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In this article we use interview and direct observation data to examine the experiences of young people in two Philadelphia nightlife scenes, and the ways in which they manage risk of physical and sexual assault. Our analysis reveals several environmental-level factors that shape risk exposure, as well as a number of individual-level tactics used to manage risk. Our observations are discussed in terms of their implications for developing a risk management framework that accounts for the role of individual- and environmental-level factors in shaping victimization.

This article examines gender mainstreaming in Sweden, which is an interesting case because several favorable conditions make its implementation likely. It addresses two main questions: (1) to what extent has gender mainstreaming been implemented and (2) what are the consequences? The article first discusses the pros and cons of gender mainstreaming as reflected in the international feminist debate. It then briefly describes the favorable conditions of the Swedish case and subsequently maps out the introduction of gender mainstreaming since 1994, focusing on the process and its politics. It concludes with a discussion of the Swedish experience in terms of the promise and pitfalls of gender mainstreaming identified in the feminist debate and the implications of the Swedish case for feminist theorizing on gender mainstreaming.

There is currently much concern among arts organizations and their marketing departments that audiences for classical music are in decline, yet there has been little investigation so far of the experiences of long-term listeners that might yield insights into audience development and retention. This paper presents a case study of the Music in the Round chamber music festival, conducted over a three-year period that included the retirement of the host string quartet, the appointment of a new resident ensemble, and associated changes in audience attitudes and priorities. Questionnaire and interview data revealed the challenges faced by audience members in shifting their loyalty to a new ensemble and reappraising their own listening habits and stamina. The interaction between individual listening and collective membership of an audience is discussed, and the potential considered for understanding classical concert-goers as ‘fans’ or ‘consumers’.

This qualitative investigation seeks to identify the sociocultural determinants and psychoemotional ramifications of essentialist gender scripting on female employees in a sexualized work environment (SWE), such as a comedy club. Sexualized work environments incorporate work and sexuality and exist on a continuum according to the frequency and intensity of the sexual economic exchange that takes place within them. In this study, interviews were conducted with 13 female employees at a comedy club in Southwest Michigan to explore the social construction of female sexuality in such an environment.

The purpose of this article is to document the collective nature of gender performance and sexual pursuit, activities typically associated with individual rather than group behavior. Drawing on narrative accounts, I analyze how young heterosexual male students employ the power of collective rituals of homosociality to perform sexual competence and masculine identity by “girl hunting” in the context of urban nightlife. These rituals are designed to reinforce dominant sexual myths and expectations of masculine behavior, boost confidence in one's performance of masculinity and heterosexual power, and assist in the performance of masculinity in the presence of women. This analysis illustrates how contemporary courtship rituals operate as collective strategies of impression management that men perform not only for women but for other men. In doing so, interaction rituals associated with the girl hunt reproduce structures of inequality within as well as across the socially constructed gender divide between women and men.

Indie alternative rock in the 1980s is often presented as authentically autonomous, produced in local scenes, uncaptured by ideology, free of commercial pressures, but also of high culture elitism. In claiming that the music is avant-garde, postmodern and subversive, such accounts simplify indie's historical, social and cultural context. Indie did not simply arise organically out of developing postpunk music networks, but was shaped by media, and was not just collective, but also stratified, hierarchical and traditional. Canon (articulated through practices of archivalism and connoisseurship) is a key means of stratification within indie scenes, produced by and serving particular social and cultural needs for dominant social groups (journalists, scenemakers, tastemakers, etc.). These groups and individuals were mainly masculine, and thus gender in indie scenes is an important means for deconstructing the discourse of indie independence. I suggest re-envisioning indie as a history of record collectors, emphasising the importance of rock ‘tradition’, of male rock ‘intellectuals’, second-hand record shops, and of an alternative canon as a form of pedagogy. I also consider such activities as models of rational organisation and points of symbolic identification.

Recent research about sexuality and dance has begun to address the needs of gay male dancers, yet the needs of lesbian dancers have remained mostly absent from scholarly discourse. Exploring the lesbian lacunae, or invisible spaces of dance education, reveals the personal, political, and pedagogical implications of their existence within the dance community. The experiences of lesbian dancers “on the fringe” combined with new approaches to acknowledging lesbian artists and perspectives within dance history suggest the need for re-envisioning lesbian invisibility as a “liminal presence” within dance. In addition, ways dance educators can reduce the effects of heterocentrism within their institutions and celebrate the contributions of lesbian artists and educators to the field are proposed. By reconfiguring the invisibility of lesbian dancers as a liminal presence, we make visible the borders and limits of the dance profession's notions of sexuality and gender, acceptance and equality, and thereby strengthen our potential for dancing beyond them.

The British rock music press prides itself on its liberalism and radicalism, yet the discourses employed in music journalism exclude women from serious discussion both as musicians and as fans. In particular, the notion of credibility, which is of vital importance to the ‘serious’ rock music press, is constructed in such a way that it is almost completely unattainable for women.The most important and influential part of the British music press was until recently its two weekly music papers, Melody Maker (MM) and the New Musical Express (NME), both published by IPC magazines. The NME, launched in 1949, contains reviews, concert information and interviews with performers and describes itself as ‘a unique blend of irreverent journalism and musical expertise’ (www.ipc.co.uk). MM, which started life in 1926 as a paper for jazz musicians, had similar content but a greater emphasis on rock, as opposed to pop, music. It was relaunched in 1999 as a glossy magazine, before ceasing publication or, as IPC put it, merging with the NME, in December 2000.

Lesbian dance performance has to come to terms with the cultural invisibility of the lesbian body, and the dichotomy of traditional gender representation. This paper charts strategies for the play with the invisible, the grotesque and the liminal in the dance performance of three UK-based choreographers: Emilyn Claid, Yael Flexer and Kate Lawrence. Their performances create tension between the role and the body, between the public and the private, and it is this tension that points towards alternative representational strategies.

Although a wide research literature suggests a regular connection between drinking, violence and social disorder, much doubt remains as to the actual nature and significance of this link. Some strong insights into this are provided by a dual consideration of the tie between masculine social identity and heavy group drinking, and the importance of issues of male honour in the social interaction that leads to much violent behaviour. But as well as this, information from the author's detailed ethnographic study of assaults in public drinking venues illuminates the subjective experience of participation in acts of disorder and violence. This is filtered through understandings of certain forms and aspects of popular leisure as entailing social protest and resistance to middle class morality. Although masculinist and frequently destructive, this violence is interpreted by many drinkers as providing a liberating and attractive sense of release, group pleasure and carnival.

A survey of 227 women newspaper journalists revealed that more than 60 percent believe sexual harassment is at least somewhat a problem for women journalists; more than one-third said harassment has been at least somewhat a problem for them personally. Two-thirds experience nonphysical sexual harassment at least sometimes, and about 17 percent experience physical sexual harassment at least sometimes. News sources were the most frequent harassers, and harassment ranged from degrading comments to sexual assault._

Rock music is the most misogynistic and aggressive form of music currently listened to. Women's place in it since the 1950's is described and analyzed in this article. Rock music was originally a working-class male challenge to the established symbolic order. In terms of the revenue generated by the industry thirty years later, it is the most important cultural expression of popular music. The enterprise is almost exclusively male, the majority of listeners are male, and even though women singers contributed in the early 1960's, there have been only a few female performers. An analysis of feminine representations in rock music lyrics and album covers in 1981 reveals a variety of male-identified images of women. In view of the cultural context in which rock music originated and the industry developed, the recent penetration by a few more women into the industry raises questions about whether numbers will continue to increase and, even if they do, whether rock music constitutes an appropriate voice in which women can authentically express themselves.

Female artists are actively participating in the development and growth of visual arts in Morocco. This article seeks to highlight their important contribution in the Moroccan visual arts. It deals with the access of women to the field of visual art, delineates successive categories for understanding the types of work female artists have engaged in since the independence of the country in 1956, and the challenges that these artists have been facing. It focuses on the artistic experiences of specific artists, believed to be, representative of some historical era or artistic trend. Moreover, it tries to put these artists into a cultural and historical framework to contextualize their artistic production.

In 2000 the Glastonbury Festival in England experienced an unprecedented invasion of gatecrashers that severely compromised public health and safety. This incident identified the need for a comprehensive review of planning and management procedures for that event. In order to undertake this review, the 2001 event was cancelled. Upon its return in 2002, the event demonstrated considerable improvements in health and safety with the main features being tighter security and a more secure perimeter fence. Advancements such as these have continued at each subsequent event, with the 2004 festival considered the safest to date. The Glastonbury Festival provides a model for successful management of health and safety issues for large public events. This success was made possible by the collaborative efforts of the event organiser and government agencies, in particular the Mendip District Council. This event demonstrates how the licensing process can be a useful tool to encourage good practice in public health and safety issues for large outdoor music festivals.