Directory of Contemporary Worship Musicians - Way of Life Literature
Directory of Contemporary Worship Musicians - Way of Life Literature Directory of Contemporary Worship Musicians - Way of Life Literature
CCM Magazine was not saying that Dorsey was the fatherof Christian music in general, but of contemporary Christianmusic in particular.Dorsey was a pioneer in CCM in that he popularized theintegration of sacred lyrics with sensual party music.Dorsey was a filthy blues musician who performed underthe name of Georgia Tom and joined hands with the likes ofTampa Red (Hudson Whitaker) and Ma Rainey. eyenflamed the sinful passions of the patrons of juke joints,whorehouses, and gambling dens with vulgar lyrics set to asensual, body-jerking backbeat blues rhythm.“e two [Dorsey and Tampa Red] became so notorious fortheir cunningly erotic blues they coined a word for the style[hokum] and went on to name their duo aer it, the FamousHokum Boys” (We’ll Understand It Better By and By: PioneeringAfrican American Gospel Composers, p. 180).Pious blacks who took Jesus Christ and the Bible seriouslyand who were faithful to biblical churches, condemned theblues because of its intimate association with immorality anddrunkenness and violence. is is clear from the historiesthat have been written of that time, such as the following:“If you played blues, you played where people drank andgambled and carried on and committed adultery—all thethings that the black church and the white church stoodagainst: gambling, fornication, adultery, violence,murder” (Gayle Wardlow, Chasin’ at Devil Music, p. 144).“Sex was inextricably linked with blues and jazz. It was not aprejudice: it was a fact of life. … In truth, black parents werealso disapproving of blues and jazz music, and oen pulled outthe broomstick when their daughters showed an interest in the‘devil’s music’” (James Dickerson, Goin’ Back to Memphis, pp.29,30).Bluesman W.C. Handy was from a Christian home andboth his grandfather and his father were preachers. When hebrought a guitar home in his early teen years, his parents wereshocked. Handy’s father said: “A guitar! One of the devil’s86
playthings. Take it away. Get it out of your hands. Whateverpossessed you to bring a sinful thing like that into ourChristian home?” (Handy, Father of the Blues, p. 10). It wasn’tthe guitar itself that was the problem, of course, it was itsintimate association in that time and place with the filthyblues music and lifestyle. Handy’s father rightfully believedthat “becoming a [blues] musician would be like selling mysoul to the devil” and that those who are living the licentiousblues lifestyle are “trotting down to Hell on a fasthorse” (Ibid., p. 303). Handy’s Christian music teacherwarned him that blues music would bring him to the gutter(Ibid., p. 303).When Muddy Waters, who organized the first electric bluesband, started learning to play the blues as a boy, his godlygrandmother warned him: “Son, you’re sinning. You’replaying for the devil. Devil’s gonna get you” (Bossmen BillMonroe and Muddy Waters, p. 105). Muddy Waters ignoredhis grandmother, but she was right. He operated a juke joint,sold moonshine, and ran gambling games. He put his firstwife out of the house and brought in a girlfriend. Heremarried and aer the second wife died, he married a 25-year-old girl when he was 64 (Robert Palmer, Deep Blues).Many of his blues friends died young because of their “racy”lifestyles. For example, Henry Stong, harmonica player inMuddy Waters’ band, was stabbed to death by his girlfriend atage 34 and bled to death in the back of Muddy’s automobile.When Charlie Patton started playing the blues, his preacherfather looked upon it as a sin. “... when Bill [Charlie’s father]caught his son making [blues] music, he considered it hisChristian duty to deliver stern warnings and, as the warningscontinued to go unheeded, increasingly severe corporalpunishment” (Robert Palmer, Deep Blues, p. 51). Charlieignored his father’s godly discipline, wasted his life on liquorand loose women, and died at age 43 of a heart attack.Jazz/blues researcher Gayle Dean Wardlow, who wenthouse to house in black neighborhoods in search of old87
- Page 41 and 42: Wimber interpreted all of this as t
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- Page 45 and 46: had a solid testimony of salvation
- Page 47 and 48: ough the decades, Maranatha Music h
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- Page 52: On another cut entitled “Come int
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- Page 59 and 60: Chapman, Steven CurtisSteven Curtis
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- Page 63 and 64: Waxahachie, Texas). Hatcher was one
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- Page 95 and 96: At first, Dorsey’s illicit mixing
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playthings. Take it away. Get it out <strong>of</strong> your hands. Whateverpossessed you to bring a sinful thing like that into ourChristian home?” (Handy, Father <strong>of</strong> the Blues, p. 10). It wasn’tthe guitar itself that was the problem, <strong>of</strong> course, it was itsintimate association in that time and place with the filthyblues music and lifestyle. Handy’s father rightfully believedthat “becoming a [blues] musician would be like selling mysoul to the devil” and that those who are living the licentiousblues lifestyle are “trotting down to Hell on a fasthorse” (Ibid., p. 303). Handy’s Christian music teacherwarned him that blues music would bring him to the gutter(Ibid., p. 303).When Muddy Waters, who organized the first electric bluesband, started learning to play the blues as a boy, his godlygrandmother warned him: “Son, you’re sinning. You’replaying for the devil. Devil’s gonna get you” (Bossmen BillMonroe and Muddy Waters, p. 105). Muddy Waters ignoredhis grandmother, but she was right. He operated a juke joint,sold moonshine, and ran gambling games. He put his firstwife out <strong>of</strong> the house and brought in a girlfriend. Heremarried and aer the second wife died, he married a 25-year-old girl when he was 64 (Robert Palmer, Deep Blues).Many <strong>of</strong> his blues friends died young because <strong>of</strong> their “racy”lifestyles. For example, Henry Stong, harmonica player inMuddy Waters’ band, was stabbed to death by his girlfriend atage 34 and bled to death in the back <strong>of</strong> Muddy’s automobile.When Charlie Patton started playing the blues, his preacherfather looked upon it as a sin. “... when Bill [Charlie’s father]caught his son making [blues] music, he considered it hisChristian duty to deliver stern warnings and, as the warningscontinued to go unheeded, increasingly severe corporalpunishment” (Robert Palmer, Deep Blues, p. 51). Charlieignored his father’s godly discipline, wasted his life on liquorand loose women, and died at age 43 <strong>of</strong> a heart attack.Jazz/blues researcher Gayle Dean Wardlow, who wenthouse to house in black neighborhoods in search <strong>of</strong> old87
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