barbara rossing


“It’s showtime!”

[ beetlejuice remake ] requested by faeriviera

david harewood as adam maitland | tracee ellis ross as barbara maitland | zoe kravitz as lydia deetz 

michael pena as betelgeuse

andre braugher as charles deetz | alex kingston as delia deetz | shohreh aghdashloo as juno

Unplanned pregnancies,which sometimes resulted from these sexual encounters, were also subject matter for some girl group records.

In the most famous example, Diana Ross and The Supremes’ number one hit “Love Child,” Ross describes her own troubled youth as someone who “had no name” to a partner who is encouraging her to have sex. She tells him “don’t think that I don’t need you/don’t think I don’t want to please you/but no child of mine will be wearing/the name of shame I’ve been wearing.”  

Similarly, the narrative of The Lovelites’ “How Can I Tell My Mom and Dad,” a song co-written by lead singer Patricia Hamilton, details a young girl’s dilemma after she is left by the father of her unborn child. With backing vocals warning “no, no” as she considers getting an illegal abortion or running away, Hamilton agonizes over how she can explain her predicament to her parents.

In an article on musicology and semiotics in On Record, Barbara Bradby notes that the familiar call and response structure of many girl group songs is often an implicit expression of a mother–daughter relationship, although the chorus can also serve the purpose of a group of girlfriends or the lead singer’s conscience offering support, advice, or scorn (363).

In “How Can I Tell My Mom and Dad,” Hamilton asks a series of questions which seem rhetorical but are in fact answered by the chorus.

Should I go up to mama
And say “guess what I done”? (No, no)
Or disappear in the night
And let them notice I’m gone? (No, no)
Should I go out and do
Something I wouldn’t want to? (No, no)
Or should I stand up like a big girl
And tell them about me and you?

Although the subtle suggestion of an abortion is downplayed by both the lead vocals and the chorus, it is still raised as a possible solution to her unwanted pregnancy. By the end of this song Hamilton has not conclusively decided what she will do about her dilemma.

As surprising as it is to find premarital sex, unplanned pregnancies, and abortions as subject matter for commercial pop songs marketed toward middle-class girls who were supposed to preserve their virginity until marriage, various autobiographies of the young women in these groups reveal that some of them—and undoubtedly the girls in their audience—had experienced these very situations.
—  Will Stos, “Bouffants, Beehives and Breaking Gender Norms: Rethinking ‘Girl Group’ Music of the 1950s and 1960s
Whether prescribing a violent script for Israel or survivalism in the United States, this [Rapture] theology distorts God’s vision for the world. In place of Jesus’ blessing of peacemakers, the Rapture voyeuristically glorifies violence and war. In place of Revelation’s vision of the Lamb’s vulnerable self-giving love, the Rapture celebrates the lion-like wrath of the Lamb. This theology is not biblical. We are not Raptured off the earth, nor is God. No, God has come to live in the world through Jesus. God created the world, God loves the world, and God will never leave the world behind!
—  Barbara R. Rossing in The Rapture Exposed: The Message Of Hope In The Book Of Revelation
We differ, first of all, on our views of God - whether our God is a God whose will is to destroy the world. Second, we differ on whether Christians are to embrace an escapist ethic, as Rapture proponents argue, or are to urgently love and care for the world in anticipation of Christ’s return. These differences in ethics will be crucial for our future.
—  Barbara R. Rossing in The Rapture Exposed