At a time when some so-called black theologians are starting to “universalize” their schemes of considered (thereby decreasing their dependence on a peculiarly black untested base), James Cone extends to announce and illuminate his theology by discovering the widespread knowledge of black persons, as voiced in song and story. Cone's conviction that the black spirituals and blues are important heritage and historical signs of the black ethos has directed him to analyze, in this little capacity, their sociological and theological implications. (Kelly, 1989)