Page - 136 - in JRFM - Journal Religion Film Media, Volume 03/01

136 | Ken Derry et al. www.jrfm.eu 2017, 3/1, 123–155 as the music reveals.”33 theomusicology is distinguished from other methods and disciplines such as ethnomusicology:34 its analysis stands on the presupposition that the religious symbols, myths, and can- on of the culture being studied are the theomusicologist’s authoritative/normative sources. for instance, while the Western music therapist would interpret the healing of the biblical patriarch saul under the assuagement of David’s lyre as a psychophysi- ological phenomena, the theomusicologist would first take into account the religious belief of the culture for whom the event had meaning. the theomusicological meth- od is therefore one that allows for scientific analysis, but primarily within the limits of what is normative in the ethics, religion, or mythology of the community of believers being studied.35 the theomusicologist is thus concerned with multi-level data within the con- text of the people they study, and subsequently analyzes the material within the time, culture, and context in which it was created36 – something that Luke Cage (2016) provides a particularly good space for, and precisely what is needed when examining hip hop culture within the series. Luke is a hero suitable for the post–civil rights context37 in which hip hop finds itself. His use of violence, often as a last resort as when protecting his landlords, is a just use of that force when seen through the Hip Hop lens of rules of engagement. in other words, force should be used only when necessary and to protect those whom you love.38 in one sense, Luke focuses primarily on his own community to do the work of a hero – much unlike other superheroes who take on a more meta-savior role to “save the world” or to save humankind from some far-off evil. In Luke’s sense, this far-off evil is present in the local and, with advice from Pop, can create a space for heroic measures.39 33 Kirk-Duggan/hall 2011, 77. 34 There is no universal or singular definition of ethnomusicology, as William Darity states; several words come to mind for ethnomusicology such as sound, music, performance, context, and culture. for some, it is the study of music in culture, or, more broadly, the study in context (Darity 2008, 20–22). 35 spencer 1991, 3–4. 36 theomusicology broadens the discussion of religion within hip hop contexts and asks the question “What is the hip hop community saying in the context in which the music, the art, the album, and the artist were created?” 37 this reference is to the generation of young adults born during the post-soul era (1980–2001), raised on a transmediated diet, disconnected from previous generations both locally and ideologically, and currently with non-binary issues to contend with in a post-9/11 society and living in Western society. this generation does not have the binary issues to contend with that the Civil rights generation did (e.g. more Blacks in leadership or the right to vote). While those issues are still present, they manifest themselves in a matrix of problems, which involve police brutality, sexuality, sexual orientation, socio- economics, transgender, class, and race. 38 hodge 2017, 116–148. 39 i would note that there is still a strong patriarchal feel within Luke Cage (2016), and that this continues to be one of Hip Hop’s major flaws. Gender and sexuality tend to favor men and heteronormative standards, leaving little to no room for LGBtQ and other variances to that norm. in this regard even