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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
Black Sacred Music – Duke University Press
Published: Sep 1, 1990
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