable development, and urban politics in Austin. Research on this phenomenon considers the strong influence of the “Creative Class” thesis on Smart Growth strategies, gentrification, income inequality, and social polarization made popular by the works of Richard Florida. This study is highly applicable to several emerging “Creative Cities,” but holds special significance for the city considered the greatest creative success story, Austin.