Pop stars and idolatry: an investigation of the worship of popular music icons, and the music and cult of Prince.

Prince is an artist who integrates elements from the sacred into his work. He uses popular iconography to present himself as an icon of consumer culture, as a deified ‘rock god’ worshipped by his fans, and as a preacher leading his audience like a congregation. His personality cult mixes spirituality and sexuality, and deals with issues of ecstasy and liberation, a transgressional approach that draws both controversy and public interest. This paper investigates Prince’s work and the role of the pop star as an icon within contemporary culture, an icon that contains a physicality and sexuality not present in contemporary western religious traditions. It discusses to what extent popular musical culture operates as a form of religious practice within contemporary western culture, and the implications that this has. The paper investigates the construction of Prince’s public character, his manipulation of the star system, and how he uses popular iconography to blur the distinctions between spirituality and sexuality, the idealised performer and the real world, the sacred and the profane, and the human and the divine. It explores how he possesses and is possessed by the audience, who enter into the hollow vessel he offers up to his fans

Delinquent Daughters:Hollywood's war effort and the 'juvenile delinquency picture' cycle

This paper examines a short-lived cycle of ‘juvenile delinquency pictures’ that have been almost entirely ignored in scholarship on the teen film, perhaps in part because they focus on female rather than male youth. Whilst individually unremarkable, collectively these films were central to political debates about the role of Hollywood in wartime. This paper maps the widespread discursive struggles between Hollywood, the middlebrow press, industry regulators, and various government agencies over the production of this cycle. It moves on to analyse the New York reception of these films, highlighting how this ‘cycle of sensation’ was debated in relation to the very local contexts of New York's ‘bobby soxers’ and ‘victory girls’ and the strategies to police them in and around Times Square. It demonstrates that focusing on the localized and contested terrain of discourses surrounding historically situated media cycles reveals the complexity and local specificity required of micro-historical enquiry

Sushi in the United States, 1945-1970

Sushi first achieved widespread popularity in the United States in the mid-1960s. Many accounts of sushi’s US establishment foreground the role of a small number of key actors, yet underplay the role of a complex web of large-scale factors that provided the context in which sushi was able to flourish. This article critically reviews existing literature, arguing that sushi’s US popularity arose from contingent, long-term, and gradual processes. It examines US newspaper accounts of sushi during 1945–1970, which suggest the discursive context for US acceptance of sushi was considerably more propitious than generally acknowledged. Using California as a case study, the analysis also explains conducive social and material factors, and directs attention to the interplay of supply- and demand-side forces in the favorable positioning of this “new” food. The article argues that the US establishment of sushi can be understood as part of broader public acceptance of Japanese cuisine