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From Africa through the spirituals, from minstrel music through jubilee, and from traditional to contemporary gospel, "People Get Ready!" provides, for the first time, an accessible overview of this musical genre.
Gospel music evolved in often surprising directions during the post-Civil Rights era. Claudrena N. Harold's in-depth look at late-century gospel focuses on musicians like Yolanda Adams, Andraé Crouch, the Clark Sisters, Al Green, Take 6, and the Winans, and on the network of black record shops, churches, and businesses that nurtured the music. Harold details the creative shifts, sonic innovations, theological tensions, and political assertions that transformed the music, and revisits the debates within the community over groundbreaking recordings and gospel's incorporation of rhythm and blues, funk, hip-hop, and other popular forms. At the same time, she details how sociopolitical and cultural developments like the Black Power Movement and the emergence of the Christian Right shaped both the art and attitudes of African American performers. Weaving insightful analysis into a collective biography of gospel icons, When Sunday Comes explores the music's essential place as an outlet for African Americans to express their spiritual and cultural selves.
In A City Called Heaven, Robert M. Marovich follows gospel music from early hymns and camp meetings through its growth into the sanctified soundtrack of the city's mainline black Protestant churches. Marovich mines print media, ephemera, and hours of interviews with artists, ministers, and historians--as well as relatives and friends of gospel pioneers--to recover forgotten singers, musicians, songwriters, and industry leaders. He also examines the entrepreneurial spirit that fueled gospel music's rise to popularity and granted social mobility to a number of its practitioners. As Marovich shows, the music expressed a yearning for freedom from earthly pains, racial prejudice, and life's hardships. Yet it also helped give voice to a people--and lift a nation. A City Called Heaven celebrates a sound too mighty and too joyous for even church walls to hold.
Winner of the 2022 Gustave O. Arlt Award in the Humanities, award by by the Council of Graduate Schools Explores the role of jazz celebrities like Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams as representatives of African American religion in the twentieth century Beginning in the 1920s, the Jazz Age propelled Black swing artists into national celebrity. Many took on the role of race representatives, and were able to leverage their popularity toward achieving social progress for other African Americans. In Lift Every Voice and Swing, Vaughn A. Booker argues that with the emergence of these popular jazz figures, who came from a culture shaped by Black Protestantism, religious authority for African Americans found a place and spokespeople outside of traditional Afro-Protestant institutions and religious life. Popular Black jazz professionals—such as Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams—inherited religious authority though they were not official religious leaders. Some of these artists put forward a religious culture in the mid-twentieth century by releasing religious recordings and putting on religious concerts, and their work came to be seen as integral to the Black religious ethos. Booker documents this transformative era in religious expression, in which jazz musicians embodied religious beliefs and practices that echoed and diverged from the predominant African American religious culture. He draws on the heretofore unexamined private religious writings of Duke Ellington and Mary Lou Williams, and showcases the careers of female jazz artists alongside those of men, expanding our understanding of African American religious expression and decentering the Black church as the sole concept for understanding Black Protestant religiosity. Featuring gorgeous prose and insightful research, Lift Every Voice and Swing will change the way we understand the connections between jazz music and faith.
Drawing on and piecing together a trove of previously unexamined sources, this work is a critical study of the renowned African American gospel singer Mahalia Jackson (1911-1972).
This book is designed for the general reader of gospel music, as well as those who incorporate gospel into their lesson plans on the academic level. “Gospel Music: An African American Art Form” provides music information on the heritage of gospel from its African roots, Negro spirituals, traditional and contemporary gospel music trends. The mission and purpose of this book is to provide a framework of study of gospel music, which is in the mainstream of other music genres. There are 8 detailed sections, appendices and resources on gospel music which include African Roots and Characteristics and history, Negro Spirituals, Black Congregational Singing, Gospel history and Movement, Gripping effects: Cross Over Artists, Youth in Gospel, and Gospel Music in the Academic Curriculum with lesson plans. There is a wealth of knowledge on the cultural heritage of “Gospel Music As An Art Form.”
African American women have played a pivotal part in rock and roll—from laying its foundations and singing chart-topping hits to influencing some of the genre's most iconic acts. Despite this, black women's importance to the music's history has been diminished by narratives of rock as a mostly white male enterprise. In Black Diamond Queens, Maureen Mahon draws on recordings, press coverage, archival materials, and interviews to document the history of African American women in rock and roll between the 1950s and the 1980s. Mahon details the musical contributions and cultural impact of Big Mama Thornton, LaVern Baker, Betty Davis, Tina Turner, Merry Clayton, Labelle, the Shirelles, and others, demonstrating how dominant views of gender, race, sexuality, and genre affected their careers. By uncovering this hidden history of black women in rock and roll, Mahon reveals a powerful sonic legacy that continues to reverberate into the twenty-first century.
Presents the history of gospel music in the United States. This book traces the development of gospel from its earliest beginnings through the Golden Age (1945-55) and into the 1960s when gospel entered the concert hall. It introduces dozens of the genre's gifted contributors, from Thomas A Dorsey and Mahalia Jackson to the Soul Stirrers.