I see this potion of the essay as a huge potential Exhibit; an example which I can use to expound on and present the argument I'm creating in my essay. I anticipate that it will function well alongside Gotham's essay about community identity in New Orleans.

Here is the earliest "stance" movement made by Arndt, outside of the article title of course. Much as we often do in essay introductions, this "stance," often created by our thesis, follows directly after Arndt develops motive and inserts himself into the conversation about authenticity and tourism. This is a pretty good model for my paper as well.

This is one of my personal frustrations with the tourism industry specifically, so this passage has helped me more fully consider my argument. To make an imperfect food analogy, it's as though tourism companies want to give people the taste of spicy food without them actually having to feel the mild discomfort associated with eating it.

This is an interesting moment providing a potential stance on the evaluations we all have to make in writing about the authenticity industry. It may not be enough to simply point out inauthenticity; we likely have to evaluate the reasons behind that inauthenticity and/or what Outka calls "commodified authenticity."

After reading through this essay a second time while briefly considering using it for my essay, I find myself a little irritated by the tone Hyden adopts throughout. I'm not sure the conversational, over-casual tone really helps set him up as someone who knows what he's talking about, and his talking about 'you' doing things as though that's the only way things can play is at best unrelatable and at worst a little presumptuous. Kind of a negative take, I realize.

At the risk of sounding a little combative, has "Notes of A Hip-Hop Feminist" had a major impact in the way the Hip-Hop community at large addresses women in its art? It seems like the culture Joan Morgan talks about still persists twenty years later.

Of course, the flip side of this is that if a government holds that if a speaker's intent is necessary to evaluate if lyrics are threat, then they (and juries) have to take on the uneviable task of trying to sort out what the intent of a speaker's is or isn't, making legal decisions infinitely more complicated. That doesn't mean it's right to treat rap lyrics as threats necessarily, but I can appreciate where those treating rap lyrics as words with clearly defined meanings are coming from.

Here is a moment where Stone pivots into an evaluative claim about Erlewine's argument: it's inherently based in sexist assumptions about authenticity. While I think her evaluation of authentic characteristics often being disassociated from female artists is accurate, I'm not sure that it is so pervasive that it automatically makes any argument about a female artist lacking authenticity to be inherently sexist. Erlewine's evaluation of Perry's album should be examined on its strength as an argument before being categorically dismissed as sexist, in my opinion.

This way of looking at the concept of text in relation to music definitely challenges the way I would have thought of it. I would have thought of the lyrics as the text instead. I do think this claim does allow for a fuller exploration of the song, though. Words are only one component of Dylan's songs, and it is important to interact with all the components available to get a full sense of the 'text.'

I would tend to agree with this claim inasmuch as it describes the effect pop music often has, but the writer either suggests or fails to substantially comment on an important implication of the claim. Is this the intended effect of pop music? I would tend to think not, that mass media is in fact aimed at the masses, so I would qualify this statement by saying that although this is the net result, it is not the driving intent behind pop music.

Here's another TS - Wordsworth describes a criticism offered in the form of parody. The IS comes in the form of the "false" description, which is further expounded on later in the paragraph.

Here's a TS/IS - Wordsworth describes that they as a few groups or individuals. They say alterations should be made, but Wordsworth says that this is problematic for an author who disagrees.

This is a TS - Wordsworth anticipates that his readers will question the sympathy or artistic value of his work.

When I participated in high school theater, I had to do preparation to understand the script before performing it. Do we likewise have to prepare to "perform" lyric poetry and thus appreciate it? If so, how do we prepare?

This example does make sense, but are there ever times when it is impossible to put yourself in the position of the speaker? And if so, is that a failing on the poet's part, or the reader's? Or is it not a failing at all?