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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.

As the social scientists of modern society, sociologists find themselves in a peculiar situation. Human civilization appears on the brink of collapse; the ravages of global capitalism are turning natural and social orders upside down. Some theorists are declaring the “end of history,” while others wonder if humans will soon become extinct. People find themselves increasingly shouldering burdens on their own, strangers to themselves and others. Struggles for recognition and identity are forged in harsh landscapes of social dislocation and inequality. The relationship of the individual to the state atrophies as governmental power becomes at once more remote and absolutely terrifying. How are we as sociologists expected to theorize under such circumstances?  What implications result for the mission of sociology as a discipline and area of study? What political initiatives, if any, can counter these trends?

This chapter provides an immanent critique of sociology as a profession, vocation, and critical practice. Sociology today (in the US and around the globe) faces fierce social, economic, and political headwinds. The discipline continues to be a perilous choice as a vocation for independent researchers as much as the shrinking professoriate. Yet while the traditional functions of sociology are thrown into doubt, there has been an increase in critical practices on the part of some sociologists. As institutional norms, values, and traditions continue to be challenged, there will be passionate debates about the production of social worlds and the validity claims involved in such creation. Sociologists must play an active role in such discourse. Sociology is needed today as a mode of intervention as much as occupational status system or method of inquiry.

The Bureau of Economics in the Federal Trade Commission has a three-part role in the Agency and the strength of its functions changed over time depending on the preferences and ideology of the FTC’s leaders, developments in the field of economics, and the tenor of the times. The over-riding current role is to provide well considered, unbiased economic advice regarding antitrust and consumer protection law enforcement cases to the legal staff and the Commission. The second role, which long ago was primary, is to provide reports on investigations of various industries to the public and public officials. This role was more recently called research or “policy R&D”. A third role is to advocate for competition and markets both domestically and internationally. As a practical matter, the provision of economic advice to the FTC and to the legal staff has required that the economists wear “two hats,” helping the legal staff investigate cases and provide evidence to support law enforcement cases while also providing advice to the legal bureaus and to the Commission on which cases to pursue (thus providing “a second set of eyes” to evaluate cases). There is sometimes a tension in those functions because building a case is not the same as evaluating a case. Economists and the Bureau of Economics have provided such services to the FTC for over 100 years proving that a sub-organization can survive while playing roles that sometimes conflict. Such a life is not, however, always easy or fun.

In this chapter, I analyze the decision calculus of President Donald Trump, using the Applied Decision Analysis (ADA) method (Mintz, 2005, Mintz & DeRouen, 2010). I analyze seven foreign policy decisions taken in the first six months of Trump’s presidency. I find that in his decision-making process, President Trump applies six dimensions. My analysis reveals that the imagery dimension has affected President Trump’s decisions across the board, and led to the rejection of non-compensatory alternatives. Based on my research, I conclude that President Trump demonstrated a poliheuristic decision code. Furthermore, from my analysis derives that President Trump’s decision-making process is mostly intuitive. Moreover, this chapter reveals a polythink syndrome in Trump’s decision unit, manifested in the battle between his two groups of advisors, known as the nationalists and globalists.

This paper, an exploration into Black women cultural consumers of Tyler Perry Productions, examines the ways cultural consumption practices contribute to transformative ideologies and behaviors.

This regionally diverse ethnography using yo-yo fieldwork in Los Angeles, Atlanta, New York, and New Orleans, is based upon the author’s experiences over the course of five years engaging theater attendees and the casts and crew members of multiple Perry productions.

The author first discusses the dichotomous and provocative responses to Perry’s work by scholars, critics, and consumers of Tyler Perry Productions. After an ethnographically rich discussion of the setting surrounding a performance of the stage play Madea’s Big Happy Family, the author discusses how Black women report Perry’s work as a site of resistance to, and resources for responding to, microaggressions and other structures of oppression.

Building on the work of black feminist theory (Bobo, 2001, B. Smith, 1998) and black feminist theater aesthetic (Anderson, 2008), this paper, by crafting a Black Women’s Theatre Aesthetic that, for the first time, engages with and gives primacy to the consumers of theatrical productions, opens a portal for understanding the creative ways Black women call into play cultural consumption practices as tools and devices for transformative praxis.