By Robert M. Marovich
Marovich follows gospel track from early hymns and camp conferences throughout the nice Migration that introduced it to Chicago. In time, the song grew into the sanctified soundtrack of the city's mainline black Protestant church buildings. as well as drawing on print media and ephemera, Marovich mines hours of interviews with approximately fifty artists, ministers, and historians--as good as discussions with family and buddies of prior gospel pioneers--to get better many forgotten singers, musicians, songwriters, and leaders. He additionally examines how an absence of monetary chance bred an entrepreneurial spirit that fueled gospel music's upward thrust to reputation and opened a gate to social mobility for a couple of its practitioners. As Marovich indicates, gospel tune expressed a longing for freedom from earthly pains, racial prejudice, and life's hardships. in any case, it proved to be a legitimate too effective and too joyous for even church partitions to hold.
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Extra info for A City Called Heaven: Chicago and the Birth of Gospel Music
42 Williams parlayed his position into one of prominence and power. He set up shop on the second floor of the Overton Building at Thirty-Sixth and State, in the midst of The Stroll and its supply of music talent. ”44 Under Williams, Paramount could find, sign, rehearse, and record the talent, press and sell the records, and profit from the publishing royalties. 36 Part One: Roots One thing Paramount did not have was its own recording studio. It used as many as three different studios in the Wabash/Jackson/Adams section of Chicago’s downtown Loop, including a studio at 218 South Wabash Avenue operated by white evangelist and songwriter Homer Rodeheaver.
Mason, Dranes was an active volunteer for the denomination 2. 81 She worked with Bishop Riley F. 82 Alva Johnson Roberts remembered hearing the sanctified pianist for the first time in Chicago during the 1930s. “I was a teenager at Pastor P. R. ”83 The last known public appearance of Arizona J. ” Dranes died of a stroke on July 27, 1963. At the time of her death, she was living in Los Angeles at 5219 McKinley Avenue and had joined Emmanuel COGIC, pastored by her longtime friend Bishop Crouch. 84 Like blues singer-guitarist Robert Johnson, few photos exist of Arizona Dranes, which only adds to her mystique.
41 When Black Swan went bankrupt, Williams approached Paramount about a job. 42 Williams parlayed his position into one of prominence and power. He set up shop on the second floor of the Overton Building at Thirty-Sixth and State, in the midst of The Stroll and its supply of music talent. ”44 Under Williams, Paramount could find, sign, rehearse, and record the talent, press and sell the records, and profit from the publishing royalties. 36 Part One: Roots One thing Paramount did not have was its own recording studio.