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When a character in a movie or television show easily finds a parking space in front of a downtown building at midday, we accept it as dramatic license. Any errors and omissions are unintentional. All names, titles, dates, and similar information about creative works have been checked against standard reference sources (listed in the General Bibliography) and are believed to be accurate. Names of movie and television characters are followed, in parentheses, by the names of the actors who played them. Popular songs, unless otherwise specified, are attributed to the songwriters rather than to the performers. Names of book authors are given as they appear on the title page, regardless of the author’s real name (e.g., Mark Twain, not Samuel L.
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Dates given for creative works reflect first publication for books, plays, and stories first release for movies first network run for TV series and the equivalents for other media. All measurements in this book are, therefore, given in the English system. The metric system, though virtually universal in science, is still unfamiliar to most Americans.
The Internet may not have transformed the world, but it has surely transformed the study of popular culture. The third is to the dedicated creators of pop culture Web sites, who put the answers to seemingly unanswerable questions (“What’s the name of that cartoon where Bugs Bunny is trying to fly the giant plane?”) at my fingertips. The second is to Jim Berkowitz, pop culture maven extraordinaire, who long ago taught me to read what is written below the surface of popular culture. The first is to my daughter Katie, now six, who enriched the book by helping me to rediscover the world of children’s entertainment. I also owe three other debts, less concrete but no less significant. All have helped to make this a better and more complete book, and all have my heartfelt thanks and appreciation. Thanks, in alphabetical order, to: John Lockhart, Joe Mundt, Julie Newell, Alan Riley, Judy Riley, John Szucs, Jan Van Riper, Tony Van Riper, James Whitenton, and those whose names I have inevitably forgotten. They have also given me places to write, editorial advice, technical expertise, and a chance to fine-tune my writing style by “test driving” parts of the book as members of its target audience. Over the year and a half it took to write Science in Popular Culture, friends, colleagues, and family members have patiently answered what must have seemed like an endless series of bizarre questions. Copyeditor Pelham Boyer artfully improved my prose in many places and caught several errors of fact that had slipped by me. Production editor Megan Peckman and her staff have also been a great help, especially in guiding me through the intricacies of choosing illustrations. We have never met face to face, but our interactions by phone and e-mail have been models of the writer-editor partnership. The concept and basic structure of the book are hers, and her astute suggestions during the writing process have shaped countless details of its format, content, and style. This book would not exist if Debra Adams, an acquisitions editor at Greenwood Publishing Group, had not seen a need and set out to fill it. 10 9 8 7 6 5 4 3 2 1Īcknowledgments Conventions Used in This Book Introduction Science in Popular Culture The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). Printed in the United States of America TM
Library of Congress Catalog Card Number: 2001055616 ISBN: 0–313–31822–0 First published in 2002 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Includes bibliographical references and index. Science in popular culture : a reference guide / A. Library of Congress Cataloging-in-Publication Data Van Riper, A.
SCIENCE IN POPULAR CULTURE A Reference Guide A. SCIENCE IN POPULAR CULTURE: A Reference Guide
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