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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.
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.
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.
Black gospel music grew from obscure nineteenth-century beginnings to become the leading style of sacred music in black American communities after World War II. Jerma A. Jackson traces the music's unique history, profiling the careers of several singers--particularly Sister Rosetta Tharpe--and demonstrating the important role women played in popularizing gospel. Female gospel singers initially developed their musical abilities in churches where gospel prevailed as a mode of worship. Few, however, stayed exclusively in the religious realm. As recordings and sheet music pushed gospel into the commercial arena, gospel began to develop a life beyond the church, spreading first among a broad spectrum of African Americans and then to white middle-class audiences. Retail outlets, recording companies, and booking agencies turned gospel into big business, and local church singers emerged as national and international celebrities. Amid these changes, the music acquired increasing significance as a source of black identity. These successes, however, generated fierce controversy. As gospel gained public visibility and broad commercial appeal, debates broke out over the meaning of the music and its message, raising questions about the virtues of commercialism and material values, the contours of racial identity, and the nature of the sacred. Jackson engages these debates to explore how race, faith, and identity became central questions in twentieth-century African American life.
As early-twentieth-century Chicago swelled with an influx of at least 250,000 new black urban migrants, the city became a center of consumer capitalism, flourishing with professional sports, beauty shops, film production companies, recording studios, and other black cultural and communal institutions. Davarian Baldwin argues that this mass consumer marketplace generated a vibrant intellectual life and planted seeds of political dissent against the dehumanizing effects of white capitalism. Pushing the traditional boundaries of the Harlem Renaissance to new frontiers, Baldwin identifies a fresh model of urban culture rich with politics, ingenuity, and entrepreneurship. Baldwin explores an abundant archive of cultural formations where an array of white observers, black cultural producers, critics, activists, reformers, and black migrant consumers converged in what he terms a "marketplace intellectual life." Here the thoughts and lives of Madam C. J. Walker, Oscar Micheaux, Andrew "Rube" Foster, Elder Lucy Smith, Jack Johnson, and Thomas Dorsey emerge as individual expressions of a much wider spectrum of black political and intellectual possibilities. By placing consumer-based amusements alongside the more formal arenas of church and academe, Baldwin suggests important new directions for both the historical study and the constructive future of ideas and politics in American life.
This revised and updated definitive blues bibliography now includes 6,000-7,000 entries to cover the last decade’s writings and new figures to have emerged on the Country and modern blues to the R&B scene.
Founded in 1943, Negro Digest (later “Black World”) was the publication that launched Johnson Publishing. During the most turbulent years of the civil rights movement, Negro Digest/Black World served as a critical vehicle for political thought for supporters of the movement.
Founded in 1943, Negro Digest (later “Black World”) was the publication that launched Johnson Publishing. During the most turbulent years of the civil rights movement, Negro Digest/Black World served as a critical vehicle for political thought for supporters of the movement.
Complementing Ethnomusicology: An Introduction, this volume of studies, written by world-acknowledged authorities, places the subject of ethnomusicology in historical and geographical perspective. Part I deals with the intellectual trends that contributed to the birth of the discipline in the period before World War II. Organized by national schools of scholarship, the influence of 19th-century anthropological theories on the new field of "comparative musicology" is described. In the second half of the book, regional experts provide detailed reviews by geographical areas of the current state of ethnomusicological research.