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While many white musicians gravitated toward country, folk, and old-timey music to express their spirituality outside of traditional Christian hymns, Black Gospel music drew heavily upon the traditional spirituals that had been passed down from the days of slavery, picking up its more driving rhythmic emphasis from blues and early jazz. Composer and singer Thomas A. Dorsey crystallized the style in 1932 with his epochal "Take My Hand, Precious Lord," and went on to compose a great many songs that later became standards. When performed in the churches, the music was traditionally sung by a choir, with individual soloists sometimes taking the spotlight; this often happened in a form known as "call and response," in which either the choir or the soloist would repeat and/or answer the lyric which had just been sung by the other, with the soloist improvising embellishments of the melody for greater emphasis. As the music developed, these soloists became more and more virtuosic, performing with wild emotion (and, in the South, physicality) in order to properly express the spiritual ecstasy the music was meant to evoke. The music was quite egalitarian in terms of gender, as both male and female performers -- Brother Joe May, Rev. James Cleveland, Mahalia Jackson, the Clara Ward Singers, etc. -- gained wide renown among both black and white audiences. The small-group format was also prevalent, with major figures including the Five Blind Boys of Mississippi, the Soul Stirrers, the Swan Silvertones, and the Dixie Hummingbirds; in general, these groups placed a greater premium on smooth vocal harmonies, although some performances could approach the raucous energy (if not quite the huge sound) of a choir-with-soloist group. As the years progressed, black gospel and black popular music influenced and borrowed from one another, reflecting the gradual change of emphasis toward R&B; black gospel also had an enormous impact on the development of soul music, which directed gospel's spiritual intensity into more secular concerns, and included a great many performers whose musical skills were developed in the church. As a recognizable style unto itself, black gospel music largely ceased to develop around the 1970s; progressing racial attitudes had helped black popular music reach wider audiences (and become more lucrative) than ever before, and tastes had turned towards the earthy hedonism of funk and the highly arranged, sophisticated Philly soul sound. The former wasn't quite appropriate for worship, and it wasn't all that practical to duplicate the latter in church services. However, the traditional black gospel sound survived intact and was eventually augmented by contemporary gospel (an '80s/'90s variation strongly influenced by latter-day urban R&B); plus, singers like Whitney Houston continued to develop within its ranks.
How true this is. You can put lipstick and earrings on a pig but inwardly they’re still a pig so Peter writes that “the hidden person of the heart” is precious to God and the “imperishable beauty of a gentle and quite spirit” to God is “very precious” and that’s all that matters eternally. We’ll all get new bodies someday anyway and so why should we be so preoccupied with what we look like when God only cares about what we are like on the inside? Christian Wall Art
Sadly, many people will look at us and judge us by appearances and as we’ve already read, they can miss-read us because they don’t see what’s on the inside which is what is of ultimate importance. Jesus said “You judge by human standards; I pass judgment on no one” (John 8:15). Every time that someone looks at us and they judge us by appearances, they are judging us by human standards and very likely miss-judging us. What they can’t see is what is most important anyway. The religious leaders of Jesus’ day were only concerned with what people saw them doing but God knew their hearts and saw that they were inwardly full of sin. Christian Images