... explicit nature of most of the lyrics of As Nasty as They Wanna Be, and their portrayal of women as objects for sexual assault-lyrics that some critics claim promote violence against women. For instance, in the rap "Dick Almighty" we hear these words: 2. Henry Louis Gates, Jr., "2 Live Crew Decoded," N ew...

... of possibilities, simply for their own legitimate place in the intellectual discourse of musicology. Ellen Koskoff's edited book, Women and Music in Cross-Cultural Perspective, is an ideal text to which to pose the question of what 11. See Warren Dwight Allen, Philosophies of Music History: A Study of General...

... or, amid a spectrum of possibilities, simply for their own legitimate place in the intellectual discourse of musicology. Ellen Koskoff's edited book, Women and Music in Cross-Cultural Perspective 11989), is an ideal text to which to pose the question of what drives the ethnomusicologist to traverse other...

... Boff, curbed the teaching responsibilities of moral theologian Charles Curran at Catholic University, and denounced ideas regarding the ordination of women (163-64). Many who celebrated Vatican II felt that these undertakings and utterances cut to the very core of the reform effort-less centralized...

... no choral dances. They also use instead of phalli another invention, consisting of images a cubit high, pulled by strings, which the women carry round to the villages. A piper goes in front, and the women follow, singing hymns in honor of Bacchus. They give a religious reason for the peculiarities...

... women encounter God primarily through praise and worship. Women are preeminently present in the church and choir scenes. A female member of the angelic choir dances before a resplendent stained-glass window. Blue-robed singers give life and vitality to the choir that backs Deacon Hammer. Church mothers...

... Churches have exercised in dance, and its appeal to worshippers, is finally being recognized by the established churches. Consequently, today some young people and women in established churches may dance in worship without too much suspicion from their leaders or fellow Christians. In order to enhance...

..., 1981); Barbara Andolsen, Daughters of fefferson, Daughters of Bootblacks: Racism and American Feminism (Macon, Ga.: Mercer University Press, 1986); Gloria Anzaldua and Cherrie Moraga, This Bridge Called My Back: Writings By Racial Women of Color !Watertown, Mass.: Persephone Press, 1981); Susan...

... you down/ And dick you long/ I'll bust your pussy/ Then break your backbone/ Cause me so horny. Though most rap lyrics do not explicitly endorse such graphic sexual sentiments, much of rap is rooted in assumptions about women as exclusive objects of male sexual satisfaction that underwrite 2 Live...

... generation with lamentable intensity. As Harry Allen says in an Essence magazine article : "As I once told a sister, hip-hop lyrics are, among other things, what a lot of Black men say about Black women when Black women aren 't around. Because women are the ones best able to define sexism, they will have...

... is the John D. and Catherine T MacArthur Associate Professor of African-American Studies and Sociology at Colby College. Her articles appear in numerous edited books and have been published in such journals as fournal of Religious Thought, fournal of Feminist Studies in Religion, and Signs: fournal of Women...

..., or religious background-are fully entitled to liberation (ro6). In addition to class and race, Felder includes in the biblical mandates for justice the liberation of women from gender repression: I find it rather curious that a number of Black men often seem to allow the woman to be head of the household (more...

... of resistance and liberation struggle.. . . The folks who made this life possible, who were our primary guides and teachers, were black women." Black Sacred Music 8:21 Fall 1994. Copyright © 1994 by Duke University Press. CCC 1043-945 5/94/$1.50 44 Black Sacred Music and their meanings were formed without...

... toward a different sort of history. Pushing was the posture that produced our future. The love ballads of the Impressions mirrored countless dimensions of life for the Civil Rights/Black Power generation. These ballads were based on love relationships between young men and women. But they also gave...

... opportunity to find them in less stereotyped cases. There are other reasons for the comparative scarcity of the work song. Work songs, as I use the term, were created by men. Women and children have not contributed to the repertoire as they have in the cases of the religious songs and other folk songs...

... uses the picture of a woman who was not able to bear children for herself, and, as we know, there was no greater reproach among the women of Israel than the inability to conceive. Women's value in the economy of Israel was determined by whether or not they were able to bear children. If a wife could...

... Copyright © 1993 by Duke University Press 1993 Se/ed Bibliography African Songs of Worship, edited by I-to Loh. Geneva: World Council of Churches, 1986. Banana, Canaan. The Gospel According to the Ghetto. Rev. ed. Gweru: Mambo, 1990. Bazilli, Susan, ed. Putting Women on the Agenda...

..., but rather individualism; for ecumenism would have partially detracted from the denominational and Pentecostal thrust of Yes, Lord! Instead one finds such denominational hymns as "This is the Church of God in Christ" and "Women of the Church of God in Christ." The former is a congregational hymn sung in some...

... in frame 2) occur. Women, the principal shouters in the ritual, seize control of the ritual, creating what Turner terms communitas, a transitory moment of social reversal and leveling. This is the antistructure phase, where what appears as chaos ensues and the social order is turned upside 116 Black Sacred...

... and the hip-hop sound emerged in the Bronx, electric-boogaloo poppin' and tickin' moves arose in Fresno and Los Angeles (Watts, Long Beach, Crenshaw Heights . [In] the Bronx, young men and women of that much misunderstood borough had to invent hip-hop to regain the voice that had been denied them through...