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From the Grand Ole Opry to Radio City and beyond, country music is sweeping the globe. But country is more than just the new sound of America; many of its artists are also capturing audiences with their faith-inspired spirit. Yes, Lord, I'm Comin' Home! presents these heart-warming true stories about faith and renewal, from some of today's hottest country stars and legends of the past as they reveal the tragedy and triumph of their spiritual journeys. With startling honesty and emotional vulnerability, superstars like Naomi Judd, Barbara Mandrell, and Donna Fargo tell how they turned to faith to sustain them through discouragement, depression, and their darkest hours. Others, like Marty Raybon of Shenandoah, B. J. Thomas, Glen Campbell, and Steve Gatlin lived a life of drug and alcohol abuse until it all came crashing down. There are also moving stories behind the beautiful voices of Doug Stone, Ricky Lynn Gregg, and Louise Mandrell, who offer personal and passionate glimpses of their lives--and faith. In Yes, Lord, I'm Comin' Home!, a show-stopping list of country music legends and superstars share their joy of coming to know God. Artists such as Ferlin Husky, Penny DeHaven, John Berry, Rick Trevino, Toby Keith, Mark Collie, Susie Luchsinger, Paul Overstreet, Ken Holloway, MidSouth's Kent Humphrey, Deborah Allen, Brian Barrett, and Joy Lynn White radiate with their love of God.
Lord I'm Coming Home focuses on a small, white, rural fishing community on the southern reaches of the Great Dismal Swamp in North Carolina. By means of a new kind of anthropological fieldwork, John Forrest seeks to document the entire aesthetic experience of a group of people, showing the aesthetic to be an "everyday experience and not some rarefied and pure behavior reserved for an artistic elite." The opening chapter of the book is a vivid fictional narrative of a typical day in "Tidewater," presented from the perspective of one fisherman. In the following two chapters the author sets forth the philosophical and anthropological foundations of his book, paying particular attention to problems of defining "aesthetic," to methodological concerns, and to the natural landscape of his field site. Reviewing his own experience as both participant and observer, he then describes in scrupulous detail the aesthetic forms in four areas of Tidewater life: home, work, church, and leisure. People use these forms, Forrest shows, to establish personal and group identities, facilitate certain kinds of interactions while inhibiting others, and cue appropriate behavior. His concluding chapter deals with the different life cycles of men and women, insider-outsider relations, secular and sacred domains, the image and metaphor of "home," and the essential role that aesthetics plays in these spheres. The first ethnography to evoke the full aesthetic life of a community, Lord I'm Coming Home will be important reading not only for anthropologists but also for scholars and students in the fields of American studies, art, folklore, and sociology.
Draws on field recordings and interviews with dozens of local New York singers to tell the story of sacred quartet singing in New York City's African-American church community, tracing its evolution and its role in worship and culture.
Mountain of fire and miracles ministries gospel hymn book
Shares uplifting advice about the virtues of forgiveness, offering strategic and biblically based advice on how to achieve peace and personal fulfillment by letting go of past wrongs.
Spirituals were an intrinsic part of the African-American plantation life and were sung at all important occasions and events. This volume is the first index of African-American spirituals to be published in more than half a century and will be an important research tool for scholars and students of African-American history and music. The first collection of slave songs appeared in 1843, without musical notation, in a series of three articles by a Methodist Church missionary identified simply as c. Collections that included musical notation began appearing in the 1850s. The earliest book-length collection of spirituals containing both lyrics and music was published in 1867 and entitled Slave Songs of the United States. Not since the 1930s, with the publication of the Index to Negro Spirituals by the Cleveland Public Library, has an index of spirituals been compiled. The spirituals are neatly organized in four indexes: a title index, first line index, alternate title index and a topical index that includes twenty major categories. A bibliography of indexed sources serves as a guide for further research.