...Ray B. Browne Browne , Ray B. Against Academia: The History of the Popular Culture Association/American Culture Association and the Popular Culture Movement, 1967–1988 . Bowling Green, Ohio : Bowling Green State University Popular Press , 1989 . Copyright © 1990 by Duke University...

...Andrew Ross Ross , Andrew . No Respect: Intellectuals and Popular Culture . New York : Routledge , 1989 . Copyright © 1990 by Duke University Press 1990 JOO BlodtSollfHIMusic Bill with a forty-one derringer; Bennett also decides he is going to kill everyone that ever betrayed...

...Andrew M. Greeley Greeley , Andrew M. God in Popular Culture . Chicago : Thomas More Press , 1988 . Copyright © 1990 by Duke University Press 1990 T6 BlodcSoeredMush rock and roll is particularly informative: "Blacks create and then move on. Whites document and then recycle...

...Jim Collins Collins , Jim . Uncommon Cultures: Popular Culture and Post-Modernism . New York : Routledge , 1989 . Copyright © 1990 by Duke University Press 1990 Book lenews 61 studying law, he was admitted to the Ohio Bar in 1854 (the publication year of Simpson's second...

...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...

...Mark D. Hulsether Copyright © 1994 by Duke University Press 1994 Jesus and Madonna: North American Liberation Theologies and Secular Popular Music Mark D. Hulsether Tomorrow I am scheduled to speak to my church's youth group on the topic "Jesus and Madonna" (yes, the Madonna who sings...

...Peter Bubmann Copyright © 1994 by Duke University Press 1994 Dreamtime and Tribal Ritual: Elements of a Critical Theory of Popular Music Peter Bubmann In a 1992 lecture on the media and commercialism, the American theologian Harvey Cox almost wallowed in the terminology of cultural criticism...

... as a means of protesting against the status quo. In today's society it is often the musical prophets and messiahs who are able to express in the popular vernacular the resentment people feel toward the world's dilemmas. Cults then develop out of an alienation from traditional religious groups that do...

...Cornel West Copyright © 1992 by Duke University Press 1992 On Afro-American Popular Music: From Bebop to Rap Corne] West The salient feature of popular music in First World capitalist and Third World neocolonialist societies is the appropriation and imitation of Afro-American musical forms...

... be writing her dissertation on rap. Royster, a professor of ethnic studies, and myself, a professor of popular culture, are serving on her dissertation committee. Nelson helped me teach an undergraduate course titled "Rap and Race" during the spring semester of 1991 . Also included in this volume is an essay...

...: The Theodicy of the Blues as the Paradigm of Proof," will argue the thesis through a detailed examination of the blues. In fine, while theology is equipped to engage in an exegesis of the religious and unreligious creators and consumers of popular music by examining the theological meaning of their kinetic...

...Jon Michael Spencer Copyright © 1989 by Duke University Press 1989 Con,lusion The caption of an article in a local newspaper announcing the First Conference in Theomusicology at Duke University's Divinity School read, "Divinity School Conference To Look for Theology in Popular Music."1...

.... In part 3, SO BlodcSIIO'edMusk "The Liberation," with Asante, theomusicology can search for a means of analyzing African cultures from an Afrocentric perspective in hope of establishing harmony with self, neighbor, and nature. Browne, Ray B. Against Academia: The History of the Popular Culture Association...

... mentions heroic badmen figures, it is the blues singer himself, as the protagonist of his own songs, who triumphs as hero. Ross, Andrew. No Resped: lntelleduals and Popular Culture. New York: Routledge, 1989. The colloquialism "no respect" is appropriated by Andrew Ross to denote the traditional...

...Jim Curtis Curtis , Jim . Rock Eras: Interpretations of Music and Society, 1954–1984 . Bowling Green, Ohio : Bowling Green State University Popular Press , 1987 . Copyright © 1990 by Duke University Press 1990 Boolelleriews 63 ence" (60). The "real" in contemporary cultures...

... some conscious borrowing which he appar­ ently was generous enough to acknowledge, for he gave W C. Handy a copy of the "Rhapsody in Blue," autographed to the effect that he recognized Handy's work as the forerunner of his own. Popular Music Negro Creation Gershwin belonged both to the serious...

... years ago, when I was a Fellow in the Society for the Humanities at Cornell University, I organized a conference at the Society with the theme "Popular Music in the Middle East, South Asia, and Southeast Asia!' This theme had what I might call real ethnomusicological sex appeal. Ethnomusicologists like...

... University Popular Press, 1987. Czitrom, Daniel. Media and the American Mind. Chapel Hill: University of North Carolina Press, 1982 Eliade, Mircea. Patterns in Comparative Religion. New York: Meridian, 1963. - - -.The Sacred and the Profane: The Nature of Religion. New York: Harcourt Brace and World, 1959...

... The question of whether theological work on popular music is necessary is, in a wider frame, the issue of a theological position concerning religious pluralism in our present Western societies. My impression is that the issue is even more urgent in my home country of Germany than in the United States...

... of Marvin Gaye had begun. Motown was the Jackie Robinson of black popular music: after crossing the color line in its field, it went on to excel and to win the hearts of vast numbers of nonblack Americans. As with other Motown stars-Diana Ross, Lionel Richie, and Michael JacksonGaye's relationship...