Isaiah Paul

[Economics Passage] 1.2 Why does this fallacy matter in the realworld world? The main reason why we are worried about this attempted resurrection of the FTPL is because that during 2017 the FTPL popped up twice in the arena of economic policy. In Japan, Kenechi Mashimoto notes, referring to the new FTPL (2011, 2013, 2016a,), that, that “…the Nikkei and other media have recently reported his prescription for achieving the inflation target based on the FTPL (Mashimoto 2017, page 1). Melina Redando Redondo an economist from Brazil (2017) argued in a contribution to the Brazilian financial newspaper, that real high high-interest rates in Brazil is simply resulting from high nominal interest rates. Her analyses analysis is based on the analysis of Jim Corane (corane 2016 a), that who has listed among its key building blocks the FTPL. Associated real-world policy risks with the FTPL are possible to occur: the policy disasters can be happen if fiscal and monetary policy makers convinced that the FTPL is the appropriate way of considering the interaction of monetary and fiscal policy in driving inflation, aggregate demand, increasing real economic activity and default sovereign risk. The key assertion of the FPTL is that, no matter what the size of the outstanding stock of domestic currency-denominated public debt and the public sector deficits that have to be financed are is, now and in the future, there is not a need to worry about the fiscal-financialmoney program of the State becoming unsustainable. Debt sustainability analysis will always make the answer that the public debt is indeed sustainable. This miracle will incur since no matter how large the nominal value of the debt stock, there always exists a value of the general price level high enough to make the real value of the outstanding stock of public debt small enough for the fiscal-financial monetary program to be sustainable Plus, somehow, the actual price level always takes on this unique value that ensures the sustainability of the public finances. In the more recent alternative version of the FTPL that was proposed by simmons Simmons, the role of the general price level is taken over by the level of real GDP. [Humanities Passage] 2.1. Country (Music) Maleness is a Conflicted Identity Country music at some points is seen as opposing a norm, valuing traditionalism and conservational values over the mainstream’s diverse but establishment views , with a regressive or even reactionary notion of masculinity (Tremmel Trammel 1995; Knox 2000; Bernstein 2016). A claim that runs counter to this view held that rural conservative masculinity is still seen as the most real masculine ideal in the united states (O’Reilly. 2016). This interplaying between urban and country reflects Connell's (1995) assertion that the dominant or hegemonic, form of masculinity at a certain place or time is a given that it will be contested, with the masculine ideals that are glorified in the country genre exist in contrast not only to the femininity ideals present within the genre but with the masculine images present in rock, rap and other genres as well that have masculine images. In effect, while country music maleness can be marginal or oppositional outside of the country music audience, it can at the same time be the hegemonic ideal within that audience According to Casey (2003), country music men often were negotiating an oppositional masculinity Elvis and his contemporaries forged a rockabilly identity on in postwar America, and this was identity was a white rural ideal in resistance to the “man in the suit.” The outlaw movement of the 70 s carried on with this ethos, standing hard against mainstream rock music and the Nashville establishment (Kerry 2014; Walton 2016): Today’s country performers similarly attempts to defy expectations, embracing a traditional-yet-stylized rural identity in opposition to the urbane ‘metrosexual’ (Carroll et al. 2006). Peters (2000) and Chan (2000) split country music, as a genre into the forms of “hard” and “soft”, with “hard-shell” or “hard country” talking about a specific vision of the country artists as a perpetual outsider, not to the big city only but to the country music establishment itself also. The country establishment is labeled the “soft” or “mainstream.” While the mainstream country is flirt with pop stylings styling, the hard country remains true to at the very least some concept of its roots, continuing to have whatever’s going on around it be labeled as the not real country (Peters 20000; Regan 2013).