Dr. Carl Holmberg, a beloved member of Bowling Green State University's department of Popular Culture and father of two daughters, Lily and Erin, passed away September 29, 2002 at his home in Bowling Green, Ohio. In addition to what you will find highlighted below, Dr. Holmberg was in the process of extensive research into Japanese popular culture and was loved by the students he taught at the graduate and undergraduate level. Below, we have decided to publish a review of Carl's work by friend and colleague Dr. Gary Hoppenstand, so that the members of our community might realize what the world has gained in one man's labors.

A Review of Dr. Carl Holmberg's Work [printable version]

As a former Vice President and Area Chair of the Popular Culture Association, I have observed a number of Dr. Holmberg's presentations, and I have been most impressed with his strong sense of professionalism and with the unusually high quality of his work. Recently, I have been amazed at the amount and fine caliber of Dr. Holmberg's scholarly production. In my estimation, he has achieved in his work an enviable statue as one of the leading national scholars of popular culture studies.

Specifically regarding Dr. Holmberg's publications, I am especially pleased with the excellence and diversity of his numerous efforts. For example, his recently published scholarly monograph, Sexualities and Popular Culture (Sage, 1998) is both well written and incisive. His analysis of the various complex thematic elements of the relationship of sex and popular culture offers a prospective that is both advanced and advancing. One typically measures the quality of a published scholarly book by an important pedagogical yardstick. Does one learn something from the work? In this case, the answer is a resounding "yes." I was most impressed with Dr. Holmberg's analysis of issues regarding sex and gender in popular culture, in such specific genre areas as popular music and horror stories. His chapter entitled, "The Horror of Sex" is simply brilliant in its discussion of the "ecology" of horror and in its subtextual analysis of important narratives, such as Thomas Harris' novel, Silence of the Lambs.

In fact, I was one of the external reviewers who recommended publication of the book. Part of my review appears as a blurb on the book's back cover. It reads: "Carl B. Holmberg's Sexualities and Popular Culture is one of the most important works in the field of culture studies published in recent years. Well written in its analysis, wide ranging in its discussion, and containing numerous 'gems' of insight on a topic rarely approached, Holmberg's study is a must read for anyone seriously interested in the social dynamics of our culture." Ranking Dr. Holmberg's book in relation to other major studies of popular culture, his monograph does for the study of sex in poplar culture what John Cawelti's Adventure Mystery and Romance does for the study of popular fiction. In other words, it is the best single book on the topic, a ground-breaking effort that defines an entire methodology in popular culture studies.

If Dr. Holmberg had only published this book, then his national reputation would be assured. But he has also published often and published well in a number of other areas, including scholarly book reviews and academic essays. His book reviews illustrate a considered, thoughtful approach to the works under discussion, and his essays are solidly researched and theoretically insightful. I thought quite highly of a number of Dr. Holmberg's articles, especially "Daniel Decatur Emmett's Stump Sermons: Genuine Afro-American Culture, Language and Rhetoric in the Negro Minstrel Show" (co-authored with Gilbert D. Schneider and published in Journal of Popular Culture 19, 1986), and "Stray the Course: Technology's Impact Upon the Representative-Elector Artifact" (published in Communication Quarterly 32, 1984).

"Daniel Decatur Emmett's Stump Sermons," for example, ably demonstrates the diversity of Dr. Holmberg's research. His analysis of the rhetoric of African-American culture and language in Negro minstrel shows is compelling. His application of rhetorical theory to culture studies is solid. And his conclusion ("Emmett's rhetoric is an Afro-American confection which transcends yet retains black and white influences. The genuine African culture and phonology which followed Emmett throughout his career also certifies his sensitivity to black reality. Though no professional ethnographer he presaged scientific acumen in his art.") is both elegantly stated and entirely true.

"Stray the Course" again employs rhetorical theory in developing "a new methodology... which conceives of rhetorical artifacts as enhancements of political communication." As with Dr. Holmberg's other efforts, this article is well thought-out and brilliantly conceived. His view of the function of rhetoric in political, mass culture is ahead of its time. Simply put, all scholars of popular culture studies should aspire to this high level of critical thought.

Gary Hoppenstand
Michigan State University