BRAXTON SHELLEY
Biographic Data
| ID | 9715172 |
|---|---|
| NAME | BRAXTON SHELLEY |
| GIVEN NAMES | BRAXTON |
| FAMILY NAME | SHELLEY |
| SIGNATURE | SHELLEY B |
| AFFILIATIONS | Yale University |
| ORCID | 0000-0002-6539-2450 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
When Sunday Comes: Gospel Music in the Soul and Hip-Hop Eras
“To Speak As an Oracle of Christ”: Bishop G. E. Patterson and the Afterlives of Ecstasy
This article attends to the musical afterlife of the late Bishop Gilbert Earl Patterson, a Pentecostal minister who, at the time of his death, served as presiding bishop of the largest African American Pentecostal denomination, the Church of God in Christ. In it, I theorize the nexus of faith, media, and sound that lifted Bishop Patterson to the heights of ecclesial power during his lifetime, while laying the groundwork for a pervasive posthumous…
‘Play the Rain Down’: Prince, Paul Morton, and the Idea of Black Ecstasy
This article grapples with ‘Let It Rain’, the title track of Bishop Paul S. Morton and the Full Gospel Baptist Church Fellowship's 2003 release, which revises Michael Farren's contemporary Christian ballad by braiding it together with Prince's ‘Purple Rain’ and the formal logic of Black gospel tradition. As the Full Gospel version of this song commingles these seemingly discordant components, Morton, choir, and band turn a sung prayer into an ass…
Higher Ground: Rev. Dr. William Barber II and the Political Content of Prophetic Form
This essay argues that Rev. Dr. William J. Barber’s message on “Higher Ground,” a speech delivered at a massive 2014 protest rally, reveals his intentional problematization of distinctions between the sacred and the secular. As Barber’s articulation of what Ashon Crawley calls “Blackpentecostal breath” spill over the boundaries posited by conventional categories—they are too ecstatic to be ordinary speeches, and too political to be traditional se…
Blackpentecostal Breath: The Aesthetics of Possibility
A book review is presented for Ashon T. Crawley, Blackpentecostal Breath: The Aesthetics of Possibility. New York: Fordham University Press, 2017. 320 pp
I Love It When You Play that Holy Ghost Chord: Sounding Sacramentality in the Black Gospel Tradition
This essay argues that the distinctive aesthetic practices of many African American Christian congregations, indexed by the phrase "the Black gospel tradition", are shaped by a sacramentality of sound. I contend that the role music routinely plays in the experience of the holy uncovers sanctity in the sound itself, enabling it to function as a medium of interworldly exchange. As divine power takes an audible form, the faith that "comes by hearing…
I Love It When You Play that Holy Ghost Chord: Sounding Sacramentality in the Black Gospel Tradition
This essay argues that the distinctive aesthetic practices of many African American Christian congregations, indexed by the phrase "the Black gospel tradition", are shaped by a sacramentality of sound. I contend that the role music routinely plays in the experience of the holy uncovers sanctity in the sound itself, enabling it to function as a medium of interworldly exchange. As divine power takes an audible form, the faith that "comes by hearing…
Blackpentecostal Breath: The Aesthetics of Possibility
A book review is presented for Ashon T. Crawley, Blackpentecostal Breath: The Aesthetics of Possibility. New York: Fordham University Press, 2017. 320 pp
I Love It When You Play that Holy Ghost Chord: Sounding Sacramentality in the Black Gospel Tradition
This essay argues that the distinctive aesthetic practices of many African American Christian congregations, indexed by the phrase "the Black gospel tradition", are shaped by a sacramentality of sound. I contend that the role music routinely plays in the experience of the holy uncovers sanctity in the sound itself, enabling it to function as a medium of interworldly exchange. As divine power takes an audible form, the faith that "comes by hearing…
Higher Ground: Rev. Dr. William Barber II and the Political Content of Prophetic Form
This essay argues that Rev. Dr. William J. Barber’s message on “Higher Ground,” a speech delivered at a massive 2014 protest rally, reveals his intentional problematization of distinctions between the sacred and the secular. As Barber’s articulation of what Ashon Crawley calls “Blackpentecostal breath” spill over the boundaries posited by conventional categories—they are too ecstatic to be ordinary speeches, and too political to be traditional se…
“To Speak As an Oracle of Christ”: Bishop G. E. Patterson and the Afterlives of Ecstasy
This article attends to the musical afterlife of the late Bishop Gilbert Earl Patterson, a Pentecostal minister who, at the time of his death, served as presiding bishop of the largest African American Pentecostal denomination, the Church of God in Christ. In it, I theorize the nexus of faith, media, and sound that lifted Bishop Patterson to the heights of ecclesial power during his lifetime, while laying the groundwork for a pervasive posthumous…
‘Play the Rain Down’: Prince, Paul Morton, and the Idea of Black Ecstasy
This article grapples with ‘Let It Rain’, the title track of Bishop Paul S. Morton and the Full Gospel Baptist Church Fellowship's 2003 release, which revises Michael Farren's contemporary Christian ballad by braiding it together with Prince's ‘Purple Rain’ and the formal logic of Black gospel tradition. As the Full Gospel version of this song commingles these seemingly discordant components, Morton, choir, and band turn a sung prayer into an ass…
When Sunday Comes: Gospel Music in the Soul and Hip-Hop Eras
Art (5 works) · Philosophy (5 works) · Theology (5 works) · Literature (4 works) · Music History and Culture (4 works) · Pentecostalism and Christianity Studies (4 works) · Aesthetics (3 works) · Gospel (3 works) · History (3 works) · Musical (3 works)