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The Bulletin—October 2, 2012

...largest power company in the United States) announced on September 27 that it was seeking permission to purchase up to 210 megawatts of solar power by 2017. The proposed "Advanced...

African Americans in Atlanta: Community Building in a New South City

...of some Blacks when he pleaded for accommodation to political and social inequality for the sake of economic progress. His speech echoed Henry Grady's appeal in the previous decade for...

A Conversation with Digital Historians

...is potentially a powerful development. Digital Scholarship Lab, Screenshot of Voting America: United States Politics, 1840–2008, "Dot-Density Map of Presidential Voting, 1920," University of Richmond, 2011. Andrew J. Torget: I...

Finding Media

...friend of the staff in Columbia to take a picture of the statue. We encourage authors to produce their own media if possible. How do you find media for publication?...

The X-Codes: A Post-Katrina Postscript

...our house paint."6Barton, op. cit. Dorothy Moye, Bywater neighborhood, Tibetan prayer flags and poster with preserved code, 2009. Other New Orleanians purposefully preserve their X-codes as powerful memory markers, integral...

An Upcountry Legacy: Mary Black's Family Quilts

...the private sphere among women, who recycled dresses, shared patterns, and paid other women to piece and to quilt. Quilts and household heirlooms served to commemorate and reinforce the private,...

I-26, Corridor of Change

...at Chapel Hill) http://docsouth.unc.edu/sohp/K-505/menu.html Interview with Sam Parker, a Madison County Probation/Parole Officer about his leaving suburbia in the 1960s for rural life and the transformation of the area. (December...

Dancing Around the "Glaring Light of Television": Black Teen Dance Shows in the South

...Hop in Charleston, West Virginia; Ginny Pace's Saturday Hop in Houston, Texas; John Dixon's Dixon on Disc in Mobile, Alabama; Bill Sanders's show in Chattanooga, Tennessee; Dewey Phillips's Pop Shop...

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

...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...

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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