It also draws together distinct academic theories and methodologies (case studies, critical readings, and ethnographies, for example) in order to prioritize race as an ideological reality and a process that continues to impact lives, despite assertions that we live in a postracial America. It actively bridges the intertextual gap between theories of community enactment and cultural representation. As a shared conversation, this body of work pushes past the reaffirmation of static conceptions of identity, authenticity, or conventional interpretations of stereotypes. At the same time, it creates a contemporary body of scholarship that theorizes the concept of race as a social factor made concrete in popular forms, such as film, television, and music. Race and Cultural Practice in Popular Culture strategically addresses contemporary understandings of race and processes of social racialization. Taken together, these examples illustrate the intersection of racialized subjectivities in relation to cultural practices as represented, read, and circulated in popular imaginaries, which are of central importance to this collection. Pairing nail art and extralegal entrepreneurship, the show features a cast of multiracial women (African American, Asian American, Latina, and White), with complicated gendered subjectivities, as a community of practice that disrupts conventional expectations of race and sexuality. Desna uses her business to both adorn six-inch acrylic nails as well as launder money for a mob-owned pain meds clinic next door. The comedy-drama Claws premiered June 11, 2017, on TNT and stars Niecy Nash in a lead role as Desna Simms, owner of Florida’s Artisan Nail Salon of Manatee County. Explicit value is placed on a particular kind of cultural practitioner (males) in this sonic, racialized, and classed community. In the trailer for the film Lowriders (2017), directed by Ricardo de Montreuil, the extradiegetic narrator reflects on generational and community conflicts related to cultural practices and the movement in and out of physical, as well as spatial, geographies. When the vocals finally begin, the singer keeps time with the heartbeat, often clipping words so that the song sounds like an American Indian–inspired chant without ever identifying itself as such. To Be Alone, the fifth track of Irish singer, songwriter, and musician Hozier’s 2014 self-titled debut album, opens with a bass chord laying down a heartbeat rhythm, which is then joined by the strains of a guitar mimicking a rattle and other percussive instruments. And now that he’s in control of it, what he does next is up to him.Culture Introduction Re-imagining Critical Approaches to Folklore and Popular Culture DOMINO RENEE PEREZ AND RACHEL GONZÁLEZ-MARTIN Jules accidentally propelled himself into the life he’s always dreamed of. But when Jules’s fears about coming out come true, the person he needs most is fifteen hundred miles away. Then Mat, a cute, empathetic Twitter crush from Los Angeles, slides into Jules’s DMs. The upside: Jules now has the opportunity to be his real self. The downside: the whole world knows, and Jules has to prepare for rejection. Then in one reckless moment, with one impulsive tweet, his plans for a low-key nine months are thrown–literally–out the closet. And have the chance to move away from Corpus Christi, Texas, and the suffocating expectations of others that have forced Jules into an inauthentic life. Julián Luna has a plan for his life: Graduate. FIFTEEN HUNDRED MILES FROM THE SUN by Jonny Garza Villa (Skyscape, June 8, 2021).
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