One would be hard-pressed to name one person in the United States, or the world for that matter, who knows more about gospel music — its history, its present, its likely future — than Deborah Smith Pollard.
The Detroit-based educator, author and radio show host has written an impressive and informative book titled “When the Church Becomes Your Party” (Wayne State University Press/African American Life Series) that is a must-read for staunch gospel music lovers as well as those with a casual interest in the genre who would like to know much more.
Pollard purposely chose a title that would not only be fitting, but sure to arouse curiosity and raise a few eyebrows as well. That being the case, she explains early on — in fact, on page one of the preface — what the title means.
“This book is titled ‘When the Church Becomes Your Party,’ but not because I deliberately aim to be provocative. Instead, with this title and within the chapters, my goal is to reflect the sacred yet celebratory intentions that exist throughout the gospel music community, despite the wide variety of sounds, performance styles and controversies that often surround them.”
As for the actual phrase, the author says it can be traced to 1995, specifically to in-demand designer Claudette Manners. Pollard was doing research for the Michigan State University Museum on gospel attire.
IN RESPONSE to being asked why so many gospel songstresses were wearing beaded, glittering attire, Manners explained, “When the church becomes your party…within moderation, you have to transfer your party clothes from there…to the church. So they dress. There’s never too much glitter, too many rhinestones…And even for the women that are conservative dressers, there’s never too much tailoring.”
(This writer knows what Manners is talking about. I recall going to a Clark Sisters concert and, not being fully immersed in the gospel world, being very surprised when Karen, Twinkie, Dorinda and Jacky walked onto the stage in gold, sequined gowns. The ladies were glittering! I remember two words immediately coming to mind: “the Supremes.”)
Pollard also notes that the word “party” pops up regularly in the gospel community. For example, people in that circle will speak of “praise parties” and even say, “Ain’t no party like a Holy Ghost party ’cause a Holy Ghost party don’t end.”
“WHEN THE Church Becomes Your Party” is divided into five chapters. They, too, are cleverly titled: • “Praise Is What We Do” — The Rise of Praise and Worship Music in the Urban Church • “Right Under Our (Upturned) Noses” — The Phenomenon Known as the Gospel Musical Stage Play • “Muscle T-Shirts, Tight Jeans, and Cleavage” — (W)rapping the Gospel for a New Generation • “From Princess Premium Stuff and Miss Mandy to Holy Boldness” — The Influence of Women Gospel Announcers • “Preachers in Disguise” — Bringing the Holy to Hip Hop. This book is a literal cornucopia of information, detailed explanations, anecdotes, etc., plus there are many pictures. One of the most gratifying and assuring aspects of “When the Church Becomes Your Party” stems from Deborah Smith Pollard’s impeccable reputation for professionalism, integrity, fairness and complete understanding of her subject.
Whatever she offers the public, by way of the written word or the airwaves, is certain to be the truth.
It seems fitting and proper that a book of this caliber would emanate from Detroit, a city widely recognized for its gospel music prowess.
“THE MOTOR CITY has been a major hub, some have even said ‘the capital,’ for gospel music for several generations,” she writes, “a complete history and analysis of which have yet to be fully presented.”
That said, Pollard gives a substantial amount of ink to many of the gospel greats from Detroit, including Mattie Moss Clark, the Winans, Thomas Whitfield, the Clark Sisters, Rev. C.L. Franklin, Fred Hammond, Martha Jean “the Queen” Steinberg, Vanessa Bell Armstrong and others.
Stepping away from Detroit, you will also read plenty about Yolanda Adams, Clara Ward, the Williams Brothers, Tonex, Albertina Walker, Kirk Franklin, Mahalia Jackson, Richard Smallwood, Smokie Norful, Israel Houghton, Andrae Crouch, Thomas A. Dorsey, the Mighty Clouds of Joy, Trin-i-tee 5:7 and so many others.
Deborah Smith Pollard is associate professor of English Literature and Humanities and former director of the African American studies program at the University of Michigan-Dearborn. She was named Gospel Music Announcer of the Year during the 2005 Stellar Gospel Music Awards. (The Stellar is comparable to the Grammy.) Her radio show on WJLB (“Strong Inspirations”) is listened to by thousands every Sunday morning from 6 to 10 a.m.
THE AUTHOR gets the last word:
“When we consider that gospel music emerged just over 100 years ago in small, virtually invisible storefront churches, the list of the new applications and forms through which the artists can share the Good News and fans can receive it seems quite impressive.
“…the music is no longer just for Sunday morning worship or aimed solely at the faithful. It is also clear that before the 22nd century turns, there will be ample opportunities for scholars to focus on these emerging trends and further enlighten us on their history, development and place within gospel music and Black culture.”
