Music doesn’t lie. If there is something to be changed in this world, then it can only happen through music.

Jimi Hendrix

Working Theory for Religion and Popular Culture

• Secularization is not replacing religion

• Religious institutions have less authority

• Understood not as declining religion but declining scope of authority

• This shift should not be conceived as a loss of religious efficacy, however, but as a loss of worldly authority, because when religious institution exercises control it is because that institution acts as a secular institution, controlling law, government, and even education.

• This change in authority results in ways in which humans express themselves religiously, so we get a constant infusion of new religious expressions, new religions, revival of religions, and new vehicles of expression which come from outside of traditional religious institutions and draw upon other cultural that may or may not be formally related to religious institutions.

“Nitty Gritty” Hermeneutics

• A method which can fit with our theory is ‘nitty gritty’ hermeneutics because it helps us to see this shifting of authority

• Pinn states, “My goal is [to] provide a methodology for exploring this conversation, a method growing out of the source material. I have labeled this ‘nitty gritty’ hermeneutics” (p. 253-4)

• Pinn is looking for the raw natural facts and sets aside their ramifications; he seeks a clear un-romanticized understanding of a hostile world.

• This approach takes the material of life that goes unspoken and hidden and expresses it.

JT “Funny Papa” Smith: The Howlin’ Wolf (1931)

https://www.youtube.com/watch?v=joEIOS82560

Well, here I am, got the blues about little old Victoria, the Howlin' Wolf.Guess I'll drop a few lines.

1) I'm that wolf that everybody been tryin' to find out where in the world I prowl (x2)Nobody ever gets a chance to see me, but they all hear me when I howl

2) (Now) I howl to my baby with her mother standing by her side (x2)And that's the reason I'm howlin', I'm tryin' to be satisfied.

3) I even prowled for you baby, when you was down and couldn't stand up on your feet (x2)Now you walk by the Lone Wolf and act like you don't want to speak

4) What made you quit me (baby), I love you and I did three years ago. (x2)Take me back and I'll quit prowlin' and I won't ever howl no more.

5)(Aww) Preacher told me (that) God would give a black man most anything he do (x2)I ain't black but I'm dark complexioned, look like He ought to forgive me too.

6) (Looks, Seems) like God don't treat me like I'm a human kind. (x2)Seems like he wants me to be a prowler and a Howlin' Wolf all the time.

JT “Funny Papa” Smith: The Seven Sisters of New Orleans

(1931)

• https://www.youtube.com/watch?v=cTe2glMSZ_E– Part one

• https://www.youtube.com/watch?v=Xof9NrOlarg– Part one and two

Discussion

• What is being communicated in JT “Funny Papa” Smith’s music?

Rap Music

• Sugar Hill Gang’s: “Rapper’s Delight” (1979) (https://www.youtube.com/watch?v=ljUnyv5XUA8)

• NWA: “Fuck Tha Police” (1988) (https://www.youtube.com/watch?v=9jOqOlETcRU)

• Arrested Development: Fishin 4 Religion (1992) (https://www.youtube.com/watch?v=ZKyuZgseyQ4)

Discussion

• What is being communicated by the three artists?

• In context to our working theory, do you think there is a transition from “Funny Papa” Smith’s music to Rap music with regards to shifting authority?

Discussion

• What changed for American Black people in the US between 1930 and 1970?

• Can the cause to change in authority results from human expression alone? Does this change in expression need to come from outside of traditional religious institutions?

• Can traditional religious institutions change?

Discussion

• It is important to recognize that although religion can be pointed to as an oppressor of subaltern cultures, religion can also be used to liberate groups.

• Black Liberation Theology changed the religious discourse from oppression to liberation and in so doing “deconstructed established social norms and constructed new ones”

Liberation Theology

Liberation Theology

• General Introduction• Latin America• Black Liberation Theology

Liberation theology

• Contemporary Christian Political Movement

• Jesus reacts to injustice and oppression

• Kingdom of God is understood– As an interior change offering hope– As an exterior change to transform

society• Liberation Theology seeks to change

society

Latin American Liberation Theology

• Gustavo Gutierrez in 1968 came up with Theology of Liberation

• Gospel a tool for reform in Latin America• Through the Church people were taught

about liberation theology• Focused on Mary the Mother of Jesus• Drew women to the movement• South American (and US) Governments

reacted• In 1989, six Jesuit priests were killed at

Central American University because of their support toward rebellious forces

Black Liberation Theology

• Martin Luther King Jr. is an example • Some argue that Malcolm X laid the

basis for Black Liberation Theology • Critique of American Christianity• King used “Jesus way to the Cross” as

central theology for change• Malcolm X moved away from

Christianity and toward Islam because he felt Islam was “color-blind”

Music as Indicator for Socio-Cultural Expression

• Some music may push the boundaries of established norms, but it is also reflective of the age it was created.

• Music crystalizes thought and acts as a gage so we can view the socio-cultural context.

• In the case of authority, view the shifting loci of power.

• Music is a tool to help us analyze culture.

Music as Indicator for GLBTQ Culture

• The Edmonton Reggae Festival came under public scrutiny in July 2015 for performing artists they selected (http://www.edmontonjournal.com/Edmonton+Reggae+Festival+sponsors+suspend+support/11201907/story.html)

• What is it about their music that caused the controversy?

Music as Indicator for GLBTQ Culture

• Queen Ifrica “Keep it to yourself” (2008) (https://www.youtube.com/watch?v=hFf9N_dwO7s)

• What does Queen Ifrica’s lyric say about GLBTQ culture? How does Queen Ifrica legitimize the position presented in the lyrics?

Music as Indicator for GLBTQ Culture

• Hozier “Take Me to Church” (2014) (https://www.youtube.com/watch?v=PVjiKRfKpPI)

• What does Hozier’s lyrics say about “church”? How does Hozier legitimize the position presented in the music video?

Music as Indicator for GLBTQ Culture

• Queen Ifrica’s lyrics use scripture “Laws of God” to defend the prohibition of GLBTQ culture.

• Hozier’s lyrics and music video rejects church authority with regards to GLBTQ culture.

• Music is crystalizing contemporary discourse and reflecting the two polar positions of our society.

• Because both positions revolve around church authority (accept v. reject), I think with regards to GLBTQ culture, the loci of power rests with the church. Do you agree?

Christian Rock

Another Piece to our Working Theory

• Romanowski’s study identifies that the dominant American consumer culture co-opts subcultures. Mass culture in the 20th century fueled by rise of democratic culture and homogenization which in turn suppressed the personal, ethic, and religious identities associated with traditional subcultures. Media saturation reshaped society lessening familial and religious authority and eroding American’s sense of time and place.

Christian Music Industry

• Est. 1970s as alternative to secular music and to reach non-religious youth

• Industry counteracted– Lack of audience– Inferior record production– Inferior distribution network

Venture into Secular Rock

• Christian rock moving more mainstream caused discord amongst Christian music industry because it was saw as an affront to Christian lifestyle

• The purpose was to achieve a ministry to youth but difficulties arose– Gospel record and independent Christian

companies competed for sales– Songwriters and publishers battled radio

programmers– Blurring lines between secular and religious– Crossover music confused consumer

Christian Rock and Secular Rock

• Christian music moved youth culture into popular culture

• By moving into secular industry the Christian Rock movement became co-opted by secular industry

• In an attempt to focus on the new musical form other Christian music was set aside (i.e., Black Christian Music)

• Conservative Evangelical Christians tried to focus on traditional values but their worship became more untraditional

• Music sends a mixed message while the lyrics are Christian focused sometimes the entertainment side (i.e., their actions on stage, their dress, make up etc) is telling a different story

Christian Rock and Secular Rock

• In 1980’s the music plateau because – the music was too diverse – so

the market was sub divided, – mom and pop religious stores stop

selling the music because it didn’t seem Christian,

– Disagreements over the commercial character stopped cooperative efforts

Amy Grant

• Amy Grant is an example of a successful Christian music singer who was also able to cross over to the secular music industry – this cross over brought tension amongst the Christian music group

• Amy Grant’s success was an uneasy relationship as her music became less and less about evangelicalizing and more about making music – she became a Christian singing secular love songs.

Christian Rock and Secular Rock

• In effect, the Christian music crossover trend illustrates the dominant consumer culture may have a greater impact on religious subcultures in the United States than the other way around. [This goes back to our theory]

• To further complicate things 1997 Amy Grant’s “Behind the Eyes” had no explicit reference to God or Jesus while LeAnn Rimes “You Light Up My Life: Inspirational Songs” was on the top charts for Christian music.

Rave Culture and Religion

Rave as Religious Experience

• The study applies the theory of displacement of religious experience and the sacred to draw out the structural and phenomenological religious homology of raves and set the study of this youth phenomenon and the subculture which surrounds it firmly within the field of religious studies.

Outline

• Rave History and Structural Components

• Symbolic and Religious References

• Ritual Structure of Rave Culture

Rave History• In US, stems from 20th century “house” music/dance

which was a backdrop for the gay club scene in the 70s and 80s in New York, Chicago, and East Coast cities like Montreal, so rave scene was natural fit when introduced

• In Britain in the 80s a new social revolution occurred after a decade of Thatcherism, in connection to drug ecstasy, acid house parties spread across London and Manchester which spilled into clubs and desolate industrial areas thus becoming raves

• Exported from Britain via technoevangelism– British ravers travelling abroad and catalyzing rave’s

implantation (as was the case in the San Francisco scene)– foreign travelers discovering raves while in England and

Northern Europe, and feeling “a calling” to bring back raves to their home town

Structure• Special knowledge concerning events and on-

goings circulates via certain information networks which make abundant use of intra-textual, coded references

• Raving is a group activity; only rarely do individuals go to events unaccompanied

• Raves offer an enchanted environment • Essential to rave-and amongst ravers’ prime

motivations for attending events-is techno music

• Dancing is the main activity here, making raves spark gratuitousness, excess and participation

Symbolic and Religious References

• Language: generalized and wide-range use of explicit religious terminology and symbolism

• Return to Eden • Reacting to a feeling of

apprehension and loss of control

Ritual Structure of Rave Culture

• Similar to Victor Turner’s Three Stage Process– separation (from normality),– marginalization and aggregation– return to normality and

reassessment

Separation

• Separation: Gathering information, purchasing tickets and drugs, meeting up with friends, getting to the party location

Marginalization and Aggregation

• The marginal state begins when ravers enter the soundscape, often with feelings of awe and anticipation mixed with a sense of being overwhelmed.

• Drug ingestion, when it occurs, is also performed in a ritualized and sometimes even solemn manner; focusing attention by providing a frame

Return

• Return: After 10 hours or more (sometimes days), a typical rave opens onto various comedown rituals

Is Rave Religious?

• The article suggests quite strongly that rave culture is a religious experience or practice.

• Do you think rave culture is a religious practice?

Religion to Interpret Data

• JZ Smith states:– Religion is not a native category– Religion is thought to be

ubiquitous– In constructing a second-order,

generic category “religion,” its characteristics are those that appear natural to the other

– Religion is an anthropological category not a theological category

Banksy