Technologies of GospelCircuits and Networks of Sacred/Secular Innovation
This blogspace discovers the intersections of Black entertainment
history with Black church history and American church history.
If you’ve ever read that an African-American musical artist
“started out singing in the church, and then…”
this project takes that comma as a point of departure
to open up new universes.
Motown asserted the idea that Black [church-rooted] music was “the music of young America”. Because they were right, they were very successful.
You won’t read about Motown and the churches and the labor movement in titles like Black Detroit and the Rise of the United Auto Workers. But you will in this series.
The AME tradition is a continuous innovation on 200 years of institutional memory. Today we remember the #Charleston9 with a musical tribute to the artistic traditions of Gospel music and the African Methodist Episcopal Church.
Prince pushed everyone’s respectability buttons.
One of the great inheritors of Millerite theology and artistic training has passed. #RIPPrince
Who would have thought one of the top Gospel ensembles from the Baptist pantheon would be singing about astrology?
Mobility is a key concept.
While doing some research into James Cleveland protegés and GMWA alums, I ran across this clip of a Keith Pringle song that made me wonder a certain thing.
Things can get contentious when you cross the secular/sacred divide. And the result can often be so beautiful.
Gospel artists are a multigenerational community of disruptive innovation. Gospel music is designed to invite you in.