important-seeming elements of 'class', or whatever you want to call it:
how the group imagines itself how the group imagines itself ideally how the group imagines its antagonists and enemies
- allows for variance from reality (e.g. overinflation of some problems, ignorance of real causes of problems) - allows for examination of 'how the group imagines...' in terms of the imaginative constructions inside the songs, and in terms of what they use the songs for - might reflect the complexity better by having all three together?
frank, i know i neglected to say anything to you in my email earlier today, but here's one thing that struck me about my country music adventure: i swear that between the songs and the radio station presentation of them (commercials with testimonials from listeners e.g.), it felt like the music which above all today most aggressively defines its audience, directly, at almost every turn, within the songs. and i think it seemed so strong to me because it hit all three of the above elements of 'class' so hard, at the same time. i am aware you will immediately provide counterexamples. but i think a lot of them are either more indirect about defining their audience, or leave a great deal indeterminate so that it's up to the listener to decide that they count as 'an X listener', or that the music is for them, or the singer is talking to them, or about them.
another good element of koganian 'class': what you have to do to become an X (if it's up to you at all). or to stop being one.
survey of favored koganian classes: any group term that other people can use as an insult any racial or sexual category (which has a name) names of certain musical genres (but not just any) professions and job titles
no subject
how the group imagines itself
how the group imagines itself ideally
how the group imagines its antagonists and enemies
- allows for variance from reality (e.g. overinflation of some problems, ignorance of real causes of problems)
- allows for examination of 'how the group imagines...' in terms of the imaginative constructions inside the songs, and in terms of what they use the songs for
- might reflect the complexity better by having all three together?
frank, i know i neglected to say anything to you in my email earlier today, but here's one thing that struck me about my country music adventure: i swear that between the songs and the radio station presentation of them (commercials with testimonials from listeners e.g.), it felt like the music which above all today most aggressively defines its audience, directly, at almost every turn, within the songs. and i think it seemed so strong to me because it hit all three of the above elements of 'class' so hard, at the same time. i am aware you will immediately provide counterexamples. but i think a lot of them are either more indirect about defining their audience, or leave a great deal indeterminate so that it's up to the listener to decide that they count as 'an X listener', or that the music is for them, or the singer is talking to them, or about them.
another good element of koganian 'class': what you have to do to become an X (if it's up to you at all). or to stop being one.
survey of favored koganian classes:
any group term that other people can use as an insult
any racial or sexual category (which has a name)
names of certain musical genres (but not just any)
professions and job titles