Korean popular music, commonly referred to as K-pop, has become globally popular through its dissemination on social media. The K-pop industry is known to adapt to, and capitalize on, the shifting landscape of social media ever since the early 2000s. Recent integration and utilization of livestream services on Facebook, Instagram, and YouTube have created a necessity for the K-pop industry to adapt to the dynamic landscape of social media in order to appeal to a growing transnational internet audience. In accommodating the shifting social media landscape, the relationships among K-pop fandoms, producers, and the performers, known as "idols," as well as the spaces in which they interact, have transformed. This transformation can be seen in the media content produced by fans and K-pop groups. Companies that manage K-pop groups and produce their music utilize livestreams to promote the idea that K-pop groups are accessible and relatable to fans. The idea that K-pop groups are accessible creates a dynamic that encourages fans to invest time, money, and subtitling skills into livestream apps like the V-app in order to support their favorite K-pop groups. Korean entertainment companies also use trainee competition shows to turn the trainee experiences into reality television shows, in which viewers' votes are a significant factor in determining winners. These shows encourage a co-dependent relationship between K-pop groups and the show's viewers. On YouTube, which has always been an important platform for global dissemination of K-pop, fan-produced media content, such as dance cover videos and reaction videos, are now contributing more to global popularity of K-pop. TWICE, a K-pop girl group, which is under contract with the prominent K-pop production company, JYP Entertainment, debuted through a trainee competition show and regularly participates in new practices on social media by connecting with fans on livestreaming videos, by hosting cover dance contests, and by promoting fan-reaction videos on YouTube. With the girl group, TWICE, as a case study, I delineate the complex interactions among fandom, Korean entertainment companies, and the K-pop groups. My analysis focuses on the interactions among those three parties in the social media. First, I assess how the K-pop industry utilizes trainee competition shows to foster fan attachment to the K-pop groups even before they debut as a process of commodification. I then examine fan-produced media content, using the cultural studies scholar, John Fiske's idea of productive fan culture, or "fan productivity," a concept that confers socio-cultural value to participation in fan-related activities. Finally, I use statistical analysis to compare how dissemination tools such as livestreams, dance cover videos, and reaction videos contribute to the growing popularity of TWICE.

The purpose of this study is to understand the supposed white working class that voted for Donald Trump during the 2016 Presidential Election and some of their perceptions on identity and current racial relations by examining concepts such as whiteness and identity politics. Semi-structured interviews with three individuals that identified as racially white and voted for Donald Trump were conducted, as well as pre-interview surveys. Through these one-on-one interviews, three themes have been found that underscore the complexity of identity and racial relations for the so-called white working class. These themes exist as 1) An unwillingness to define oneself as part of the white working class, 2) White privilege is not something generally thought about, but when pointed out, they generally feel accused, and 3) A belief that racial relations will only improve when we stop pointing out differences and focus on being American. Such themes, while often in contrast to academic thought, highlight the importance of pursuing an understanding with this population in the hopes of forging improved racial relations on a societal level.

The purpose of this study was to explore the effects of a four-week martial arts program implemented once a week on children diagnosed with attention-deficit hyperactivity disorder (ADHD) between the ages of four and seven. This was a single group, pre- and post-intervention assessment pilot study. The total sample of the study was four children (n=4) and the martial arts classes were based on the Duke Kenpo Little Tiger Program by Jonathan Duke of Mesa, Arizona. Change was measured using the Behavior Rating Inventory of Executive Function, 2nd edition (BRIEF-2) parental form and participants were encouraged to record at-home practice. Data were collected pre-intervention and four weeks afterwards. Limitations included small sample size, measurement limitation (e.g., ceiling effect), data based on parental report, a short intervention period, potential instructor bias, and uneven gender distribution. Given the small sample size (n=4), this study did not complete statistical analysis and alternatively described the changing patterns of the participant's ADHD symptoms from BRIEF-2 measures pre and post intervention. The results of this study could not generate the power to detect significance to state significant implications. However, the trends suggested that some participants declined in executive function in certain areas (e.g., task-monitoring and planning) and improved in other areas (e.g., working memory and organization of materials). All participants demonstrated improvement within the cognitive (CRI) scale of the BRIEF-2 and future studies may explore the potential for martial arts interventions in children under seven as a means to improve the cognitive aspect of executive function development. In addition, future studies may consider exploring the role of frequency versus time for at-home martial arts practice for children with ADHD under the age of seven.