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Mr. Thomas Andrew Dorsey's telephone number was given to the writer of this newly released book by the name, Thomas A. Dorsey, Father of Black Gospel Music An Interview, by a directory assistance operator in Chicago, Illinois. The writer, at the time, (1975) took a chance and called, not expecting the first publisher of Black Gospel Music, to answer the phone. A very hoarse voice said "Hello," and the writer recognized it immediately as being the voice he had heard on a recording about Gospel Music that Mr. Dorsey had done. After being asked if he would consent to being interviewed Mr. Dorsey unenthusiastically said yes. He was unenthusiastic the writer later discovered, because fortune hunters and status seekers had been plaguing him for interviews. Honored that Mr. Dorsey had said yes, the writer took a train from Kansas City, Missouri to Chicago, to interview this man who had written hundreds of songs.
Mr. Thomas Andrew Dorseys telephone number was given to the writer of this newly released book by the name Thomas A. Dorsey, Father of Black Gospel Music an Interview by a directory assistance operator in Chicago, Illinois. The writer, at the time (1975), took a chance and called, not expecting the first publisher of black gospel music to answer the phone. A very hoarse voice said Hello, and the writer recognized it immediately as being the voice he had heard on a recording about gospel music that Mr. Dorsey had done. After being asked if he would consent to being interviewed, Mr. Dorsey unenthusiastically said yes. He was unenthusiastic, the writer later discovered, because fortune hunters and status seekers had been plaguing him for interviews. Honored that Mr. Dorsey had said yes, the writer took a train from Kansas City, Missouri, to Chicago to interview this man who had written hundreds of songs.
Publisher's description: Contains a special 75-minute CD of contemporary rehearsal techniques, presented live with real singers.
Anointed to Sing the Gospel is the biography of the "Father of Gospel Music," Dr. Thomas A. Dorsey from Villa Rica, GA to Chicago, IL. It encompasses the spiritual dilemma that caused him to cross-over completely to the gospel song from blues and jazz. The impact of Thomas A. Dorsey as a modern-day Levite and his impact on music of the 20th and 21st century Levites is examined. Interviews with contemporaries and devotees of Thomas A. Dorsey are included.
The outrageous and often hilarious autobiography of legendary session musician and lead guitarist and singer of Toto. "...one of the most entertaining rock memoirs of recent years..." - Houston Press No one explodes one of the longest-held misconceptions of music history better than Steve Lukather and his band Toto. The dominant sound of the late ‘70s and ‘80s was not punk, but a slick, polished amalgam of rock and R&B first staked out on Boz Scaggs’ Silk Degrees. That album was shaped in large part by the founding members of Toto, who were emerging as the most in-demand elite session crew in LA, and further developed on the band’s self-titled multi-platinum debut. A string of massive hits followed for Toto while Lukather and bandmates David Paich, Jeff Porcaro, and Steve Porcaro also served as creative linchpins on some of the most successful and influential records of the era, including Michael Jackson’s Thriller. In this incisive memoir, Lukather tells the complete Toto story. He also lifts the lid on what went on behind the closed studio doors, shedding light on the unique creative processes of some of the most legendary names in music: from Quincy Jones, Michael Jackson, Paul McCartney, Stevie Nicks, and Elton John to Miles Davis, Joni Mitchell, Bruce Springsteen, Don Henley, Roger Waters, and Aretha Franklin. Lukather’s extraordinary tale also encompasses the dark side of stardom and the American Dream. Frank, engaging, and often hilarious, The Gospel According to Luke is no ordinary rock memoir. It is the real thing.
Follow God's process for growth and learn how you can benefit from life's challenging experiences with this book by bestselling inspirational author T.D. Jakes. In this insightful book, #1 New York Times bestselling author T.D. Jakes wrestles with the age-old questions: Why do the righteous suffer? Where is God in all the injustice? In his most personal offering yet, Bishop Jakes tells crushing stories from his own journey-the painful experience of learning his young teenage daughter was pregnant, the agony of watching his mother succumb to Alzheimer's, and the shock and helplessness he felt when his son had a heart attack. Bishop Jakes wants to encourage you that God uses difficult, crushing experiences to prepare you for unexpected blessings. If you are faithful through suffering, you will be surprised by God's joy, comforted by His peace, and fulfilled with His purpose. Crushing will inspire you to have hope, even in your most difficult moments. If you trust in God and lean on Him during setbacks, He will lead you through.
The instant New York Times bestseller and companion book to the PBS series. “Absolutely brilliant . . . A necessary and moving work.” —Eddie S. Glaude, Jr., author of Begin Again “Engaging. . . . In Gates’s telling, the Black church shines bright even as the nation itself moves uncertainly through the gloaming, seeking justice on earth—as it is in heaven.” —Jon Meacham, New York Times Book Review From the New York Times bestselling author of Stony the Road and The Black Box, and one of our most important voices on the African American experience, comes a powerful new history of the Black church as a foundation of Black life and a driving force in the larger freedom struggle in America. For the young Henry Louis Gates, Jr., growing up in a small, residentially segregated West Virginia town, the church was a center of gravity—an intimate place where voices rose up in song and neighbors gathered to celebrate life's blessings and offer comfort amid its trials and tribulations. In this tender and expansive reckoning with the meaning of the Black Church in America, Gates takes us on a journey spanning more than five centuries, from the intersection of Christianity and the transatlantic slave trade to today’s political landscape. At road’s end, and after Gates’s distinctive meditation on the churches of his childhood, we emerge with a new understanding of the importance of African American religion to the larger national narrative—as a center of resistance to slavery and white supremacy, as a magnet for political mobilization, as an incubator of musical and oratorical talent that would transform the culture, and as a crucible for working through the Black community’s most critical personal and social issues. In a country that has historically afforded its citizens from the African diaspora tragically few safe spaces, the Black Church has always been more than a sanctuary. This fact was never lost on white supremacists: from the earliest days of slavery, when enslaved people were allowed to worship at all, their meetinghouses were subject to surveillance and destruction. Long after slavery’s formal eradication, church burnings and bombings by anti-Black racists continued, a hallmark of the violent effort to suppress the African American struggle for equality. The past often isn’t even past—Dylann Roof committed his slaughter in the Mother Emanuel AME Church 193 years after it was first burned down by white citizens of Charleston, South Carolina, following a thwarted slave rebellion. But as Gates brilliantly shows, the Black church has never been only one thing. Its story lies at the heart of the Black political struggle, and it has produced many of the Black community’s most notable leaders. At the same time, some churches and denominations have eschewed political engagement and exemplified practices of exclusion and intolerance that have caused polarization and pain. Those tensions remain today, as a rising generation demands freedom and dignity for all within and beyond their communities, regardless of race, sex, or gender. Still, as a source of faith and refuge, spiritual sustenance and struggle against society’s darkest forces, the Black Church has been central, as this enthralling history makes vividly clear.
Readings in African American Church Music and Worship features important articles and essays on music and worship written by some of the most influential voices of the past century, including W. E. B. DuBois, Wendell P. Whalum, V. Michael McKay, Wyatt Tee Walker, J. Wendell Mapson Jr., and others.
While there have been a number of studies that have explored African American “movement culture” and African American “movement politics,” rarely has the mixture of black music and black politics or, rather, black music an as expression of black movement politics, been explored across several genres of African American “movement music,” and certainly not with a central focus on the major soundtracks of the Civil Rights Movement: gospel, freedom songs, rhythm & blues, and rock & roll. Here the mixture of music and politics emerging out of the Civil Rights Movement is critically examined as an incredibly important site and source of spiritual rejuvenation, social organization, political education, and cultural transformation, not simply for the non-violent civil rights soldiers of the 1950s and 1960s, but for organic intellectual-artist-activists deeply committed to continuing the core ideals and ethos of the Civil Rights Movement in the twenty-first century. Civil Rights Music: The Soundtracks of the Civil Rights Movement is primarily preoccupied with that liminal, in-between, and often inexplicable place where black popular music and black popular movements meet and merge. Black popular movements are more than merely social and political affairs. Beyond social organization and political activism, black popular movements provide much-needed spaces for cultural development and artistic experimentation, including the mixing of musical and other aesthetic traditions. “Movement music” experimentation has historically led to musical innovation, and musical innovation in turn has led to new music that has myriad meanings and messages—some social, some political, some cultural, some spiritual and, indeed, some sexual. Just as black popular movements have a multiplicity of meanings, this book argues that the music that emerges out of black popular movements has a multiplicity of meanings as well.
Dr. Stanley Heard Brobston's book traces the history of the white gospel genre from the Bible to the American bicentennial. Brobston's book may represent the first known study of gospel music using an objective method for selecting the representation of performers and music to be examined.