heritage
Representative Barbara Lee (D-Calif.) delivers remarks to a World AIDS Day event hosted by the Business Council for International Understanding in Washington, D.C, Dec. 2, 2022. In response to the 2023 threats to the program’s funding, Lee told Sojourners: “PEPFAR is the most successful foreign assistance program in history—failing to renew it would be devastating for millions ... We have a moral imperative to get this done and keep saving lives.” REUTERS/Jonathan Ernst
Over the past two decades, the United States has saved millions of lives by investing $110 billion in the U.S. President’s Emergency Plan for AIDS Relief, which aims to end the AIDS crisis by 2030. More than 25 million lives have been saved since PEPFAR launched in 2003, and 5.5 million babies who would have been born with HIV were born virus-free.
If we have learned anything from the past several decades, healing from a 500-year heritage of slavery will take more than a generation or two. I am humbled when I think of this because I realize that the relentless, demonic agony inflicted for 500 years will not be undone or healed by a single generation. My body will have flitted through the breeze as dust many times over once this 500-year heritage has been unwound and restitched. Healing takes more than just time.
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A crowd greeted the president in Oklahoma City, Okla., Wednesday night by waving Confederate flags, POLITICO reports.
Confederate flags are a rare sight in Oklahoma, which was not a member of the confederacy.
According to POLITICO:
Across the street from [President Obama's] hotel in downtown Oklahoma City, as many as 10 people waved the flags as his motorcade arrived. The group stood among a larger group of demonstrators, many of them there to support the president, who is in town ahead of a visit to a federal prison on Thursday as part of his weeklong push on criminal justice issues.
According to local news organizations, a man named Andrew Duncomb, who calls himself the “black rebel,” organized the Confederate flag demonstration. He also put together a similar protest on Saturday at the Oklahoma State Capitol — just a day after South Carolina removed its contested flag from the State Capitol grounds. His Facebook page features photos from that rally.
The president is scheduled to visit a federal prison today, the first acting president to do so. Read the full story here.
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I own a Confederate flag. Growing up, the flag meant little more to me than school spirit, pep rallies, and Southern pride … until I left East Tennessee. I’ll never forget the moment things began to change. I moved into my college dorm room and established my new home at Eastern University in Philadelphia. I carefully set up my desk, put my posters on the wall, and displayed my high school yearbook — with a Confederate flag on the cover — proudly on my bookshelf.
IF YOU GREW up like I did—surrounded by PraiseGathering devotees and with Gaither Family VHS tapes stacked on the home entertainment system shelves—you probably have a frame of reference for Douglas Harrison’s Then Sings My Soul. If you weren’t raised on such a specific Bible Belt diet of white male quartets and singspirations, Harrison’s use of the term “Southern gospel” may initially seem confusing, if not meaningless.
According to Harrison, Southern gospel wasn’t labeled as such until the 1970s, and the label didn’t catch on with mainstream audiences until the 1980s. Before then, all genres of gospel—sacred music spanning regions, decades, ethnic heritages, and faith-based traditions—were given the broad label. As Harrison defines it in what is arguably one of the first contemporary attempts to do so, Southern gospel is a participatory style descending from a “post-Civil War recreation culture built around singing schools and community (or ‘convention’) singings popular among poor and working-class whites throughout the South and Midwest.” While he notes that most rigorous investigations of gospel’s longevity and legacy refer to black gospel, Harrison departs from this framework and instead focuses on the likes of the Blackwood Brothers Quartet, The Cathedrals, and gospel impresario Bill Gaither, pasty proselytizers without whom the 20th century gospel movement would not exist.
Harrison has been blogging (at averyfineline.com) about Southern gospel for the past decade, during which he’s showcased his deep knowledge and fondness for the genre’s mid-tempo nostalgic modernism, a retro style performed without irony by up-and-coming artists. His is an outsider’s, nonbeliever’s ode to professional, commercialized gospel entertainment, a style attributed to a variety of performers. “Southern gospel was what Elvis Presley really wanted to sing,” Harrison notes. He goes on to identify Southern gospel’s evangelists as a cluster of record and distribution labels, organizations such as the National Quartet Convention, and the Gaither Homecoming phenomenon (including videos, music recordings, concert tours, and even cruises under that branding), all of which share a common historical, economic, social, and cultural heritage.