Podcast appearances and mentions of Thomas A Dorsey

•Blogger's Echo Chamber where Ansonia is talking about The 10 Best Gospel Songs: The Soul of American Music was a blog post I came across in 2016 which was written and updated in 2012.  The blog post was “contributed” byWallace Best, a professor of Religion and African American Studies, Princeton University.•The blog written by Wallace Best covers songs and music beginning in 1932 with Thomas A. Dorsey, including specific songs from the different decades, including various musical greats and his focus of the songs and why he selected the song.  In this humble podcaster's opinion, I will review some of the comments and my view.  I mean, there is some leeway as to freedom of speech.  Wallace gave his overview of 10songs in his blog entry.•Based on this overview, I do ask if you the Let's Talk: Gospel Music Gold; listener would supply your opinion of the selections and if you have a song, recording and artist you would put on the bloggers list.•Please send Let's Talk: Gospel Music Gold an email sharing your thoughts about this show segment also if you have anysuggestions of future guests you would like to hear on the show. Send the email to ⁠⁠letstalk2gmg@gmail.com⁠⁠ •You may Subscribe to the podcast and be alerted when the newest episode is published. Subscribe on Spotify and we will know you are a regular listener. All 4+ Seasons of guests are still live; check out some other Podcast Episodes over200 episodes are available.•LET'S TALK: GOSPEL MUSIC GOLD RADIO SHOW AIRS EVERY SATURDAY 9:00 AM CST / 10:00 AM EST ON WMRM-DB INTERNET RADIO STATION  AND WJRGRADIO INTERNET RADIO STATION 12:00 PM EST / 11:00 AM CST•There is a Let's Talk: Gospel Music Gold Facebook page( @LetsTalk2GMG ) where all episodes are posted as well.   •Please "like" and follow the page for all updates and postings. •The Podcast and Radio shows are heard anywhere in the World on the Internet! •BOOK RELEASES•“Legacy of James C. Chambers And his Contributions to Gospel Music History”•COMING SOON •"Molding a Black Princess"•For Pre-Order Information go to website•https://www.unsungvoicesbooks.com/asmithgibbs

Anthem: "Precious Lord, Take My Hand" by Thomas A. Dorsey The South Church Chancel Choir Director, Organist, and Pianist: Frank R. Zilinyi

One of the most curious and complicated characters on the great American musical landscape is Thomas A. Dorsey.A deeply religious man, Dorsey often is called “the father of gospel music,” because he inspired a movement that popularized bluesy gospel songs in churches across America starting in the mid-20th century.Some 3,000 songs — a third of them gospel — were written by Dorsey in his 90 years, including “Take My Hand, Precious Lord” and “Peace in the Valley.” Now, then, about those other 2,000 songs ….Recording as “Georgia Tom,” Dorsey also was instrumental in the early days of secular blues. With his partner “Tampa Red,” he helped popularize the sexy, happy hokum music of the 1920s and ‘30s with tunes like “Somebody's Been Using That Thing,” “Dead Cat on the Line.” and “The Duck — Yas, Yas, Yas.”In the Beginning….Born in the rural Georgia town of Villa Rica, Dorsey grew up in a religious family, but gained most of his musical experience playing blues piano at barrelhouses and rowdy parties in and around Atlanta, where the family moved when Thomas was eight years old. As a young man, Dorsey began attending vaudeville theater shows that featured blues musicians, with whom he informally studied. Despite being meagerly compensated for his efforts, Thomas played at rent parties, house parties and brothels.Seeking a greater challenge, in 1919 Dorsey moved to Chicago, where he discovered that his brand of playing was unfashionable compared to jazz's newer uptempo styles. Faced with more competition for jobs, Dorsey turned to composing. In 1920 he published his first piece, called "If You Don't Believe I'm Leaving, You Can Count the Days I'm Gone,” making him one of the first musicians to copyright blues music.Dorsey also copyrighted his first religious piece in 1922 (a song called “If I Don't Get There"), but he quickly found that sacred music could not financially sustain him, at least not in the Roarin' Twenties, so he continued working the dives and playing the blues.Enter Ma RaineyDorsey's big break came in 1923 when he was hired as the pianist and leader of The Wild Cats Jazz Band accompanying Ma Rainey, a charismatic and bawdy blues shouter who by then had been performing professionally for 20 years.When Rainey and The Wild Cats opened at Chicago's largest black theater, Dorsey remembered the night as "the most exciting moment in my life,” according to his biographer Michael W. Harris.Dorsey worked with Rainey and her band for two years, composing and arranging her music in the blues style as well as vaudeville and jazz to please audiences' tastes. Often at his side was a new member of the band, Hudson “Tampa Red” Whitaker, a blues guitarist who in 1928 would become Dorsey's recording partner for five years.Rainey enjoyed enormous popularity touring with her hectic schedule, singing about lost loves and hard times. She interacted with her audiences, who were often so enthralled they stood up and shouted back at her while she sang.But Dorsey increasingly had misgivings about the suggestive lyrics of the songs he and Red were writing. Finally, Thomas left the tour and tried to market his new sacred music. He printed thousands of copies of his songs to sell directly to churches and publishers, even going door to door, but he still couldn't make it work.About This SongDorsey returned to the blues in 1928, but this time in the recording studios in the persona of “Georgia Tom.” The first Paramount sessions for him and Tampa Red were the last ones for Ma Rainey. In fact, one of the last things the great blues singer ever recorded was this new Thomas Dorsey composition.Nowadays for vinyl collectors, Rainey's “Black Eye Blues” is a rare find. That's because Ma's September 1928 recording of the song wasn't released until July 1930. By then, the Great Depression was raging. Rainey had left the business (retiring to her Columbus, Ga., home). Paramount was ending too; the studio ceased operation in 1932.While audio of the record was later preserved on blues compilation albums (and now on YouTube), the song itself has had a sketchy history. Over the years, the controversial subject matter — domestic violence — has made it uncomfortable for many singers to tackle, especially when dealing with Dorsey's no-compromise lyrics: You low-down alligator, you watch and sooner or later I'm gonna catch you with your britches down!When folkie Judy Henske recorded it in 1964, for instance, her producers at Elektra changed the title to "Low Down Alligator.” Similarly, when Odetta recorded the song two years earlier, she also found the title a bit too much for early 1960s sensibilities. On the Riverside label, instead of “Black Eye Blues,” the song was listed as “Hogan's Alley,” based on Dorsey's opening line (Down in Hogan's Alley lived Miss Nancy Ann….)Hogan's AlleyWhich raises a question. Where is “Hogan's Alley,” anyway?Many cities (from Vancouver to Virginia) have one, but historian Robert Lewis Miesen writes, “Rather than being the name of a person, ‘Hogan's Alley' was a derogatory 19th century label, much as one might use ‘skid row,' ‘ghetto' or ‘hood' today.”He noted that in the same spirit back in 1895, artist Richard F. Outcault — father of the modern comic strip — placed his “Yellow Kid” character in his “Hogan's Alley” cartoons, which appeared weekly in The New York World, starring rambunctious slum kids in the streets.Our Take on the TuneMeanwhile in Floodlandia, when the whole band can't get together — like last week, when it was just Danny, Randy and Charlie — it's an opportunity to lay back and explore tunes not usually on the practice list.In Flood years, this song dates back nearly a half century, to when the fellows were first starting to fool with the hokum tunes of the 1920s and ‘30s.Here's “Black Eye Blues” from last week's gathering. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

The word hokum originated in vaudeville to mean a risqué performance laced with wordplay, euphemisms and double entendre.When it appeared on the label of a 1928 hit for Vocalion Records by a new group called Tampa Red's Hokum Jug Band, the term rapidly entered the jazzy lexicon of The Roarin' Twenties.When the group moved on to Paramount Records as The Famous Hokum Boys, it quickly picked up imitators at other studios, often using variations on the same word in their own names. Eventually “hokum” came to describe an entire species of novelty tunes, all those sexy, silly blues of the 1920s and '30s.About Tampa RedHokum's first star, Tampa Red, was one of the most prolific blues artists of his era, recording some 335 songs, 75 percent between 1928 and 1942. Tampa Red was born Hudson Woodbridge in Smithville, Georgia, near Albany in the first decade of the 20th century. When their parents died, he and his older brother Eddie moved to Tampa, Florida, to be reared by their aunt and their grandmother. There he also adopted their surname, Whittaker.Emulating Eddie, Hudson Whittaker played guitar around the Tampa area, especially inspired by an old street musician called Piccolo Pete, who taught the youngster his first blues licks.After perfecting a slide guitar technique, he moved to Chicago in 1925 and began working as a street musician himself. He took the name "Tampa Red" to celebrate to his childhood home.Enter TomRed's big break came when he was hired to accompany established blues star Ma Rainey. There he also met pianist/composer Thomas A. Dorsey, who as working as “Georgia Tom.” Red and Tom became fast friends and music partners.Tom introduced Red to records exec J. Mayo Williams, who arranged a studio session in 1928. Their first effort was a dud, but their next song — the cheeky “It's Tight Like That” — became a national sensation, selling a million copies. Red later recalled seeing people standing outside of record stores just waiting to buy the disc. Since the song was composed by both Red and Tom, they shared $4,000 in royalties from that single song. (That would be about $75,000 today.)While his partnership with Dorsey ended in 1932, Red remained much in demand in recording studios throughout the ‘30s and ‘40s. He was later "rediscovered" in the blues revival of the late 1950s, along with other early blues artists, like Son House and Skip James. Red made his last recordings in 1960.About the SongTampa Red recorded “Somebody's Been Using That Thing” in 1934, but unlike so many of the tunes he waxxed, he didn't write this one.Instead, the song was composed and recorded five years earlier by a curious genre-blending mandolinist named Al Miller.Starting in 1927, Miller played and sang in a style that combined elements of country, blues and jazz on sides for Black Patti records. His eclectic mix of sounds and material gave way to a heavy concentration on bawdry once he arrived at Brunswick for a series of recordings with his Market Street Boys. Miller recorded his “Somebody's Been Using That Thing” on March 8, 1929. It was his big seller. Five years later, after Tampa Red also scored with it, the song even started attracting the attention of artists in the fledgling country and western genre. In 1937, for instance, Milton Brown, called by some “the father of Western swing,” did a rendition for Decca. The following year, The Callahan Brothers (Walter and Homer) of Madison County, Ky., recorded it on the Conqueror label.Our Take on the TuneIf there's such a thing as a "standard" in jug band music, ”Somebody's Been Using That Thing” is certainly one of them. While The Flood's heroes recorded it 90 years ago, the band didn't get around to doing it until back in 2009 when Joe Dobbs recommended it. That was right after he received a recording of it by our old buddy, Ed Light, and his DC-area band with one great name: The All New Genetically Altered Jug Band. We've been Floodifying the tune ever since, as this track from a recent rehearsal demonstrates. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

This episode includes two Black History Month sets recognizing some of gospel's foundational choirs (pictured: Thomas A. Dorsey and Pilgrim Baptist Church Gospel Chorus); birthday salutes to Paul Arnold and Loretta Oliver; Charley Patton doing a gospel hymn; and much more.

This episode opens Black History Month with selections by some of gospel's great pioneers, including Sallie Martin, Thomas A. Dorsey (pictured), and Arizona Dranes; plus the Brooklyn All Stars, Metro-Tones, Cosmo Warriors, Billy Preston on organ, and others. 

•Sallie Martin, Kenneth Morris & Martin and Morris Music Studio •Sallie Martin a gospel singer, business woman and Co-Founder of the National Convention of Gospel Choirs and Choruses. She sang and partnered with Thomas A. Dorsey to spread the Gospel songs he'd written and sold sheet music after concerts. •Kenneth Morrissongwriter, composer and arranger was a musician at First Church of Deliverance in Chicago, IL. He promoted Gospel Music and composed over 300 songs. •Martin & Morris Music Studio Sallie was partnered with Kenneth by Rev. Clarence Cobb to expand and grow the church choir. That partnership grew the largest Gospel Music publishing companies which spanned over 50 years. •Please send me an email sharing your thoughts about this show segment also if you have any suggestions of future guests you would like to hear on the show. Send an email to letstalk2gmg@gmail.com •You may also “like” and share the podcast episode; or you may Subscribe to be alerted when the newest show is published. NEW RADIO SHOW ON INTERNET RADIO STATION WMRM-DB SATURDAY MORNING 9:00 AM CST --- Send in a voice message: https://anchor.fm/letstalk2gmg-ansonia/message

•Brother Joe May, Known as the "THUNDERBOLT OF THE MIDDLE WEST! "He was a vocalist who was compared to have similar vocal prowess as Ms. Mahailia Jackson. He was under the influence of Mother Willie Mae Ford Smith after he and his family relocated from Macon Mississippi to East St. Louis Illinois to work in a chemical plant. •He was noted as “the greatest Gospel singer of all time” which is where the title of Thunderbolt derived. Brother May had a voice of unimaginable range and power. He would take a song from a whisper to a scream without the slightest suggestion of effort. •Brother Joe may began singing at Thomas A. Dorsey's National Conventions of Gospel Choirs and Choruses directed by Mother Willie Mae Ford. In 1949 he began his solo career after signing with Specialty Records and went on to record multiple albums. He was asked multiple times to do secular recordings. He, however, would have nothing to do with secular music even though he was cited as a musical inspiration by Little Richard. •Please send me an email sharing your thoughts about this show segment also if you have any suggestions of future guests you would like to hear on the show. Send an email to letstalk2gmg@gmail.com •You may also “like” and share the podcast episode; or you may Subscribe to be alerted when the newest show is published. NEW RADIO SHOW ON INTERNET RADIO STATION WMRM-DB SATURDAY MORNING 9:00 AM CST Resource information for this episode came from several websites, album linier notes and videos found on YouTube. --- Send in a voice message: https://anchor.fm/letstalk2gmg-ansonia/message

Memorizando palavra por palavra, depois gravados em alguma pedra preparada, os poetas bíblicos deixaram seus salmos que ainda hoje nos encantam. Davi deixou vários, a maioria para celebrar a Deus pelo que recebeu dele. Não podemos concorrer com tanta profundidade e beleza, mas devemos também escrever os nossos salmos. Só não devemos deixar nossos salmos se não tivermos pelo que agradecer. Mas temos: “Ó SENHOR Deus, que todo o meu ser te louve! Ó SENHOR, meu Deus, como és grandioso!” (Salmo 104.1). Só não devemos marcar nossos registros se não tivermos pelo que lamentar: “Mas, em terra estrangeira, como podemos cantar um hino a Deus, o SENHOR?” (Salmo 137.4). Só não devemos perenizar nosso canto se não tivermos com que nos indignar: “Até quando terei de suportar este sofrimento? Até quando o meu coração se encherá dia e noite de tristeza?” (Salmo 13.2). Só não devemos registar nossa vitória se não formos capazes de agradecer: “Tu és o meu abrigo e o meu escudo; eu ponho a minha esperança na tua promessa” (Salmo 119.114). Ao longo da vida, nossos lábios vão entoando canções, as quais não deixamos. De vez em quando elas nos voltam para aquecer a alma ou para desafiar o espírito. Essas canções, novas ou antigas, nos fazem chorar de alegria ou são meios pelos quais Deus nos consola. Algumas delas nos fazem cair de joelhos, tal a força com que entra na nossa alma. Entre essas poderosas canções está uma composta por Thomas A. Dorsey (1899-1993), em 1932, logo depois da morte da esposa ao dar à luz um menino, que morreu dois dias depois. Martin Luther King Jr. tinha-a entre suas músicas prediletas. Em português, a canção nos convida a orar assim: “Vem, Senhor, me guiar, minha fé sustentar. Fraco estou, débil sou, sem vigor. Quero as trevas deixar, quero a luz alcançar. Pela mão vem guiar-me, Senhor.Se o meu jornadear exigir batalhar, Laços mil Satanás me armar, Socorrer-me, ó vem, meu Senhor, Salvador, Pela mão, vem guiar-me ao Lar”. AZEVEDO, Israel Belo de - Bíblia Sagrada Bom Dia

Arlo Weierhauser (@arlo.c.w) joins Kevin and Caroline to talk about "Take My Hand, Precious Lord" by Thomas A. DorseySubscribe to our Patreon to get a weekly 2nd Service episode and become a "Patreon saint" :) GCF - Second Service Patreon!CHARITY:This month we're matching iTunes reviews with donations to Everytown for Gun Safety!  See omnystudio.com/listener for privacy information.

Hosts Nate Wilcox and Garrett Cash talk about the transformation of blues pianist Georgia Tom into the most important composer of modern African-American gospel music.Buy the book and support the podcast.Download this episode. Check out this playlist of his work on Spotify.Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.comFollow us on Twitter.Follow us on Facebook.Let It Roll is proud to be part of Pantheon Podcasts.

When the Holy Spirit arrives, He brings boldness! In a sermon called, An Intimate Look Within the New Church, we'll see several marks of the Spirit's work. He brings unity among the brothers and sisters; He sometimes comes with a physical sign - "the place where they had gathered together was shaken" - and He supplies the courage to testify of Jesus. He'll put the Christ in our Christianity, if we'll let Him. Jim starts the message by reading the words of gospel music pioneer Thomas A. Dorsey. Listen to Right Start Radio every Monday through Friday on WCVX 1160AM (Cincinnati, OH) at 9:30am, WHKC 91.5FM (Columbus, OH) at 5:00pm, WRFD 880AM (Columbus, OH) at 9:00am. Right Start can also be heard on One Christian Radio 107.7FM & 87.6FM in New Plymouth, New Zealand. You can purchase a copy of this message, unsegmented for broadcasting and in its entirety, for $7 on a single CD by calling +1 (800) 984-2313, and of course you can always listen online or download the message for free. RS07202022_0.mp3Scripture References: Acts 4 & 5; John 12

IT'S THE SEASON 4 DEBUT OF NO WEDNESDAY!!! In the debut episode, Emmanuel gets folks caught up on what's been going on, and what he's considering as he looks for a therapist. Given that June is Men's Mental Health Month, maybe this is timely for someone. Betterhelp Talkspace Psychologytoday.com Therapy For Black Girls Stuck With Damon Young podcast episode "What's Good?" referenced in this show #IncreaseYourLexicon: "Wan" (adj) Song snippet via Manny Voices Unsung Black Heroes: Dr. Thomas A. Dorsey, father of modern gospel music Weird World of Wildlife: Golden-mantled tree kangaroo  Joyful Noise: Weldon Irvine - Morning Sunrise Hype- Childhood Dreams https://open.spotify.com/track/0MchAuOffo2HoiG1ory0cc?si=N3acopAqRzmYpHvIDzWhFA&utm_source=copy-link SUPPORT THE SHOW VIA: Patreon: https://www.patreon.com/nowednesdaypod The No Wednesday Podcast Store: https://teespring.com/stores/the-no-wednesday-podcast-store Cashapp: $itsdrlittle Inquire about voice-over work: https://emmanuellittle.com/thevoice/ Twitter & IG: @nowednesdaypod Hashtag #NoWednesday Mailing list: https://docs.google.com/forms/d/e/1FAIpQLSfVlwF4FCTzqXOxHit3_1zAHWJ-lLXp5ekLTyuiOfkzhB8ysw/viewform Personal website: https://emmanuellittle.com/ No Wednesday is produced, written and edited entirely by Dr. C. Emmanuel Little. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/nowednesdaypod/support

In this week's episode Pastors Greg and Damen discuss Mahalia Jackson, Thomas A. Dorsey, gospel blues, and the personal nature of scripture. Enjoy this discussion from June 6, 2022.

This week on The Sound Kitchen you'll hear the answer to the question about the recently formed leftist political parties' coalition competing in France's upcoming legislative elections. There's “On This Day”, plenty of good music, and of course, the new quiz question, too. Just click on the “Audio” arrow above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week. Erwan and I are busy cooking up special shows with your musical requests, so get them in! Send your musical requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all! Be sure you check out our wonderful podcasts! In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts which will leave you hungry for more. There's Paris Perspective, Africa Calling, Spotlight on France, and of course, The Sound Kitchen. We have a bilingual series - an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too. As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our excellent staff of journalists. You never know what we'll surprise you with! To listen to our podcasts from your PC, go to our website and click on the three horizontal bars on the top right, choose “Listen to RFI / Podcasts”, and you've got ‘em ! You can either listen directly or subscribe and receive them directly on your mobile phone. To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show.  Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below.  Another idea for your students: My beloved music teacher from St Edward's University in Austin, Texas, Dr Gerald Muller, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr Martin Luther King, Jr, too. They are also a good way to help you improve your English - that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.  Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload! And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognized RFI English club, go to the Facebook link above, and fill out the questionnaire !!!!! (if you do not answer the questions, I click “decline”). There's a Facebook page for members of the general RFI Listeners Club, too. Just click on the link above and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do! This week's quiz: On 30 April, I asked you a question about French politics; specifically, the legislative elections next month. As you know, the French re-elected Emmanuel Macron as president in April, and his party, Renaissance – which until recently was called The Republic on the Move - holds the majority in parliament. RFI English journalist Amanda Morrow wrote an article right after the election about Jean-Luc Mélenchon, the head of the hard-left party France Unbowed, who came in third in the presidential polls. Mélenchon was hard at work at the time trying to create a coalition of all the left-leaning parties to deprive Macron of his majority in Parliament: Mélenchon would therefore hold the office of prime minister. At the time, it seemed highly unlikely that such a coalition could be created as there were too many differences between the parties in question. You were to refer to Amanda's article “Clock ticking as French left mulls coalition deal to humble Macron” and answer these two questions: the names of the different parties Mélenchon was trying to bring into the coalition, and the differences they have with Mélenchon. The answer is: First and foremost, Mélenchon did succeed in creating a leftist coalition – it's called the New Popular Union. The parties Mélenchon solicited to join the coalition are the Socialists, the Communists, the Greens, and the New Anti-Capitalist Party. There were many disagreements on Mélenchon's platform from the various parties, mainly about European integration (Mélenchon is basically anti-EU, to put it simply) and also about the percentage of representation in the legislature that members of his party, France Unbowed, would take as prizes … the majority, of course, because as Mélenchon said, he came in third place in the presidential polls, not the Socialists, or the Greens, or the Communists or the New Anti-Capitalists. They worked it all out though, and we'll see what happens next month when the French cast their ballots. Meanwhile, Macron on his side has also created a coalition. Macron's Renaissance party has joined forces with the centrist parties MoDem and Horizons; that coalition is called Together. The winners are: Raihan Ali, who's a member of the Nilshagor RFI Fan Club in Nilshagor, Bangladesh, and RFI Listeners Club members Vladimir Gudzenko from Moscow Province, Russia; Zenon Teles, who's the president of the Christian – Marxist – Leninist - Maoist Association of Listening DX-ers in Goa, India, and John Yeami Sanday Turay from Freetown, Sierra Leone. Last but certainly not the least, faithful RFI English listener Bernard Egbe, from Abuja, Nigeria. Congratulations winners! Here's the music you heard on this week's program: Traditional Nepali folk music performed by Kutumba; “Yèkèrmo Sèw” by Mulatu Astatke, performed by Ethiopiques; “Allegro ma non troppo” from the Concerto for Two Pianos by Francis Poulenc, performed by pianists Lucas and Arthur Jussen with the Royal Concertgebouw Orchestra conducted by Stéphane Denève; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov, and “Precious Lord” by Thomas A. Dorsey, sung by Mahalia Jackson. Do you have a musical request? Send it to thesoundkitchen@rfi.fr This week's question ... You have to listen to the show to participate. After you've listened to the show, refer to Ollia Horton's article “Postcard from Cannes # 3: Give peace a chance” to help you find the answer. You have until 11 July to enter this week's quiz; the winners will be announced on the 16 July podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number. Send your answers to: english.service@rfi.fr or Susan Owensby RFI – The Sound Kitchen 80, rue Camille Desmoulins 92130 Issy-les-Moulineaux France or By text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number. To find out how you can win a special Sound Kitchen prize, click here. To find out how you can become a member of the RFI Listeners Club, or to form your own official RFI Club, click here. 

On Easter Sunday, we celebrate Thomas A. Dorsey, who not only once worked as Ma Rainey's pianist and musical director, but was also the key architect in revolutionizing the sound of gospel music.To learn more about Dorsey watch the 1982 documentary Say Amen, Somebody, check out his collection of papers archived at Fisk University, read 1994's The Rise of Gospel Blues: The Music of Thomas Andrew Dorsey in the Urban Church which you can borrow from the Internet Archive, and 2015's Anointed to Sing the Gospel: The Levitical Legacy of Thomas A. Dorsey by Kathryn B. Kemp. You can also watch 2005's The Story of Gospel Music documentary.Dorsey's hometown of Villa Rica, Georgia holds an annual Thomas A. Dorsey Birthplace Heritage Festival. This year's is June 25th and 26th.Sources:https://www.pbs.org/thisfarbyfaith/people/thomas_dorsey.htmlhttp://downtownvillarica.com/event/thomas-a-dorsey-gospel-heritage-festival/https://www.allmusic.com/artist/rev-thomas-a-dorsey-mn0000926198/biographyhttps://www.songhall.org/awards/winner/Thomas_A_Dorseyhttp://nashvillesongwritersfoundation.com/Site/inductee?entry_id=4259https://www.nytimes.com/1993/01/25/arts/thomas-a-dorsey-is-dead-at-93-known-as-father-of-gospel-music.htmlIf you like these Daily Drops, follow on Apple, Google Podcasts, RSS.com, Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links, or tell a friend. Check out goodblacknews.org or search and follow @goodblacknews anywhere on social.

Welcome to the Whyte House Family Spoken Nonfiction Books podcast: Black History Month edition episode #85. Today we are celebrating the life of Thomas A. Dorsey from the book “100 Most Influential Black Christians in History” compiled and edited by the editors of BCNN1.

Host Ben Sudderth, Jr. & Irene Sudderth will be discussing African American gospel musical artists Thomas A. Dorsey & Hezekiah Walker and their influence on the music industry.

Rev. Milton R. Brunson Founded The Thompson Community Singers ("The Tommies") in 1948 on the West Side of Chicago, IL at the age of 18 after graduating from McKinley High School. Many of the 40 singers in the core choir were classmates of his. Milton was trained by Thomas A. Dorsey, Mahalia Jackson and Robert Johnson as he pursued a career in music in 1947. Over time the choir had once grown to over 200 members. The choir was named to honor Rev. Eugene Thompson who gave the choir access to rehearse in the basement of St. Stephen AME Church on Chicago's West Side. Rev. Thompson was instrumental in the choir singing around Chicago at various churches, special events and community events. As the choir presented more they were repeat guests on Jubliee Showcase Television Show hosted by Sid Ordower. In 1964 after going through seminary Milton Brunson became the found Pastor of Christ Tabernacle MB Church. Through the years of service to the West side community in Chicago - following his passing in 1997 there was a U.S. Post Office dedicated in his name and a Chicago Public School With the dedication and professionalism of Rev. Brunson the Tommies secured many showcases, appearances and accolades. The first recording to hit the charts was in the 1960's with "I'll Trade A Lifetime" and the years following the choir continued recordings that hit the gospel charts Over and Over again. The choir won many awards for chart topping songs for over 10 years during the 1980's and 1990's. Please like and share the episode. And if you Subscribe you will be notified of the next show interview. If you have questions or comments about this episode, please send an email to: letstalk2gmg@gmail.com

Some days from the church and world calendars - St Anthony, Peter's Confession (that's where he says Jesus is the Christ, not what he might have had to say after the cock crowed!), a couple of martyrs and a couple of musicians! Thomas A Dorsey who wrote Precious Lord, Take My Hand. Nice in the week we remember Martin Luthur King Jr. And a beginning of something I'm calling a thesaurus poem!

Preaching: Rev. Dawn Hyde Sean Thomson (guitar) Lindsay-Blair Simmons (vocals) Jen Griffit (vocals) Mac Stidham (vocals, mandolin) Billy Way (vocals, guitar) Danny Harlow (fiddle) Dave Holder (bass)   Listen to the Music Lyrics + Arrangement: The Doobie Brothers   Precious Lord, Take My Hand Lyrics: Thomas A. Dorsey Arrangement: Hank Williams   Gloria Patri Arrangement: City Hymns   The Eye Lyrics + Arrangement: Brandi Carlile Swing Low, Sweet Chariot Lyrics: African American Spiritual Arrangement: The Lower Lights All scripture quoted from the new Revised standard version of the bible © 1989 By the national council Of churches of christ. Music covered under the license ccs#11209.  

詞/曲: Thomas A. Dorsey(1899-1993) 主唱：林天佑 伴奏/鋼琴：梁天悅 親愛主，牽我手，建立我，領我走；我疲倦，我軟弱，我苦愁； 經風暴，過黑夜，求領我，進光明，親愛主，牽我手，到天庭。 我道路，雖淒涼，主臨近，慰憂傷；我在世快打完美好杖， 聽我求，聽我禱，攙我手，防跌倒；親愛主，牽我手，常引導。 親愛主，牽我手，建立我，領我走；我疲倦，我軟弱，我苦愁； 經風暴，過黑夜，求領我，進光明，親愛主，牽我手，到天庭。 (感謝「教會聖詩」編委會允用中文譯本)

This week we dig into the musical collaboration between the Indianapolis blues legend Scrapper Blackwell, and Thomas A. Dorsey, the father of gospel music.

It's the birthday of the “father of gospel music,” Thomas A. Dorsey, born in VillaRica, Georgia, in 1899.

We continue our series of messages based on the Core Values of Unity of Fairfax. How can we live a life of peace while acknowledging the dynamic tensions in the world? Music performed: There Will Be Peace in the Valley, words and music by Thomas A. Dorsey, (c) 1939 (renewed) Warner-Tamerlane Publishing Corp.

  Bishop Shawn L. Bell is a native son of Gastonia, NC.  Raised with a COGIC and AME Zion Church background, Bishop Bell's faith in God has anchored him to build one of the strongest Christian centers in the  Baltimore Faith community. At the tender age of 15, Pastor Bell ministered his initial sermon at Vestibule A.M.E. Zion Church (King's Mountain, NC) under the tutelage of his Pastor and (natural) Father, The Reverend Cornelius Bell and the strong motherly encouragement of the late Carrie Cotton Bell.  Ordained  to Pastor in the A.M.E. Zion Reformation at 18, by The Rt. Rev. George Edward Battle, Jr., (Senior Bishop) the pursuit of excellence was always a familiar mark set by Pastor Bell. God has afforded Pastor Bell, throughout the years, the opportunity to serve in various international areas, most notably he serves on the Board of Directors of Dr. Thomas A. Dorsey's National Convention of Gospel Choirs and Choruses…which he was appointed by his spiritual mentor, The Late Bishop Kenneth H. Moales. For 8 years Pastor Bell served the Office of International Director of Marketing and Public Relations for the Mount Calvary Holy Church of America under the leadership of Archbishop Alfred A. Owens and Co-Pastor Susie C. Owens. In September 2016, Pastor Bell connected to the Global United Fellowship under the leadership of His Grace, Bishop Neil C. Ellis, Presiding Prelate (Global United Fellowship). February 2017, Bishop Ellis appointed Pastor Bell the District Leader over the State of Maryland and District of Columbia in which he oversees 40 plus 9 churches. Bishop Bell is married to A. Faye Bell and father to Olivia L. Bell.  

When I think about campfire conversations, I am taken back to my time in youth group and when we went on retreats and to camp. There was always a night when we would sit around the campfire and share stories of how God is working in our lives and offer words of encouragement. So in this series, I hope to offer some encouragement to you. [1] Martin Luther King Jr. “I’ve Been to the Mountaintop” https://www.afscme.org/about/history/mlk/mountaintop [2] https://www.dallasnews.com/opinion/commentary/2018/03/28/mlk-requested-a-song-minutes-before-his-assassination-and-that-tune-comforted-millions/?outputType=amp [3] “Take My Hand, Precious Lord” video https://youtu.be/ZNrVed6dP6s [4] “Take My Hand, Precious Lord” by Thomas A. Dorsey https://www.azlyrics.com/lyrics/jimreeves/takemyhandpreciouslord.html

Hymns bring us comfort, it is one of their greatest blessings. And that comfort is deeply felt as Dr. Larry Visser reflects on "Precious Lord, Take My Hand" by Rev. Thomas A. Dorsey.

The Rev. Dr. Manoj Mathew Zacharia offers this week's sermon on resurrection. He tells us that fear is a justified emotion, a justified reaction. "At the same time, we meet fear with hope. And hope is cultivated by devotion. Let's acknowledge our fears and lay them at the feet of the cross." Pray the words of Rev. Thomas A. Dorsey: Precious Lord, take my hand Lead me on, let me stand I'm tired, I'm weak, I'm lone Through the storm, through the night Lead me on to the light Take my hand precious Lord, lead me home When my way grows drear precious Lord linger near When my light is almost gone Hear my cry, hear my call Hold my hand lest I fall Take my hand precious Lord, lead me home When the darkness appears and the night draws near And the day is past and gone At the river I stand Guide my feet, hold my hand Take my hand precious Lord, lead me home Precious Lord, take my hand Lead me on, let me stand I'm tired, I'm weak, I'm lone Through the storm, through the night Lead me on to the light Take my hand precious Lord, lead me home Watch a video of this service on YouTube: https://www.youtube.com/watch?v=FdN4KWaBEuc Gifts and offerings can be made securely on our website: https://stannes-annapolis.org/give/ Sign up and stay connected with our weekly email: https://stannes-annapolis.org/about/forms/

Precious Lord, Take My Hand Words by Thomas A. Dorsey, 1932 © 1938 Hill & Range Songs, renewed Unichappell Music, Inc. All rights reserved. Reprinted under OneLicense.net A-723218 Streaming permission: ONE LICENSE, License A-723218

[00:00] Special Music: "Precious Lord, Take My Hand" - (Thomas A. Dorsey) -Jackson Lewis, Soloist [04:31] Scripture: Romans 11:33-34; Ephesians 3:18-19 [05:50] Anthem: "Open My Eyes" (arr. Gilbert M. Martin) - Chancel Choir [08:24] Sermon Series: Why Church? "Knowledge" - Dr. Walter C. Dilg, Jr.

Thomas A Dorsey is credited with developing Gospel music into a global phenomenon. He started his own musical career in jazz clubs and blues bars, but personal tragedy led him back to church, and inspired hundreds of Gospel songs that transformed the genre. Rebecca Kesby has been listening to archive recordings of Thomas A Dorsey and his singing partner Willie Mae Ford Smith, and speaking to Professor Albert J Raboteau from Princeton University. (PHOTO: Thomas A. Dorsey - 1982. Courtesy of National Endowment For Arts/Humanities/Kobal/REX/Shutterstock. Credit REX)

Thomas A Dorsey is credited with developing Gospel music into a global phenomenon. He started his own musical career in jazz clubs and blues bars, but personal tragedy led him back to church, and inspired hundreds of Gospel songs that transformed the genre. Rebecca Kesby has been listening to archive recordings of Thomas A Dorsey and his singing partner Willie Mae Ford Smith, and speaking to Professor Albert J Raboteau from Princeton University. (PHOTO: Thomas A. Dorsey - 1982. Courtesy of National Endowment For Arts/Humanities/Kobal/REX/Shutterstock. Credit REX)

Rev. Dr. Robert Allan Hill preaches a sermon entitled "Impermanence". The Inner Strength Gospel Choir sings "Take my hand, precious Lord" by Thomas A. Dorsey and "Amazing Grace" arranged by Herbert S. Jones along with the Marsh Chapel Choir singing service music and hymns.

Rev. Dr. Robert Allan Hill preaches a sermon entitled "Impermanence". The Inner Strength Gospel Choir sings "Take my hand, precious Lord" by Thomas A. Dorsey and "Amazing Grace" arranged by Herbert S. Jones along with the Marsh Chapel Choir singing service music and hymns.

Artists include: Thomas A. Dorsey, Sister Rosetta Tharpe, Mahalia Jackson, The Rev. Gary Davis, The Golden Gate Quartet and the Heavenly Gospel Singers. Music includes: Gospel Train, Percious Lord, This Train, Have a Little More Faith In Jesus, Oh My Lord and Rock My Soul.

Composer Thomas A. Dorsey and other pioneers of gospel music helped open the church doors to music considered sinful by conservative churchgoers. In the 1930s, Dorsey livened up the hymnal by incorporating elements of blues and jazz. Early "Sanctified" churches also influenced the restrained environment of mainline churches. Sanctified preachers encouraged the congregation to spontaneously burst into improvised musical lines to express their faith. Following in the footsteps of this stylistic freedom, groups such as the Golden Gate Quartet and the Five Blind Boys of Mississippi began ad-libbing in their jubilee style of gospel music. Jubilee is characterized by a strong, pumping bass, and lead vocals that ride the line between spoken and sung. The Golden Gate Quartet and other four-part choral groups showcased stunning solos and intricate harmonies. The tradition of gospel quartets continues to lift the spirits of both its listeners and participants in concert halls and churches alike.

Composer Thomas A. Dorsey and other pioneers of gospel music helped open the church doors to music considered sinful by conservative churchgoers. In the 1930s, Dorsey livened up the hymnal by incorporating elements of blues and jazz. Early "Sanctified" churches also influenced the restrained environment of mainline churches. Sanctified preachers encouraged the congregation to spontaneously burst into improvised musical lines to express their faith. Following in the footsteps of this stylistic freedom, groups such as the Golden Gate Quartet and the Five Blind Boys of Mississippi began ad-libbing in their jubilee style of gospel music. Jubilee is characterized by a strong, pumping bass, and lead vocals that ride the line between spoken and sung. The Golden Gate Quartet and other four-part choral groups showcased stunning solos and intricate harmonies. The tradition of gospel quartets continues to lift the spirits of both its listeners and participants in concert halls and churches alike.