Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

No Respect: Intellectuals and Popular Culture

No Respect: Intellectuals and Popular Culture JOO BlodtSollfHIMusic Bill with a forty-one derringer; Bennett also decides he is going to kill everyone that ever betrayed him. (No doubt a few preachers would be among his victims, inasmuch as blues singers customarily portrayed preachers as bad niggers .) Hence, even when the blues singer men­ tions 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 : Rout­ ledge, 1989. The colloquialism "no respect" is appropriated by Andrew Ross to denote the traditional antagonisms that persist between popular anti-intellectualism and intellectual antipopularism (227). What is needed, he proposes, is common ground, yet what is likely is the continued discourse of disrespect. Ross says that "in a society that is stratified by levels and orders of knowledge , the power­ increasingly ful antagonisms traditionally generated out of the wars of cultural taste are likely to be sharpened by new kinds of disrespect" (231). In spite of this prediction and untoward reality, Ross attempts to define potential common ground between the poles of disrespect recipro­ cally engendered by the two camps. Ross's method of defining the common ground http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Black Sacred Music Duke University Press

No Respect: Intellectuals and Popular Culture

Black Sacred Music , Volume 4 (2) – Sep 1, 1990

Loading next page...
 
/lp/duke-university-press/no-respect-intellectuals-and-popular-culture-NhTcXVNgD0

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Copyright
Copyright © 1990 by Duke University Press
ISSN
1043-9455
eISSN
2640-9879
DOI
10.1215/10439455-4.2.100
Publisher site
See Article on Publisher Site

Abstract

JOO BlodtSollfHIMusic Bill with a forty-one derringer; Bennett also decides he is going to kill everyone that ever betrayed him. (No doubt a few preachers would be among his victims, inasmuch as blues singers customarily portrayed preachers as bad niggers .) Hence, even when the blues singer men­ tions 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 : Rout­ ledge, 1989. The colloquialism "no respect" is appropriated by Andrew Ross to denote the traditional antagonisms that persist between popular anti-intellectualism and intellectual antipopularism (227). What is needed, he proposes, is common ground, yet what is likely is the continued discourse of disrespect. Ross says that "in a society that is stratified by levels and orders of knowledge , the power­ increasingly ful antagonisms traditionally generated out of the wars of cultural taste are likely to be sharpened by new kinds of disrespect" (231). In spite of this prediction and untoward reality, Ross attempts to define potential common ground between the poles of disrespect recipro­ cally engendered by the two camps. Ross's method of defining the common ground

Journal

Black Sacred MusicDuke University Press

Published: Sep 1, 1990

There are no references for this article.