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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Beil & Howell Information Company 300 Nortfi Z eeb Road, Ann Arbor, Ml 48106 -1 3 4 6 USA 313/761-4700 800/521-0600 Order Number 9218977 Shirley Caesar: A woman of words Harrington, Brooksie Eugene, Ph D. The Ohio State University, 1992 UMI 300 N. Zeeb Rd. Ann Aibor, MI 48106 SHIRLEY CAESAR: A WOMAN OF WORDS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of English in the Graduate School of The Ohio State University •By Brooksie Eugene Harrington, BA, BA, BA, MA, MA ***** The Ohio State University 1992 Dissertation Committee: Approved by: Patrick Mullen Amy Shuman Daniel Barnes Department of English Adviser DEDICATION This documentary is dedicated to the memories of Mother Hallie Caesar and Mama Laura Harrington as well as to all our forebearers who sacrificed so that we might enjoy greater opportunities. To Kathi Gibson, J. Clifford Harrington, Jackie Shipman, "Honey," The Ohio State University Office of Continuing Education, Karen Montagno, Cynthia Collins, Judy Abala, Steve Busonik, Larry Jackson, Kermit Campbell, Carla Wilks, Edie and Edith Waugh, Karen Hamlet, C.O. and Billie Matthews, Stancil and Lois Harrington, and most certainly to Cindy Sweet who was angelic throughout the entire composition of this dissertation, I dedicate this writing to you. Finally to my wife. Dr. Beverly M. Harrington, whose motivation is contagious to all those who know her, and to Baby Jewel who was constantly in my thoughts and in my heart. Thank you. I am forever indebted to Shirley Caesar, who is without a doubt... "A Woman of Words." n ACKNOWLEDGMENTS Within the scope of a work such as I have undertaken, it is impossible to acknowledge each person who contributed in the process of its completion without omitting someone. Suffice it to say, to all who stood by me, tolerated me, and supported me through this effort, a heartfelt "Thank You" is in order. I wish to thank especially my advisor. Dr. Patrick Mullen, and my committee. Dr. Amy Shuman and Dr. Daniel Barnes. i n VITA December 1, 1955 ................................... Born -- Rockingham, North Carolina 1979 .............................................................. B.A., The University of North Carolina at Chapel Hill, Chapel Hill, North Carolina 1989 .............................................................. M.A., The Ohio State University, Columbus, Ohio PUBLICATIONS "Did It Hurt The Jack?" Journal of Southern Folklore Editor, Magical Thoughts Volumes 1 and II, Student Literary Art Publication, C.W. Stanford Junior High School, Hillsborough, North Carolina, 1986-87. FIELDS OF STUDY Major Field: English IV TABLE OF CONTENTS DEDICATION............................................................................................................................ ii ACKNOWLEDGMENTS.............................................................................................. i ü VITA....................................................................................................................... iv LIST OF FIGURES................................................................................................................. vi CHAPTER I. INTRODUCTION.................................................................................................. 1 II. THE PEOPLE ARE DEPENDING ON YOU......................................................... 41 III. INVOKING AUDIENCE PARTICIPATION........................................................ 81 IV. THE STORY ABOUT THE FOUR ANGELS......................................................... 125 V. FEET, DON'T FAIL ME NOW......................................................................... 158 VI. CONCLUSION...................................................................................................... 180 APPENDICES A. Data Relative to Chapter II I................................................................ 190 BIBLIOGRAPHY....................................................................................................................... 200 V LIST OF FIGURES FIGURES PAGE 1. Lou Rawls and Brooksie Harrington at a reception held at the governor's mansion in Columbus, Ohio........................................ 40 2. Shirley Caesar during one of her performances............................. 122 3. Shirley Caesar during another performance........................................ 123 4. Shirley Caesar: receiving an award; her album cover; and posing in front of her ten Grammy Awards........................................ 124 5. Shirley....Caesar.................................................................................................. 179 VI CHAPTER I INTRODUCTION In her dissertation, The Tie That Binds. Trudier Harris hypothesized that the "singing quality" of black art (in terms of style and imagery as well as by insertion of poems and songs) penetrates the very heart of one kind of black experience. The African-American writing style is lyrical-poetic. Concepts and forms of singing such as "call and response" and imitations of work songs are introduced in sermons, songs, and church services. All of these elements combine to suggest a state of song. Shirley Caesar, The First Lady of Gospel Music, reproduces a "state of song" in her evangelistic ministries. It is virtually impossible to separate her preaching from her singing. Shirley Caesar says "People have to understand that I am firs t an evangelist, then a singer." She weaves preaching and singing so well that the boundaries of these distinct pieces of fabric come together in a seamless fashion. She is able to deliver a dynamic sermon poetically, a single composition of rhythmic discourse that reflects no artificial differentiation between the "song" and the "word of God." Shirley Caesar delivers this seamless "song-sermon" at an optimal pitch of E-flat, G, or A-flat which allows for smooth transitions into the next phase of her poetic, multi-layered artistry. Although at this point of musical transition Shirley glides into her sermonettes, the "actual moment" is somewhat undetectable unless I you pay very, very close attention. She knows the pitch she wants to use for every distinct sermon, and her performance is planned in such a way that a specific song is capable of introducing a sermonette. These transitions are a vital part of her artistry and her performance style. Additionally, Shirley's performance style places her in a unique category unequalled by any other gospel female artist; she perfects her craft of gospel music as no other evangelistic singer recognized today. Noticeably, she also gives special credit to the fact that she is an evangelist (a preacher). Her craft is fulfilling, she says, because she is "recognized as a preacher first and a singer second." She reports "the anointing makes the difference; I am a foremost and first of all evangelist; I can reach back and get that part of my ministry." Even though the literature related to Black American gospel music is s till being formulated as well as clarified, the cultural significance of this music is beyond doubt. What began as a grassroots movement during the first two decades of the twentieth century has become a popular form of music that is performed weekly at thousands of churches across the nation, is available on scores of local and national record labels, and can be heard on regularly scheduled radio and television broadcasts. African-American gospel music is currently performed by many different ensembles such as choirs, quartets, and soloists; each of which enjoys its own performance style and unique history. Subsequently in this documentary, we will take a closer look at Shirley Caesar's total performance, dividing her verbal artistry into five distinct categories. To fully appreciate the analysis of gospel music and Shirley Caesar's place in the gospel tradition, it is important that we examine the definition of gospel music as a genre. Kip Cornell credits musicologist Horace Boyer for defining gospel as a "music that is rhythmically distinguished by syncopation, a driving beat, and divisions and subdivisions of the beat [that feature much] improvisation