Author: Deborah Smith Pollard
Publisher: Wayne State University Press
Format: Book (240 p.)
If gospel means “good tidings and good news,” then gospel music should definitely engage us in spiritual celebration of the good news. Agreeing with this premise, Deborah Smith Pollard’s book on contemporary gospel music, When the Church Becomes Your Party, maintains that you should celebrate the church through the gospel music tradition as reflected in a phrase adapted from a popular secular refrain, “Ain’t no party like a Holy Ghost party. . .” (viii). Ethnographer Deborah Smith Pollard, also a professor of African American Studies, articulates varied dimensions of gospel music in a well-documented study using data reflecting her scholarly background and her experience as a gospel announcer for a popular Detroit radio station.
Here is an interview with “Dr. Deb” Pollard about her gospel radio show on WJLB:
Consistent with its celebratory theme and nature, Pollard’s book, using a lively format, details the joyous contributions of gospel music through interviews with well-known gospel artists, musicians, and preachers, most of whom have longstanding ties to the gospel music scene in Detroit. Indeed, an array of talented gospel families who hail from Detroit have helped catapult it into the national gospel music spotlight: the list includes artists such as, the Rev. C.L. Franklin and daughter Aretha; the Clark Sisters; the Winans; Rance Allen and relatives; the Hawkins family, along with individual artists like the well-known Donnie McClurkin.
Pollard helps to foster an understanding and appreciation of praise and worship music by explaining its origins and challenging the prevailing claim that it has replaced the traditional hymns and the conventional devotional services of the church. Additionally, she examines other musical traditions within gospel, particularly gospel music stage plays, underappreciated dramatic celebrations rooted in African American folk culture. Pollard brings the culture surrounding gospel music into the twenty-first century by discussing the appropriateness of dressing up or down for gospel events by considering the changing dress codes for gospel musicians, audience members at gospel concerts, and churchgoing women. More importantly, she underscores the significant, but often overlooked contributions of women gospel announcers whose work provides an inspirational and empowering spiritual outlet for their listeners. Finally, the book restores the skillful sermonic deliveries of contemporary Holy Hip Hop artists to a respectful place within an oral tradition that harkens back to African griots.
When the Church Becomes Your Party, aimed at both scholars and laypersons, helps to unlock the many layers that comprise the phenomenon of gospel music and the industry responsible for producing it.