of Bal, Bach, Exum & Co. with “high” artistic representations of biblical texts, and with Hollywood Bible epics (mostly of the fifties and sixties), is a generation-specific one. While the work of these critics may well address the concerns and interests of their own generation (and social class?), Dowsett feels that they do not address his. He sets himself the task of addressing a “Generation X” readership instead through analyzing diverse appropriations of the Bible in popular music, ranging from
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