...Jon Michael Spencer Copyright © 1989 by Duke University Press 1989 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved. II God in Secular Music Cullure: 1'1te 1'1teodicy ol llte Blues as 11,e Paradigm of Proof Environmental...

...Jon Michael Spencer © Copyright 1988 JBSM /Jon Michael Spencer 1988 A Theology for the Blues Jon Michael Spencer Toward a Black Blues Theology Blues is an expression of black theology. The theological content in blues songs and in the oral beliefs of bluespeople was organic to the evolution...

...Rod Gruver Copyright © 1992 by Duke University Press 1992 11,e Blues as a Secular Religion Rod Gruver There is still much that needs to be done with the larger meaning of blues, with its full significance as a form of art, a modem mythology, and a secular religion. Paul Oliver has studied...

...Larry Neal Copyright © 1992 by Duke University Press 1992 The Ethos ol the Blues Larry Neal It's the mood. . .. That's the carry-over from slavery-nothing but trouble in sight for everyone. There was no need to hitch your wagon to a star because there wasn 't any stars. You got only what you...

...Jon Michael Spencer Copyright © 1992 by Duke University Press 1992 The Mythology of the Blues Jon Michael Spencer In the old American South, &om the era of slavery to the early twentieth century, the Bible was the principal source of religious authority referred to by the people of African...

...James H. Cone Copyright © 1992 by Duke University Press 1992 The Blues: ASecular Spiritual fames H. Cone What did I do To be so black And blue! Theologically, there is more to be said about the music of black people than what was revealed in the black spirituals. To be sure, a significant...

...Dwight D. Andrews Copyright © 1992 by Duke University Press 1992 From Black to Blues Dwi.ght D. Andrews White folk don't understand about the blues. They hear it come out but they don't know how it got there. They don't understand that's life's way of talking. You don't sing to feel good. You...

...Nelson George George , Nelson . The Death of Rhythm and Blues . New York : Pantheon Books , 1988 . Copyright © 1990 by Duke University Press 1990 Boolrlenews TS based its interest in both sacred and secular forms of music. Building upon this premise (pastiche), theomusicology...

... Copyright © 1992 by Duke University Press 1992 Spirituals, Blues Important Se ion of American Music Nowadays the history of Negro music, chronicled by able musicolo­ gists, is available to every student who wishes to visit his public library There he may learn dates, names of all important...

...Jon Michael Spencer James H. Cone . The Spirituals and the Blues . Maryknoll, N.Y. : Orbis Books , 1991 . 141 pp. Copyright © 1993 by Duke University Press 1993 Book Reviews BS In his treatment of the inclusivity of official hymnals of EuroAmerican denominations, Spencer...

...Jon Michael Spencer Michael W. Harris . The Rise of Gospel Blues: The Music of Thomas Andrew Dorsey in the Urban Church . New York : Oxford University Press , 1992 . Pp. xxiii , 324. Copyright © 1993 by Duke University Press 1993 88 Black Sacred Music Michael W. Harris...

...Willie James Jennings Jon Michael Spencer . Blues and Evil . Knoxville : University of Tennessee Press , 1993 . Pp. xxx , 177 . Copyright © 1994 by Duke University Press 1994 128 Black Sacred Music ate transliteration of his thinking or exposing the problematic nature...

...Jon Michael Spencer Alan Lomax . The Land Where the Blues Began . New York : Pantheon , 1993 . Pp. xv , 539 . Copyright © 1994 by Duke University Press 1994 Book Reviews 133 beginning only the use of theological notions as metaphor, simile, and trope? In the new situation...

...James Weldon Johnson Copyright © 1994 by Duke University Press 1994 Now We Have the Blues James Weldon Johnson When I wrote an essay on the Negro's Creative Genius as a preface to "The Book of American Negro Poetry:' I made what was, perhaps, a startling statement by saying that the Negro...

... Copyright © 1995 by Duke University Press 1995 Chapter 3 Dances, Blues, and Ballads I One may well consider the dance song to be synonymous with the Negro song in general. At one time or another the Negro has used all classes of his songs for dancing. This is very likely due to the fact...

... Copyright © 1992 by Duke University Press 1992 lntrodudion When the blues first began to develop as a commercial art form during the early 1920s, it was viewed as more or less evil by the emerging black middle class of the urban North who were striving for social, political, and economic...

... 139 Having spent the weekend immersed in the blues at the sixteenth Annual Mississippi Delta Blues Festival, I felt the foregoing sermonic text come to mind as an appropriate one to contextualize biblically my theological apology for the blues. Listening to the blues this weekend, I have reaffirmed my...

...Jon Michael Spencer Copyright © 1994 by Duke University Press 1994 Overview of American Popular Music in a Theological Perspective Jon Michael Spencer Blues, jazz, rhythm and blues, soul, rock, and rap are among the American-born music forms that have had a vast impact on the musical cultures...

... normative criterion, too. Gates, Henry Louis, Jr. The Signifying Monkey: A Theory of Afro-American Literary Criticism. New York: Oxford University Press, 1988. The blues, as a part of the black vernacular tradition, is but one repository of potential theory for the interpretation and criticism of Afro...

... Copyright © 1992 by Duke University Press 1992 Index "Adam and Eve," 99, 100 "Adam and Eve Had the Blues," 100 Adding Machine, The, 57 Adler, Guido, 253-54 Adorno, Theodor, 185, 187-88 Afro-American studies, 213 "Ain't No Mountain High Enough," 225 "Ain't Nothing Like the Real Thing," 225...