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Consecration is the process by which producers in creative fields become canonized as “greats.” However, is this the end of the story? Research on consecration focuses on the drivers of consecration but pays little attention to the post-consecration period. Furthermore, the research ignores the dynamics of consecration. To address these gaps, we examine the changing fortunes of a consecrated artist – the musician Phil Collins. We identify the ways in which three actors (fans, critics, and peers) assemble for consecration, disassemble for deconsecration, and reassemble for reconsecration. Examining the changing public image and commercial fortunes of Collins as a solo artist between 1980 and 2020, we identify an N-shaped process of rise-fall-rise that we call the Phil Collins Effect. This effect offers a new way of thinking about how cultural producers gain, lose and regain status in their fields.

More than half of those who are incarcerated have cited a history of drug abuse before or during arrest. Although social science literature has noted the disparate effects of criminal sentencing for drug possession, little research has explored the punitive measures enacted and enforced by the correctional facilities in which prisoners reside.

Using data from the 2004 Survey of Inmates in State and Federal Correctional Facilities, this study estimates a series of logistic regressions to examine the predictors of receiving disciplinary action. Men and women are examined separately to investigate whether these patterns vary across men’s and women’s correctional facilities. The notions of both symbolic and structural violence are used to gain a better understanding of the experiences of drug addicts who are incarcerated.

Findings indicate that net of the effect of demographic characteristics and previous contact with the criminal legal system, men who are punished for rule violations involving drugs in prisons are approximately twice as likely to receive disciplinary action than inmates who are disciplined for all infractions, other than assaulting other inmates. Moreover, black inmates are significantly more likely to receive disciplinary actions or sanctions than whites.

The findings suggest that disciplinary action is more frequently experienced by those who are drug dependent or use drugs within prison with an even greater penalty for black prisoners in men’s facilities.

High divorce rates have coincided with higher rates of remarriage. Although remarriages are more susceptible to dissolution than first-order marriages, less research has focused on factors that promote vulnerabilities among remarried couples. In the current study, the authors focused on whether predictors of divorce differ by the number of times someone has been married. The authors examined some of the most common reasons for divorce, as identified by parents who completed a state-mandated divorce education course (n = 8,364), while also controlling for participant sociodemographic characteristics. Participants going through their first divorce were more likely to identify growing apart and infidelity as reasons for seeking a divorce. Conversely, those going through a subsequent divorce were more likely to list problems with alcohol/drug abuse, childrearing differences, emotional/psychological/verbal mistreatment, money problems, physical violence, and arguing. Multivariate analyses indicated that sociodemographic factors were stronger predictors of divorce number than commonly listed reasons for divorce for both male and female participants. Implications for remarital and stepfamily stability and directions for future research are discussed.

Freddie Mercury rose to fame as the lead singer of the UK pop group Queen. The group started working on tracks for their fourteenth studio album, Innuendo, in early 1989, and the album was finally released in February 1991. Progress on recording was slow as Mercury, who had been diagnosed with AIDS, was unable to work for more than a few days at a time. Innuendo became the final Queen album to be released during Mercury’s lifetime, and ‘The Show Must Go On’ is its final track. Its placing is arguably significant, given that both Mercury and the remaining band members must have assumed that this would be the last album that they would record together. In this chapter, I present an analysis of the song’s music and lyrics, along with the music video that accompanied the single release, with reference to Mercury’s illness and his wish to contribute vocals for as long as he possibly could, knowing the seriousness of his condition meant that this would be one of his last recordings.

This exploratory paper discusses the undemocratic agenda setting of elites in Britain and how it has changed politics within a form of capitalism where much is left undisclosed in terms of mechanism and methods. It argues for a more radical exploratory strategy using C. Wright Mills’ understanding that what is left undisclosed is crucially important to elite existence and power, while recognising the limits on democratic accountability when debate, decision and action in complex capitalist societies can be frustrated or hijacked by small groups. Have British business elites, through their relation with political elites, used their power to constrain democratic citizenship? Our hypothesis is that the power of business elites is most likely conjuncturally specific and geographically bounded with distinct national differences. In the United Kingdom, the outcomes are often contingent and unstable as business elites try to manage democracy; moreover, the composition and organisation of business elites have changed through successive conjunctures.