Lost in translation

Because I’m sure many of you watched the Oscars last night and woke up this morning thinking, “why aren’t there more movies about southern gospel music?”, here’s a clip via southerngospelcritique that might help answer your post-Oscar query, from the 1966 non-event movie, Sing a Song For Heaven’s Sake:

For some background on the movie, check out David Bruce Murray’s encyclopedia entry on the film. As DBM notes, the film “failed to attract attention at the secular box office.” Shocking, idn’t it?

Full copies of the film are hard to come (there’s one here for $150) but as DBM also notes, the movie is basically a flimsy plot device that serves as a pretext for a bunch of groups to perform a song on camera. Judging from the available clips, the results were … not good. For the most part, the Blue Ridge clip above is representative - wooden and mechanical and technically slick in a way that expertly defines the term “perfectly uninteresting.” Somehow the aliveness that makes gospel music of this (and arguably any) era so good is lost in translation from stage to screen.

I suspect the biggest problem is that though the conceit of the film is that these are live performances in a small country church, they’re actually studio recordings with a visual element, so the performers are acting - very badly in most cases - like they’re performing for a live audience but have none of the visceral energy of a real live crowd to feed off. As a result, the performances largely come off as - indeed are - canned music sung to audiences as fake as the plastic smiles of vapid beatitude plastered on the singers’ faces.

The  performances that come closest to coming alive are Doris Akers’, who seems to intuitively get how to perform for the camera:

She doesn’t seem so much to be playing to a fake audience; her style - the way she sings around the beat and ornaments her notes a la the black gospel improvisational live style - doesn’t demand so immediately that you suspend your disbelief and imagine some nonexistent person as the nonexistence object of her music. She manages to suggest that she’s singing to you personally, whoever you are, wherever you are watching and listening:

Update: Avery’s favorite (and perhaps only) Irish reader, Irishlad, chimes in with an astute observation:

Was it a case of White Gospel of the 60’s being synonymous with segregation that played a big part in keeping the film from gaining widespread popularity? Let’s face it Doris Ackers like Charlie Pride of the Country scene was the token Black of the genre.

A good point to be sure. In fact, it echoes after a fashion a point I was trying to make in that Religion Dispatches piece from earlier today: that there is something about the black gospel sound that conveys realness and immediacy and authenticity in a way that white gospel rarely seems to capture or convey to most mainstream audiences. Having spent a good deal of my life encountering and studying gospel music, I am increasingly persuaded that this difference between the reception of black and white gospel is as much about how the music is perceived as it is the formal characteristics that distinguish black from white (or in this case, traditional southern vs a hybrid black/white sound). And doubtless Irishlad is right to point to the political and cultural climate of the 60s: even if mainstream cinema tastes weren’t exactly celebrating an integrationist worldview, there certainly was a drift in Hollywood toward more racially integrated perspectives (Guess Who’s Coming to Dinner was released a year after Sing a Song).

But that said, in the particular case of Sing a Song For Heaven’s Sake, my gut says the biggest obstacle to the movie’s fuller success was its own self-consciousness (most notably the lack of any real storytelling structure). These folks simply aren’t ready for primetime Hollywood, and probably never will, would, or should be. In short, this isn’t southern gospel. This is southern gospel singers performing a one-dimensional caricature of themselves, a caricature that approximates what they think mainstream audiences imagine something called gospel music ought to sound like when mostly white people sing it (the term “southern gospel” had no real currency or meaning in the 60s).

To the extent that this artificial, staged performance of one’s own culture doubtless arises in part from culturally southern evangelical whites’ awareness of themselves as being seen on the wrong side of history in terms of race in America, then we could probably see the film and/or its reception as a reflection of the race problem in the 60s. But there’s a more pervasive and deepset insecurity in play here, one that reflects the broader displacement of religious fundamentalism from the seat of cultural authority in mainstream America in the 1960s as it reacted to and came under the influence of counterculture influences.

Southern gospel (both professional mass-market music and paraprofessional convention singing) is, I’m glad to say, being taken more seriously as a cultural tradition and a form of religious expression worth studying and listening to meaningfully, even by people outside the southern gospel world (thanks in no small part to the work of scholars like Stephen Shearon, an occasional commenter around here). But it still seems to me that there’s often a difference between the way strangers to gospel music (whether black or southern white) listen to the former vs the latter. When they hear black gospel, there’s this sense of immediate recognition, if not identification, that they perceive as authentically American, or something close to it, even if the cultural context and lived experience from which black gospel music arises is foreign to these listeners. But southern gospel? It’s usually taken seriously only after people unfamiliar with it are able to treat it as a kind of folk music on steroids.

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Comments

  1. irishlad wrote:

    Was it a case of White Gospel of the 60’s being synomymous with segregation that played a big part in keeping the film from gaining widespread popularity? Let’s face it Doris Ackers like Charlie Pride of the Country scene was the token Black of the genre.

  2. NG wrote:

    One of the problems was that the groups, I believe, were simply lip-synching to their recordings. It’s obvious when the Imperials perform as Jim Murray is shown as tenor but it is former tenor Sherrill Nielsen’s voice.

    Some performers, including the Blackwoods, sold edited versions of the movie with just the performances and not any of the so-called story line.

    Similar bad movies were made around the same time featuring a bunch of country artists. One I recall was called Country Music on Broadway.

  3. NG wrote:

    Here’s Jim Murray pretending to sing to a recorded vocal by Sherrill Nielsen.

    http://www.youtube.com/watch?v=YoKI3KO1xD0

  4. Hector Luna wrote:

    Nice observation Irishlad. When you think of Black Gospel, you think of soul. You think of something real, and passion ignited music, charting into musical terrain uncommon to white people. When you think of Southern Gospel, you may think many things, some good…but not always soul, real, passion ignited…

  5. Matt G. wrote:

    I always wondered what the deal is with the lady on the left of the platform with her back to the groups. Was she supposed to be sitting at an organ?

  6. Jeff Crews wrote:

    Wait… Doris Akers was black?

  7. NG wrote:

    Black gospel became must more well known than white gospel (southern or country) to a secular audience because it was the main source of rhythm and blues and later rock n’ roll. The late rock critic Robert Palmer wrote of Ray Charles’ first #1 R and B hit “I’ve Got a Woman” (later cut by Elvis): “It pressed the ecstasies of church black music into the service of a Dionysian sensuality.”

    Sam Cooke was a gospel star with the Soul Stirrrers before hitting the pop charts. But Palmer notes: “Whether the text was addressed to “my Lord” or “my baby” people continued to attend Sam Cooke shows expecting to have church and church, at its most inspirational and transcendent, is what he gave them.”

    All kinds of other black artists from Little Richard to Wilson Pickett to Jackie Wilson to Johnny Taylor were greatly influenced (and in fact stole from gospel artists like Claude Jeter). White artists were influenced by these black artists and thus the black gospel sound was well known to white audiences regardless of their church background or lack of it.

  8. Judi wrote:

    What strikes me about these clips is how totally uncomfortable before the camera these performers are. They are working hard to not be aware of it, and as you point out,they are not connecting with the audience. Worse,that smattering of applause shows the audience is not connecting with them, either. If the audience IN the movie isn’t connected, then why should an audience in a movie
    theater be? I’m not well enough acquainted with Southern gospel to compare or comment on the sound, except to note that a group like the Blue Ridge reminds me of Barbershop, where achieving the harmony is the point, rather than traditional black gospel, where emotion and musical innovation are key, and when black gospel singers MOVE, there is a grace and an energy to it that I can’t see in the taped Southern gospel performances, although it very well may be there on stage. I’m waiting to catch that “toss the babies” aura that you have sometimes written about.

  9. quartet-man wrote:

    I was fortunate to buy a new copy of this when available a couple of decades ago or roundabouts. Yes, the lot and acting are pretty much painful (and nearly non existent) and the performances lip synched, but I’m still glad I have the piece of history.
    I believe Pierce LeFevre made a comment about burning every copy of it.

  10. irishlad wrote:

    #4 Yes Hector, same thing in the Gaither tapes when everyone’s getting fired up about Jesse Dixon or Lillie Knauls. There’s something mechanical about the way they all(not the Blacks) stand up together all on cue, it’s like their hearts not really in it . I can almost hear Lynnda Randle mutter ‘huh, vanilla fakers’
    #6 DA was probably as black as SG could tolerate in those days, yes she was almost mulatto in colouring. It was almost a decade till Sherman came along.

  11. Kyle wrote:

    Is it just me, or does Jake Hess look like a Muppet? The way his head swings back and forth with the massively-wide eyes, while his body stays mounted in a creepy, almost robotic movement makes me wonder if he weren’t originally designed for the Country Bear Jamboree.

  12. The Art Coach wrote:

    WOW! I didn’t even considered Doris Akers was bla..ehem..African-American.

  13. quartet-man wrote:

    The deal about Akers’ ethnicity came up a while back somewhere.

  14. Melvin Klaudt wrote:

    There was also token Native Americans (American Indians) Doy Ott and the Klaudt Indian Family. Some say Big Chief Wetherington. So what does all this mean at the end of the day? There was also a black choir from Nashville in the movie. As long as we are giving this movie a critical analysis, let’s cover all the basis and do it justice. Who in SG has even attempted anything like this? Maybe a documentary would have been more in keeping.

  15. Melvin Klaudt wrote:

    If I also remember, there was a Hispanic group in the movie.

  16. bigken54 wrote:

    Those folks who have access to the complete film should tell you that there is a black choir called the Gospel Echoes that was featured on two songs. They were not included in the church setting, but were taped in a recording studio in Nashville. Their two songs were quite lively, by the way.

  17. topsy wrote:

    I go to the NQC each year. At the various motels where we stay - I strike up a conversation with others who are there for a variety of reasons. When I tell them I am attending the Nathional Quartet Convention - probably 90% of them don’t know about it. When I tell them it’s a gospel music convention - they it is black choirs. I tell them no - it’s quartets - they think that is a barbershop quartet convention. When I explain that it is not - I will usually ask - “have you heard or seen The Gaither Homecoming on television?” about 1/3 will say - O yeah - I’ve seen them on tv. The other 2/3 still don’t have a clue. So - I go with - “how about The Oak Ridge Boys or The Gatlin Brothers?” I’ll explain - much of the talent at the NQC is along that style just with religious words. If they’re under 30 - they might not know who The Oak Ridge Boys or Gatlins are either. At that point I give up.

  18. Dean Adkins wrote:

    As one who saw all these groups in concert, I can attest that their stage performances were nothing like these clips. With many of these groups there was an electricity when they hit the stage. I think much of the rigidness can be attributed to those who were directing - producing the movie. It seems they had cookie-cutter pattern as to how the groups performed. I have sat through concerts in churches such as those shown, watching and listening to some of those groups perform. I’m sure that the groups initially thought this was another avenue to broaden their appeal.Any resemblance between these clips and the real performances is purely coincidental.
    BTW, Pierce was right!

  19. Irishlad wrote:

    #11 Kyle get a copy of Albert Goldman’s Elvis and read the chapter “Quartette”.His discriptive prose of Jake is hilarious and a bit spooky at the same time,i think you would appreciate it.

  20. art wrote:

    I have thought for some time that SG could form the basis of a very good movie. Like most movies, it would need a decent story. SG seems to have all the elements: temptation, loneliness, the grind of being on the road, professional jealousy, driving ambition, a few moments of onstage ecstasy, triumph and redemption. And maybe romance?

    A prerequisite would be that the characters should be portrayed with realistic flaws — not as the paragons of virtue that they aren’t but that some SG fans would like to believe them to be.

    The performances by the singers in these clips seem like standard dreck from many subpar music-oriented movies of the era. Apparently, it was a bad movie then and it hasn’t improved with age.

    And for my part, I prefer the SG version of gospel over the more musically soulful sound. I like the harmonies, and I guess I like more structure in music than I get with the more soulful ad libbing.

  21. NG wrote:

    #19 Irishlad: If anyone does read Albert Goldman’s Elvis book, it is worth bearing in mind what critic Greil Marcus said about it:
    “It is Goldman’s purpose to entirely discredit Elvis Presley, the culture that produced him, and the culture he helped create–to altogether dismiss and condemn, in other words, not just Elvis Presley, but the white working-class South from which he came, and the pop world which emerged in his wake.”

  22. Irishlad wrote:

    #21 Indeed NG i’m well aware of the Goldman controversy, personally i thought him a pompous prat,i just didn’t want to get into that when i posted ,but that particular chapter(Quartette) mirrored Kyle’s sentiments.

  23. Wade wrote:

    17 Topsy… If they do not know who the Oaks are just shoot them!!!!

  24. Kyle wrote:

    #20 art,

    The problem with making a movie related to SG is that it’d have to be rated “R,” which means the target audience would never see it, and the ones who DO see it would use it as a weapon against Christianity.

    If there’s one thing I can’t stand, it’s these Christian-themed movies (such as those produced by Cloud Ten) that desperately try to portray non-Christian attitudes while still being family-friendly. It’s laughable, especially watching Kirk Cameron trying to be “un-Christian” in the “Left Behind” movie.

  25. Hector Luna wrote:

    #25 Kyle. You are exactly right. If one is to accurately take an art form, use it on southern gospel with a believable plot and put it into film, it would not rate PG. Even if you didn’t base it on a reprobate character, you’d still be able to attack situations that we all love, and avery loves anyways, like personnel changes. Why so and so did leave… southern gospel fans might not want to see those scenes. they would either be destroyed, embarrassed, or laugh way too hard to take it serious. and some could use it as a weapon against Christianity, though i believe they could use anything.

    I do think it could be done right, even if one were to depict a rather serious situation. i want to see reality. even if it’s not all good. just make the climax of the plot with its focus on redemption. all is forgiven and keep on singin’ boy!!!

  26. topsy wrote:

    Wade - I would shoot them for not knowing the Oaks - except in this motel that we stay - you have to check your guns in at the desk when you check in to the motel.

  27. BUICK wrote:

    Part of what makes these clips (and, in fact, the entire movie) seem so contrived is the lack of microphones. Go to any SG concert the or now and you see mics. Especially in the case of the Blue Ridge, without mics., the guys clearly didn’t know where to look, where to focus or what the heck to do with their hands. Love ‘em or hate ‘em, EH&SSQ could have taught the Fagg boys what to do with their hands.

  28. David J. Stuart wrote:

    I have a that VHS video of that movie somewhere, just gotta find what i did with it. I watched it many times.

  29. Rick wrote:

    Big Chief was not native American. The Statesman perpetuated that myth. His family was actually of Pakistani descent.

  30. LS wrote:

    It may be an awful movie, but I’m still glad to have the chance to see some of these groups. It’s better than nothing, isn’t it?

  31. NG wrote:

    #29 re Big Chief: Here’s an interesting post from someone cliaming to be James Wetherington’s nephew suggesting racial issues as possibly a reason for the name Big Chief.

    http://wiki.answers.com/Q/Why_was_Big_Chief_Wetherington_called_Big_Chief

  32. CVH wrote:

    So what are the cutaway shots in the last :15 of the Blue Ridge clip about? Young love budding in the second row? She winks at him? Then he’s got that smug little smirk that says, “Oh yeah, I’m gonna get some tonight.” Weird.

  33. quartet-man wrote:

    #32 CVH, I haven’t watched the clip (except when I saw it originally), but it probably has to do with the “plot” of the movie. The bratty, um I mean misguided blond haired kid didn’t want to go to hear the SG groups because they were “square”. He is forced to go, but once he gets there and sees the cool cats on stage starts liking it. All this happens very quickly (only in the movies). :D

  34. John wrote:

    #31
    Mark Wetherington is indeed the Big Chief’s nephew. Mark passed away about a year ago.

  35. NG wrote:

    Thanks John (#33). Do you know if the Big Chief is of Pakistani descent (rather than Native American) as #29 states?

  36. Wade wrote:

    Topsy… you gotta stay at a BETTER place!!!

    Something good to put in our movie is SUDDENLY Opening doors to small rooms right off stage or even better storm on to the buses between 5p and when the concert is over!!

    Suddenly entering back stage rooms as a kid is what taught me The Ladies Love them some Bass Singers!!! ;-) :-)

  37. Irishlad wrote:

    #33 Nothing’s changed then.

  38. Melvin Klaudt wrote:

    There also was a story going around about Big Chief that while he was in the Navy, he was a Chief Petty Officer. To me, it is amazing that what ever subject is discussed it always comes down to a white/black discussion. Let’s just say, Big Chief was one of, if not, the best bass singer that ever lived. As a Native American, I have no problem calling Jim “Big Chief”.

  39. Wade wrote:

    Melvin… I really don’t recall there being as big a debate about black/white as Gay/Straight!!!

    But FOR REAL… Big Chief was one of the first MONSTER Bass Singers!!

  40. cdguy wrote:

    I was just a teenager watching the Statesmen in the 60’s, and I don’t remember any controversy, but I do remember there being discussion about his ethnicity. Black, white, native american. . . . I don’t remember hearing anything about middle eastern.

    Had Pakistan come into the conversation about a current artist today, I’m sure there’d be LOTS of discussion.

  41. Melvin Klaudt wrote:

    #39, For sure Wade, when you talk about gay/straight, there can be no grey area, it all has to be black or white.

  42. Irishlad wrote:

    At the EH&SS concert in Belfast Ernie got a 17yr old bass whom he met at The Stamps Baxter School of Music up to do a number. Boy was he good or what? His name was Colet Selwyn and his song was “Happy Rhythm” accompanied by the best moonwalk since MJ. I’m saying all this because the young guy was most definitely 1st generation Indo/Pakistani origin.I believe he’s on Youtube.

  43. Odeliya wrote:

    :) Avery , to add for you some diff perspective- i, for one, don’t see it as folk.

    Small or med-ize male group/choir singing of tehilim is the part of culture i grew up in, its timeless artform. So SG’s beautiful harmony stole my heart, despite lyrics that often suck;)-those naughty boys shamlessly butcher the scriptures and seem to believe that Yeshua (Jesus) was a white, sanctimonious, obese SB georgian or kentuckian- i just laugh it off, no biggie, who’s perfect? Gold City gospel band can sing a telephone book or Toyta operational manual to me acapella and I’ll be happy as clam! Just like good barbershop Qts,no immediate need for any instrumental music.The steroidal part (by that you mean using moderal sound engineering?) is poorer in SG in comparison to rock,christian pop, which is rather a compliment, true talent is not relying on technology.

    To add- VERY MUCH IMHO, but as someone living in the midwest, SGospelniks should invent some other pretty religious-sounding word and drop “Southern”- a swear word around here where i am. Esp in Chicago where there are many godly, educated black professionals, trust me - i am an alumni in many churches.The profound bigotry of SBs and other racist ancestors really screwed up the perception of what southern brand of christianity is for the rest of the country.

  44. Ode wrote:

    @41 -LOL yes, it can, dear Mr. Klaudt. If Kirk Talley w’d have sucessfully “prayed the gay away” and married your daughter or niece and honestly tried to fulfill his husband duties, the outcome of such daring enterprise would be a “grey area”, Melvin :D

  45. Melvin Klaudt wrote:

    #44, maybe, maybe not. For sure we would have had to do away with the scripture, “buried in the depths of the sea never to be remembered against you again. But it is good for conversation.

  46. JD wrote:

    Yeah, Chief came from that huge community of Pakistanis in Lakeland FL. That all migrated later to TY TY, Ga. That indian grandma of his was just a figment of his imagination. Please, where do you people come up with this stuff!!!!

  47. Brett wrote:

    Apparently, Crabb Revival has disbanded. How sad. The Crabb Family keeps going through transitions.

    http://www.singingnews.com/Southern-Gospel-News/11646624/

  48. cynical one wrote:

    #47 Brett — I read the article, and didn’t see it specifically saying Crabb Revival is disbanding. Maybe this other couple is traveling with them part time, or vice versa? Maybe Adam’s doing some dates in addition to CR?

    I think we should wait until we hear more specifics, before we jump to conclusions.

    Oops! My bad! We don’t do that around here, do we?

    PS Who IS Back Home, anyway? Never heard of them.

  49. Brett wrote:

    Now they are done. According to the Back Home website Adam is doing dates with it says that Crabb Revival came off the road. Here is the article,

    http://backhomesings.com/bio.html

    scroll down till you get to Adam Crabb and it says they came off the road.

  50. Mountain Man wrote:

    Interesting to read Melvin Klaudt’s comments. Reminded me of first time I heard/saw the Klaudt Indian Family, late 40’s or very early 50’s in eastern South Dakota. My dad was the pastor of the church hosting them. Mom, Vernon, his wife, I believe, and Melvin carried it, I think. Seems to me that in those days, Melvin was called “Chiefy,” or something like that. And there was a younger brother (non-singing, I think) who was about my age. It was a whole different sound than “Jericho Road,” which was about the only quartet song I’d ever heard.

  51. Melvin Klaudt wrote:

    # 50, Mountain Man. My nick-name, since I was about 4, was Chief given to me by my uncle Nathan Little Soldier. The only one to call me Chiefy was my only sister Ramona. The late 40’s was a long time ago. Raymond was my younger brother and he will be 76 this year. Vernon passed away in 2006. It’s amazing, I am almost eighty. Still having fun and trying to confuse “Whiteman”

  52. ode wrote:

    @50 thanks for undate - being currently into fringe american religious music now I love to learn more about. Had no idea Melvin was a part of such historical singing band!

    @ 45 Melvin, great family ministry you guys have! (Re: subject at hand , I totally agree with your support of homosexual singers rights. Your are Native Indian, I am a Jew, we both take injustices towards certain groups of people close to heart. I admire your openmindedness, you growing up in the old times…. i can imagine bullshit your pastors fed you.

    yes,you were right- there is no grey area b/n gay and staight. If one is gay, he will remain such until he is cold in the ground. And you, terminally straight boys, clearly enjoy being straight so much you guys invented viagra pill and made it a multimillion dollar business :)

    To return to the issue at hand - May God richly bless your ministry,btw, you still look pretty presentable and are very handsome even at your age.

  53. Melvin Klaudt wrote:

    Ode # 52, I think you took my opinion out of context and put your own spin on it. Surely, what people do is their own business. However, Don’t ever think that God is excited in anyway with a gay lifestyle as with any other sin. Just because I believe that what people do is their own business, does not mean I support it.

    In a manner of trying to be cute with the black/white issue, I apologize for misleading you.

  54. Mountain Man wrote:

    Melvin, I didn’t mean to tread on a tight family “name” — I just remembered hearing it in two syllables. Raymond is older than I, but we still played together that afternoon before the concert… thanks for replying..

  55. Ode wrote:

    @53 I didnt say you supported “sin”, but “rights” - exactly what you confirmed in p.53 , ” what people do is their own business”

    Indeed,Melvin Klaudt’s sins arent any less then ones of a practicing homosexual or your wife, or Ode, or your pastors sins; if one believes self to be any better then the dirtiest sinner, he ought to review Luke 18 :9-14 and get off his high horse;)

    Oppressing people for what they *are* calling that “sin” is a known sourhern shtick. In case you are a rascal that slept thru all the sermons in the 50s and dont know how pastors were calling being darkskinned a “sin” and “God’s curse” to justify racism ,I will gladly send you the links so you educate yourself a bit on this. I am sure you, as Indian, and me, being darksinned enough to often mistaken for an arab, object to this evil, right ? People ARE what God made them. You didnt choose to be Indian,i didnt chose to be mizrahi-looking Jew, Kirk Talley .. well, you got my drift.

    Also, darling,you mama would be upset seeing her boy being so illmannered ;)- you forget your ” thank yous”. IF someone compliments you and your ministry compliment - twice, like i did! - you, being a gentleman I know you are,should be polite. You are too old to be rude, sweetie.

  56. Melvin Klaudt wrote:

    I must be hiding in a cave. I don’t know of any gay rights among singers. If you have an ax to grind, dont’t use me as your sounding board. My comment in # 41 was about gay/straight not about singers. How we got off on this subject when we were discussing a great bass, Big Chief, shows the inconsistency of the flesh. And by the way, I consider the Talleys as personal friends. I do remember my “thank you’s”, Thank you Ode. I now withdraw from this posting.

  57. Wade wrote:

    Ode… Love it, but don’t hold back!!!

  58. cynical one wrote:

    WOW! What a digression! We’ve gone from discussing a 1966 movie with stiff performances by some otherwise very good sg artists; to discussing who’s black, who’s white, who’s Native-American (who cares?); to chastising for not saying “Thank you”.

    Etiquette is my gig, thank you very much. ;-)

  59. Ode wrote:

    @56

    Melvin, you are being childish and making no sense.Yes, do take a timeout,so not to embarrass yourself any further

    Lack of coherency in your posts strongly suggest that all my axes are already sharper then you, but if I ever need to grind one you won’t make a decent sounding board. Considering what you are filled with, you’d make a good flotation board ;)

    Dont know if you are a closet case or just talking silly. Look, gay all- singers,barbers,doctors,pastors,SG songwriters, etc - should have rights.Do you understand what rights mean? I explained already,so please pay attention this time, Sir. Rights guarantee equality for people of different skin color, gender or race and prevent a majority from oppressing minorities. You cant be for and against “rights” simulteniously. If you are for gay rights, then whats your whining all about? if against, then you lucky The Talleys are unaware or they wouldnt have such bigoted dirtbag as a friend !

    And lasty whats with ” I do remember my thanks you’s”? You lying little weasel,no, you DON”T remember, I just had to remind you! Not man enough to say “sorry” and be polite? Your manners seem to need some tuning, as well as your grammar;)

    Listen I respect your old age and what’s left of your brain - who knows how much i’ll have left at 80!- but you seem to act like a pomptious arse, I am sure you are a decent man deep inside, so just take a break, have a glass of good wine. Next time keep your gay thoughts to yourself. This is a music blog.

  60. Ode wrote:

    @ 59 -LOL your etiquette book should have ” thou shall read all the posts before commenting on them lest you appear cluless ;)” We werent discussing ” whos white, whos black..,” far from it.

    unless you are just trying to kiss Melvin klaudt’s big artist’s ass, then suck hard and make a derogatory post towards me, I allow you. :)

  61. Wade wrote:

    ODE…welcome to the BS Calling Club!!!!

  62. ode wrote:

    - (Paying dues and grabbing the badge) Thanks! I promise to protect and defend our club’s honor, so help me God.

    Even i am just a small, shy and defenseless woman,but if annoyed much I’ll eat those boys for breakfast
    -they are crunchy and good with mayo- and carpet bomb the entire area.There was joke on Kol Israel radio the other day “Israel has undoubtedly proven to international community that we dont have, and never owned any nuclear weapons, but if you piss us off - we promise to use it”;)

  63. cynical one wrote:

    Ode — We weren’t discussing who’s black and who’s white?

    See comments #1, #6, & #12.

  64. ode wrote:

    Cynical, no. I respectfully disagree. You are correct, words/questions were present in posts, but to say the discussion was about “who is black, white,Native Am” is like saying that criminal case of axe murderer is about the axe, to use the current buzz phrase.

    And to answer your “who cares?” - in historical period we discussed everybody did. Even now the religious south appeared to me as still way too racist, when I traveled there.

    but sweet people,Im outta here for now. Lets all kiss and make up,you have a lovely weekend, im leaving for a purim vacation to see my parent’s friends in Dallas, laptop-free.

  65. Bones wrote:

    Leroy Abernathy nick named other people, He named London Parish.

  66. Elwood wrote:

    I discovered this movie through clips on YouTube. Ugh! I’m not a SG lover at all - too close to country music, which I hate - but if they have an anointing and a Biblical message, then I don’t care what the musical style is, I’m supporting `em. And live concerts are a great chance for SG singers to be true ministers (Greater Vision is a fantastic example of this). You just don’t get that in this movie. It’s dull, dry, and mechanical, and Pierce LeFevre had good reason to want to burn every copy of this movie.

    Now, if there was video footage of the Blackwood Brothers at their Long Beach concert where the whole place came alive during “The Old Country Church”, when Bill Shaw belted out “I’m redeeemed, by love divine…”, now *that* would be something to capture on film!

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