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Transcript of "When I Say 'Steal,'Who Do You Think Of?": Part One

...are interested in opening up the U.S. to their cars—and are getting a boost from the falling dollar, since they can sell cars produced in the U.S. cheaper than they...

Watching the Surface for a Sign

Readings Patrick Phillips reads "Brass Knuckles." Poem text Patrick Phillips reads "The Chimney." Poem text. Patrick Phillips reads "The Flood." Poem text Patrick Phillips reads "Heaven." Poem text Patrick Phillips reads an excerpt...

Early Roller Coaster Patents

...strongly suggesting that multiple rides based on his invention were built by others. A possible example may be a ride at Oakland Beach, Conneaut Lake, Pennsylvania. An 1885 advertisement for...

Mapping the "Big Minutes": Visualizing Sacred Harp's Geographic Coalescence and Expansion, 1995–2014

...venues. A handful of singing minutes feature no specific location, instead providing just a city or town and county. Other minutes include a city or town but no county, or...

Whole Cloth Chintz Wedding Quilt [ca 1850]

...flowers achieved with a limited number of colors and characteristic dotted backgrounds in black or blue." More expensive than everyday fabrics, the choice of an imported chintz for a wedding...

Social Justice Environmentalism

...unacknowledged environmentalism. When the Montgomery Improvement Association (MIA) campaigned to desegregate the bus system and open jobs to black citizens in Alabama's capital city, five of the organization's eight primary...

St. Catherines Island Flyover

...extensive beaches, back-beach meadows, salt marshes, mud flats, fresh-water ponds, and more. Along with colleagues from Georgia Southern University, Page and Martin have worked together at St. Catherines since 2011,...

Elegy for the Native Guards

Poem Elegy for the Native Guards Now that the salt of their blood Stiffens the saltier oblivion of the sea . . . —Allen Tate We leave Gulfport at noon;...

Elegy for the Native Guards

Now that the salt of their blood Stiffens the saltier oblivion of the sea . . . —Allen Tate We leave Gulfport at noon; gulls overhead trailing the boat—streamers, noisy...

When Sunday Comes: Gospel Music in the Soul and Hip-Hop Eras

...number of African Americans migrating to the South exceeded the number of those leaving the region. Especially for returning and primary migrants frustrated by the declining economic opportunities available in...

References
1.	See Horace Clarence Boyer, Golden Age of Gospel (Champaign: University of Illinois Press, 2000); Jon Spencer, Protest and Praise: Sacred Music of Black Religion (Minneapolis, MN: Fortress Press, 1991); Michael W. Harris, Rise of Gospel Blues: The Music of Thomas Andrew Dorsey in the Urban Church (New York: Oxford University Press, 1994); Bob Darden, People Get Ready! A New History of Black Gospel Music (New York: Bloomsbury, 2004); Anthony Heilbut, Gospel Sound: Good News and Bad Times (New York: Simon and Schuster, 1971); Pearl Williams-Jones, "Afro-American Gospel Music: A Crystallization of the Black Aesthetic," Ethnomusicology 19, no. 3 (1975) 373–385; Robert M. Marovich, A City Called Heaven: Chicago and the Birth of Gospel Music (Champaign, University of Illinois Press, 2015); and Jerry Zolten, Great God A'Mighty! The Dixie Hummingbirds: Celebrating the Rise of Soul Gospel Music (New York: Oxford University Press, 2003)
2.	Fortunately, digging deeper into gospel's more recent history has been made easier with the important work of scholars like Mellonee V. Burnim, Brooksie Eugene Harrington, Deborah Pollard Smith, Jon Spencer, Guthrie Ramsey, and Birgitta Johnson. In addition, historians like Shawn David Young and David Stowe provide useful insights into the contemporary Christian music genre. Brooksie Eugene Harrington, "Shirley Caesar: A Woman of Words" (PhD diss., Ohio State University, 1992); Birgitta J. Johnson, "Back to the Heart of Worship: Praise and Worship Music in a Los Angeles African-American Megachurch," Black Music Research Journal 31, no. 1 (2011): 105–129; Deborah Smith Pollard, When the Church Becomes Your Party: Contemporary Gospel Music (Detroit, MI: Wayne State University Press, 2008); Spencer, Protest and Praise; David W. Stowe, No Sympathy for the Devil: Christian Pop Music and the Transformation of American Evangelicalism (Chapel Hill: University of North Carolina Press, 2013); Shawn David Young, Gray Sabbath: Jesus People USA, the Evangelical Left, and the Evolution of Christian Rock (New York: Columbia University Press, 2015); Guthrie P. Ramsey, Race Music: Black Cultures from Bebop to Hip-Hop (Berkeley: University of California Press, 2004).
3.	Geoffrey Himes, "Shout It! Gospel According to Shirley Caesar," Washington Post, April 3, 1987, B7.
4.	John P. Kee, Wait on Him (Tyscot Records, 1991).
5.	Christina Greene, Our Separate Ways: Women and the Black Freedom Movement in Durham, North Carolina (Chapel Hill: University of North Carolina Press, 2005).
6.	"Obituary," Carolina Times, January 31, 1981.
7.	Bobby Jones and Lesley Sussman, Touched by God: Black Gospel Greats Share Their Stories of Finding God (New York: Pocket Books, 1998), 239.
8.	Carol B. Stack, Call to Home: African Americans Reclaim the Rural South (New York: Basic Books, 1996); Sabrina Pendergrass, "Perceptions of Race and Region in the Black Reverse Migration to the South," Du Bois Review: Social Science Research on Race 10, no. 1 (2013): 155–178; George Gmelch, "Return Migration," Annual Review of Anthropology 9 (1980): 135–159; Larry H. Long and Kristin A. Hansen, "Trends in Return Migration to the South," Demography 12, no. 4 (1975): 601–614.
9.	David D. Porter and Rosalyn Gist Porter, "The Changing Profile of Charlotte," Black Enterprise 13 (June 1983): 180.
10.	Jones, Touched by God, 242.
11.	Robert Darden, "New Life's 'Wait on Him' Is an Overnight Hit for John P. Kee," Billboard, February 24, 1990, 45.

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