In this episode--part 2 of a two-part series on protest and pride--I explore the work of artists such as Nina Simone, Aretha Franklin, the Staple Singers, James Brown, and others, who used music as a means of promoting racial justice and respect, often in response to the trials and triumphs of the Civil Rights Era and the subsequent Black Power Movement.

In this episode, I explore the music of the Civil Rights Era, focusing on Bernice Johnson Reagon's work with the Freedom Singers and Sweet Honey in the Rock. I also discuss the contributions of activists known as the Freedom Riders, who sang freedom songs as they endured racism and violence while traveling throughout the U.S. South.

This is the second episode of a two-part series on the 1950s. In this episode, I discuss some of the "architects" of rock 'n' roll such as Chuck Berry and Little Richard, highlighting some of the ways their church upbringing helped to shape their recordings and careers. This episode also explores the music and legacy of Elvis Presley, including a  consideration of how Elvis was perceived by artists such as James Brown, Ray Charles, and B.B. King. 

This is the first episode of a 2-part series on the 1950s.  Part 1 focuses on some doo-wop classics by the Chords and the Penguins, while comparing  original recordings by Big Joe Turner, Willie Mae "Big Mama" Thornton, and others to popular cover versions by white groups such as the Crew Cuts, Les Baxter, Bill Haley and the Comets, and Elvis Presley. 

This episode examines the origins of African American gospel music in the United States, the emergence and stylistic evolution of gospel quartets, the contributions of Thomas Andrew Dorsey, vocal and ensemble techniques, and the musical dialogue between post-WWII gospel music and secular genres. 

This episode explores the musical boundary crossings of soul artists such as Ray Charles and Aretha Franklin, as well as blues artists such as Charley Patton, Blind Gary Davis, and Son House.  Other artists, including Jimmie Rodgers, J.M. Gates, and Rosetta Tharpe, are also discussed. Emphasis is on the genre ambiguity of certain performances and the musical styles of recording artists who have drawn from the sounds of "the black church" in the United States.