Frederick County, Virginia: History Through Architecture Maral S. Kalbian The Architecture of Jefferson Country: Charlottesville and Albemarle County, Virginia K. Edward Lay Black Churches in Texas: A Guide to Historic Congregations Clyde McQueen Architecture in Fredonia, New York, 1811-1997: From Log Cabin to I. M. Pei Daniel D. Reiff

2001 ◽  
Vol 60 (3) ◽  
pp. 377-378
Author(s):  
Delos D. Hughes
Keyword(s):  
New York ◽  
Black Churches ◽  
Frederick County ◽  
Virginia History ◽  
Albemarle County

scholarly journals Ideologies of Black churches in New York City and the public health crisis of HIV among Black men who have sex with men

2011 ◽  
Vol 6 (sup2) ◽  
pp. S227-S242 ◽  
Author(s):  
Patrick A. Wilson ◽  
Natalie M. Wittlin ◽  
Miguel Muñoz-Laboy ◽  
Richard Parker
Keyword(s):  
Public Health ◽  
New York ◽  
New York City ◽  
Black Men ◽  
York City ◽  
Black Churches ◽  
Health Crisis ◽  
The Public ◽  
Public Health Crisis ◽  
Sex With Men

Gospel Singing as Black Popular Culture

2018 ◽  
Author(s):  
Mark Burford
Keyword(s):  
New York ◽  
Popular Culture ◽  
Gospel Music ◽  
Black Churches ◽  
Religious Music ◽  
High Profile ◽  
Black Popular Culture ◽  
Recording Artist ◽  
Alternate Forms ◽  
Gospel Singing

Gospel music was integral to the culture of many black churches, but gospel singing offered pleasures to its practitioners and fans that extended beyond musical worship. In the late 1940s, Jackson’s career was interwoven with two phenomena that nudged black gospel singing toward the realm of popular culture: the “song battle” and the high-profile programs of religious music presented at Harlem’s Golden Gate Auditorium by promoter Johnny Myers. Pitting Jackson against such rivals as Roberta Martin and Ernestine Washington, the battle of song offered gospel singers alternate forms of prestige and extended to gospel audiences opportunities for active and engaged participation. Myers made instrumental use of the song battle format, deploying a roster of local talent and national stars and connections with New York–based independent record labels. It was through this Myers “syndicate” that Jackson was introduced to Apollo Records, launching her career as a recording artist.

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