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For other uses, see Amazing Grace (disambiguation). came curate of Olney, , where he be- gan to write with poet . “Amaz- ing Grace” was written to illustrate a sermon on New Year’s Day of 1773. It is unknown if there was any mu- sic accompanying the verses; it may have simply been chanted by the congregation. It debuted in print in 1779 in Newton and Cowper’s but settled into relative obscurity in England. In the United States how- ever, “Amazing Grace” was used extensively during the in the early 19th century. It has been associated with more than 20 melodies, but in 1835 it was joined to a tune named “New Britain” to which it is most frequently sung today. With the message that forgiveness and redemption are possible regardless of sins committed and that the soul can be delivered from despair through the mercy of God, “Amazing Grace” is one of the most recognizable songs in the English-speaking world. Author Gilbert Chase writes that it is “without a doubt the most famous of all the folk hymns,”[1] and Jonathan Aitken, a Newton biogra- pher, estimates that it is performed about 10 million times annually.[2] It has had particular influence in , and has become an emblematic African American spiri- tual. Its universal message has been a significant factor in its crossover into secular music. “Amazing Grace” saw a resurgence in popularity in the U.S. during the 1960s and has been recorded thousands of times during and since The bottom of page 53 of Olney Hymns shows the first stanza of the 20th century, occasionally appearing on popular mu- the beginning “Amazing Grace!" sic charts.

"Amazing Grace" is a Christian hymn published in 1779, with words written by the English poet and cler- 1 ’s conversion gyman John Newton (1725–1807). Newton wrote the words from personal experience. He How industrious is Satan served. I was formerly one of grew up without any particular religious conviction, but his active undertemptors and had my influence been equal his life’s path was formed by a variety of twists and coinci- to my wishes I would have carried all the human race with dences that were often put into motion by his recalcitrant me. A common drunkard or profligate is a petty sinner to insubordination. He was pressed (involuntarily forced) what I was. into service in the Royal Navy, and after leaving the ser- [3] vice, he became involved in the . In John Newton, 1778 1748, a violent storm battered his vessel off the coast of , Ireland, so severely that he called out According to the Dictionary of American Hymnology to God for mercy, a moment that marked his spiritual “Amazing Grace” is John Newton's spiritual autobiogra- conversion. Whilst his boat was being repaired in Lough phy in verse.[4] Swilly, he wrote the first verse of his world famous song. In 1725, Newton was born in , a district in Lon- He did however, continue his slave trading career until don near the Thames. His father was a shipping merchant 1754 or 1755, when he ended his seafaring altogether and who was brought up as a Catholic but had Protestant sym- began studying . pathies, and his mother was a devout Independent unaffil- Ordained in the in 1764, Newton be- iated with the Anglican Church. She had intended New-

1 2 1 JOHN NEWTON’S CONVERSION

ton to become a clergyman, but she died of tuberculosis the Sherbro River. After several months he came to think when he was six years old.[5] For the next few years, of as his home, but his father intervened af- Newton was raised by his emotionally distant stepmother ter Newton sent him a letter describing his circumstances, while his father was at sea, and spent some time at a and a ship found him by coincidence.[lower-alpha 3] Newton boarding school where he was mistreated.[6] At the age claimed the only reason he left was because of Polly.[10] of eleven, he joined his father on a ship as an apprentice; While aboard the ship Greyhound, Newton gained no- his seagoing career would be marked by headstrong dis- toriety for being one of the most profane men the cap- obedience. tain had ever met. In a culture where sailors commonly As a youth, Newton began a pattern of coming very close used oaths and swore, Newton was admonished several to death, examining his relationship with God, then re- times for not only using the worst words the captain had lapsing into bad habits. As a sailor, he denounced his ever heard, but creating new ones to exceed the limits of faith after being influenced by a shipmate who discussed verbal debauchery.[11] In March 1748, while the Grey- Characteristics of Men, Manners, Opinions, Times, a book hound was in the North Atlantic, a violent storm came by the Third Earl of Shaftesbury, with him. In a series of upon the ship that was so rough it swept overboard a crew letters he later wrote, “Like an unwary sailor who quits his member who was standing where Newton had been mo- port just before a rising storm, I renounced the hopes and ments before.[lower-alpha 4] After hours of the crew emp- comforts of the at the very time when every other tying water from the ship and expecting to be capsized, comfort was about to fail me.”[7] His disobedience caused Newton and another mate tied themselves to the ship’s him to be pressed into the Royal Navy, and he took ad- pump to keep from being washed overboard, working for vantage of opportunities to overstay his leave and finally several hours.[12] After proposing the measure to the cap- deserted to visit Mary “Polly” Catlett, a family friend with tain, Newton had turned and said, “If this will not do, then whom he had fallen in love.[8] After enduring humilia- Lord have mercy upon us!"[13][14] Newton rested briefly tion for deserting,[lower-alpha 1] he managed to get himself before returning to the deck to steer for the next eleven traded to a slave ship where he began a career in slave hours. During his time at the wheel he pondered his di- trading.[lower-alpha 2] vine challenge.[12] About two weeks later, the battered ship and starving crew landed in Lough Swilly, Ireland. For several weeks before the storm, Newton had been reading The Chris- tian’s Pattern, a summary of the 15th-century The Imita- tion of Christ by Thomas à Kempis. The memory of the uttered phrase in a moment of desperation did not leave him; he began to ask if he was worthy of God’s mercy or in any way redeemable as he had not only neglected his faith but directly opposed it, mocking others who showed theirs, deriding and denouncing God as a myth. He came to believe that God had sent him a profound message and had begun to work through him.[15] Newton’s conversion was not immediate, but he con- tacted Polly’s family and announced his intentions to marry her. Her parents were hesitant as he was known to be unreliable and impetuous. They knew he was pro- fane, but they allowed him to write to Polly, and he set to begin to submit to authority for her sake.[16] He sought a place on a slave ship bound for Africa, and Newton and his crewmates participated in most of the same activities he had written about before; the only immorality from which he was able to free himself was profanity. Af- ter a severe illness his resolve was renewed, yet he re- tained the same attitude towards as was held by John Newton in his later years his contemporaries.[lower-alpha 5] Newton continued in the Newton often openly mocked the captain by creating ob- slave trade through several voyages where he sailed up scene poems and songs about him that became so pop- rivers in Africa – now as a captain – procured slaves be- ular the crew began to join in.[9] He entered into dis- ing offered for sale in larger ports, and subsequently trans- agreements with several colleagues that resulted in his be- ported them to North America. In between voyages, he ing starved almost to death, imprisoned while at sea and married Polly in 1750 and he found it more difficult to chained like the slaves they carried, then outright enslaved leave her at the beginning of each trip. After three ship- and forced to work on a plantation in Sierra Leone near ping experiences in the slave trade, Newton was promised 2.1 Olney Hymns 3

a position as ship’s captain with cargo unrelated to slavery He will my shield and portion be when, at the age of thirty, he collapsed and never sailed As long as life endures. again.[17][lower-alpha 6] Yes, when this flesh and heart shall fail, And mortal life shall cease; I shall possess, within the veil, A life of joy and peace. The earth shall soon dissolve like snow, The sun forbear to shine; But God, who call'd me here below, Will be forever mine. John Newton, Olney Hymns, 1779

Olney was a village of about 2,500 residents whose main industry was making lace by hand. The people were mostly illiterate and many of them were poor.[2] New- ton’s preaching was unique in that he shared many of his The vicarage in Olney, where Newton wrote the hymn that would become “Amazing Grace” own experiences from the pulpit; many clergy preached from a distance, not admitting any intimacy with temp- tation or sin. He was involved in his parishioners’ lives and was much loved, although his writing and delivery 2 Olney curate were sometimes unpolished.[21] But his devotion and con- viction were apparent and forceful, and he often said his mission was to “break a hard heart and to heal a broken Working as a customs agent in starting in 1756, heart”.[22] He struck a friendship with William Cowper, Newton began to teach himself Latin, Greek, and theol- a gifted writer who had failed at a career in law and suf- ogy. He and Polly immersed themselves in the church fered bouts of insanity, attempting suicide several times. community, and Newton’s passion was so impressive that Cowper enjoyed Olney – and Newton’s company; he was his friends suggested he become a priest in the Church of also new to Olney and had gone through a spiritual con- England. He was turned down by the Bishop of York in version similar to Newton’s. Together, their effect on the 1758, ostensibly for having no university degree,[18] al- local congregation was impressive. In 1768, they found though the more likely reasons were his leanings toward it necessary to start a weekly prayer meeting to meet the and tendency to socialize with Methodists.[19] needs of an increasing number of parishioners. They also Newton continued his devotions, and after being encour- began writing lessons for children.[23] aged by a friend, he wrote about his experiences in the slave trade and his conversion. The Earl of Dartmouth, Partly from Cowper’s literary influence, and partly be- impressed with his story, sponsored Newton for ordina- cause learned vicars were expected to write verses, New- tion with the Bishop of Lincoln, and offered him the ton began to try his hand at hymns, which had become curacy of Olney, Buckinghamshire, in 1764.[20] popular through the language, made plain for common people to understand. Several prolific hymn writers were at their most productive in the 18th century, includ- 2.1 Olney Hymns ing – whose hymns Newton had grown up hearing[24] – and , with whom Newton Main article: Olney Hymns was familiar. Wesley’s brother John, the eventual founder of the Methodist Church, had encouraged Newton to go [lower-alpha 7] Amazing grace! (how sweet the sound) into the clergy. Watts was a pioneer in English That sav'd a wretch like me! hymn writing, basing his work the . The most I once was lost, but now am found, prevalent hymns by Watts and others were written in the Was blind, but now I see. common meter in 8.6.8.6: the first line is eight syllables [25] 'Twas grace that taught my heart to fear, and the second is six. And grace my fears reliev'd; Newton and Cowper attempted to present a poem or How precious did that grace appear hymn for each prayer meeting. The lyrics to “Amazing The hour I first believ'd! Grace” were written in late 1772 and probably used in a Thro' many dangers, toils, and snares, prayer meeting for the first time on , 1773.[25] I have already come; A collection of the poems Newton and Cowper had writ- 'Tis grace hath brought me safe thus far, ten for use in services at Olney was bound and published And grace will lead me home. anonymously in 1779 under the title Olney Hymns. New- The Lord has promis’d good to me, ton contributed 280 of the 348 texts in Olney Hymns; “1 His word my hope secures; 4 3 DISSEMINATION

Chronicles 17:16–17, Faith’s Review and Expectation” hast regarded me according to the estate of a man of high was the title of the poem with the first line “Amazing degree, O LORD God. [4] grace! (how sweet the sound)". 1 Chronicles 17:16–17,

2.2 Critical analysis The title ascribed to the hymn, "1 Chronicles 17:16–17”, refers to 's reaction to the prophet Nathan telling The general impact of Olney Hymns was immediate and it him that God intends to maintain his family line forever. became a widely popular tool for evangelicals in Britain Some Christians interpret this as a prediction that Jesus for many years. Scholars appreciated Cowper’s poetry Christ, as a descendant of David, was promised by God somewhat more than Newton’s plaintive and plain lan- as the salvation for all people.[34] Newton’s sermon on guage driven from his forceful personality. The most that January day in 1773 focused on the necessity to ex- prevalent themes in the verses written by Newton in Olney press one’s gratefulness for God’s guidance, that God is Hymns are faith in salvation, wonder at God’s grace, his involved in the daily lives of Christians though they may love for Jesus, and his cheerful exclamations of the joy he not be aware of it, and that patience for deliverance from found in his faith.[26] As a reflection of Newton’s connec- the daily trials of life is warranted when the glories of tion to his parishioners, he wrote many of the hymns in eternity await.[35] Newton saw himself a sinner like David first person, admitting his own experience with sin. Bruce who had been chosen, perhaps undeservedly,[36] and was Hindmarsh in Sing Them Over Again To Me: Hymns and humbled by it. According to Newton, unconverted sin- Hymnbooks in America considers “Amazing Grace” an ners were “blinded by the god of this world” until “mercy excellent example of Newton’s testimonial style afforded came to us not only undeserved but undesired ... our by the use of this perspective.[27] Several of Newton’s hearts endeavored to shut him out till he overcame us by hymns were recognized as great work (“Amazing Grace” the power of his grace.”[33] was not among them) while others seem to have been in- The served as the basis for many of the cluded to fill in when Cowper was unable to write.[28] lyrics of “Amazing Grace”. The first verse, for example, Jonathan Aitken calls Newton, specifically referring to can be traced to the story of the Prodigal Son. In the “Amazing Grace”, an “unashamedly middlebrow lyricist the father says, “For this son of mine was writing for a lowbrow congregation”, noting that only dead and is alive again; he was lost, and is found”. The twenty-one of the nearly 150 words used in all six verses story of Jesus healing a blind man who tells the Pharisees have more than one syllable.[29] that he can now see is told in the . New- William Phipps in the Anglican Theological Review and ton used the words “I was blind but now I see” and de- author James Basker have interpreted the first stanza of clared “Oh to grace how great a debtor!" in his letters and “Amazing Grace” as evidence of Newton’s realization diary entries as early as 1752.[37] The effect of the lyri- that his participation in the slave trade was his wretched- cal arrangement, according to Bruce Hindmarsh, allows ness, perhaps representing a wider common understand- an instant release of energy in the exclamation “Amaz- ing of Newton’s motivations.[30][31] Newton joined forces ing grace!", to be followed by a qualifying reply in “how with a young man named , the sweet the sound”. In An Annotated Anthology of Hymns, British Member of Parliament who led the Parliamentar- Newton’s use of an exclamation at the beginning of his ian campaign to abolish the slave trade in the British Em- verse is called “crude but effective” in an overall com- pire, culminating in the Slave Trade Act 1807. However, position that “suggest(s) a forceful, if simple, statement Newton became an ardent and outspoken abolitionist af- of faith”.[36] Grace is recalled three times in the follow- ter he left Olney in the 1780s; he never connected the ing verse, culminating in Newton’s most personal story construction of the hymn that became “Amazing Grace” of his conversion, underscoring the use of his personal to anti-slavery sentiments.[32] The lyrics in Olney Hymns testimony with his parishioners.[27] were arranged by their association to the Biblical verses The sermon preached by Newton was his last, of those that would be used by Newton and Cowper in their prayer that William Cowper heard in Olney, since Cowper’s meetings and did not address any political objective. For mental instability returned shortly thereafter. Steve Newton, the beginning of the year was a time to reflect on Turner, author of Amazing Grace: The Story of Amer- one’s spiritual progress. At the same time he completed a ica’s Most Song, suggests Newton may have had diary – which has since been lost – that he had begun 17 his friend in mind, employing the themes of assurance years before, two years after he quit sailing. The last entry and deliverance from despair for Cowper’s benefit.[38] of 1772 was a recounting of how much he had changed since then.[33] And David the king came and sat before the LORD, and said, Who am I, O LORD God, and what is mine house, 3 Dissemination that thou hast brought me hitherto? And yet this was a small thing in thine eyes, O God; for thou hast also spo- Although it had its in England, “Amazing Grace” ken of thy servant’s house for a great while to come, and became an integral part of the Christian tapestry in the 5

Shout, shout aloud for glory; Brother, sister, mourner, All shout glory hallelujah.[1]

1. ^ Cite error: The named reference turner115-116 was invoked but never defined (see the help page).

Simultaneously, an unrelated movement of communal singing was established throughout the South and West- ern states. A format of teaching music to illiterate people An 1847 publication of Southern Harmony, showing the title appeared in 1800. It used four sounds to symbolize the “New Britain” and music. basic scale: fa-sol-la-fa-sol-la-mi-fa. Each sound was ac- companied by a specifically shaped note and thus became known as shape note singing. The method was simple to United States. More than 60 of Newton and Cowper’s learn and teach, so schools were established throughout hymns were republished in other British and the South and West. Communities would come together magazines, but “Amazing Grace” was not, appearing only for an entire day of singing in a large building where they once in a 1780 sponsored by the Countess of sat in four distinct areas surrounding an open space, one Huntingdon. Scholar John Julian commented in his 1892 member directing the group as a whole. Most of the mu- A Dictionary of Hymnology that outside of the United sic was Christian, but the purpose of communal singing States, the song was unknown and it was “far from being was not primarily spiritual. Communities either could a good example of Newton’s finest work”.[39][lower-alpha 8] not afford music accompaniment or rejected it out of a Between 1789 and 1799, four variations of Newton’s Calvinistic sense of simplicity, so the songs were sung a hymn were published in the U.S. in Baptist, Dutch Re- cappella.[43] formed, and Congregationalist hymnodies;[34] by 1830 Presbyterians and Methodists also included Newton’s verses in their hymnals.[40][41] The greatest influences in the 19th century that propelled “Amazing Grace” to spread across the U.S. and become a staple of religious services in many denominations and regions were the Second Great Awakening and the devel- opment of shape note singing communities. A tremen- dous religious movement swept the U.S. in the early 19th century, marked by the growth and popularity of churches and religious revivals that got their start in Kentucky and Tennessee. Unprecedented gatherings of thousands of people attended camp meetings where they came to expe- rience salvation; preaching was fiery and focused on sav- ing the sinner from temptation and backsliding.[42] Reli- gion was stripped of ornament and ceremony, and made as plain and simple as possible; sermons and songs often used repetition to get across to a rural population of poor and mostly uneducated people the necessity of turning away from sin. Witnessing and testifying became an inte- gral component to these meetings, where a congregation member or even a stranger would rise and recount his turn from a sinful life to one of piety and peace.[40] “Amaz- ing Grace” was one of many hymns that punctuated fer- vent sermons, although the contemporary style used a re- frain, borrowed from other hymns, that employed sim- plicity and repetition such as: Amazing grace! How sweet the sound That saved a wretch like me. William Walker, the composer who first joined John Newton’s I once was lost, but now am found, verses to “New Britain”, to create the song that has become Was blind but now I see. “Amazing Grace” Shout, shout for glory, 6 3 DISSEMINATION

3.1 “New Britain” tune When we've been there ten thousand years, Bright shining as the sun, We've no less days to sing God’s praise, When originally used in Olney, it is unknown what mu- Than when we first begun.[1][2] sic, if any, accompanied the verses written by John New- ton. Contemporary hymnbooks did not contain music 1. ^ Aitken, p. 235. and were simply small books of religious poetry. The first known instance of Newton’s lines joined to music 2. ^ Watson, p. 216. was in A Companion to the Countess of Huntingdon’s Hymns (London, 1808), where it is set to the tune “Hep- “Amazing Grace” came to be an emblem of a Chris- hzibah” by English composer John Jenkins Husband.[44] tian movement and a symbol of the U.S. itself as the Common meter hymns were interchangeable with a va- country was involved in a great political experiment, at- riety of tunes; more than twenty musical settings of tempting to employ democracy as a means of govern- “Amazing Grace” circulated with varying popularity un- ment. Shape note singing communities, with all the mem- til 1835 when William Walker assigned Newton’s words bers sitting around an open center, each song employing to a traditional song named “New Britain”, which was it- a different director, illustrated this in practice. Simul- self an amalgamation of two melodies (“Gallaher” and taneously, the U.S. began to expand westward into previ- “St. Mary”) first published in the Columbian Harmony ously unexplored territory that was often wilderness. The by Charles H. Spilman and Benjamin Shaw (Cincinnati, “dangers, toils, and snares” of Newton’s lyrics had both 1829). Spilman and Shaw, both students at Kentucky’s literal and figurative meanings for Americans.[50] This , compiled their tunebook both for public became poignantly true during the most serious test of worship and revivals, to satisfy “the wants of the Church American cohesion in the U.S. Civil War (1861–1865). in her triumphal march.” Most of the tunes had been pre- “Amazing Grace” set to “New Britain” was included in viously published, but “Gallaher” and “St. Mary” had two hymnals distributed to soldiers and with death so not.[45] As neither tune is attributed and both show ele- real and imminent, religious services in the military be- ments of oral transmission, scholars can only speculate came commonplace.[52] The hymn was translated into that they are possibly of British origin.[46] A manuscript other languages as well: while on the Trail of Tears, the from 1828 by Lucius Chapin, a famous hymn writer of sang Christian hymns as a way of coping with that time, contains a tune very close to “St. Mary”, but the ongoing tragedy, and a version of the song by Samuel that does not mean that he wrote it.[47] Worcester that had been translated into the Cherokee lan- “Amazing Grace”, with the words written by Newton and guage became very popular.[53][54] joined with “New Britain”, the melody most currently as- sociated with it, appeared for the first time in Walker’s shape note tunebook Southern Harmony in 1847.[48] It 3.2 Urban revival was, according to author Steve Turner, a “marriage made in heaven ... The music behind 'amazing' had a sense of Although “Amazing Grace” set to “New Britain” was awe to it. The music behind 'grace' sounded graceful. popular, other versions existed regionally. Primitive Bap- There was a rise at the point of confession, as though the tists in the Appalachian region often used “New Britain” author was stepping out into the open and making a bold with other hymns, and sometimes sing the words of declaration, but a corresponding fall when admitting his “Amazing Grace” to other folk songs, including titles blindness.”[49] Walker’s collection was enormously popu- such as "", “Pisgah”, “Primrose”, and “Evan”, lar, selling about 600,000 copies all over the U.S. when as all are able to be sung in common meter, of which the the total population was just over 20 million. Another majority of their repertoire consists.[55][56] A tune named shape note tunebook named The (1844) by “Arlington” accompanied Newton’s verses as much as Georgia residents and Elisha “New Britain” for a time in the late 19th century. J. King became widely influential and continues to be [50] Two musical arrangers named Dwight Moody and Ira used. Sankey heralded another religious revival in the cities of Another verse was first recorded in Harriet Beecher the U.S. and Europe, giving the song international expo- Stowe's immensely influential 1852 anti-slavery novel sure. Moody’s preaching and Sankey’s musical gifts were ’s Cabin. Three verses were emblematically significant; their arrangements were the forerunners of sung by Tom in his hour of deepest crisis.[51] He sings the , and churches all over the U.S. were eager sixth and fifth verses in that order, and Stowe included an- to acquire them.[57] Moody and Sankey began publish- other verse not written by Newton that had been passed ing their compositions in 1875, and “Amazing Grace” ap- down orally in African American communities for at least peared three times with three different melodies, but they 50 years. It was originally one of between 50 to 70 verses were the first to give it its title; hymns were typically pub- of a song titled “Jerusalem, My Happy Home” that first lished using the first line of the lyrics, or the name of the appeared in a 1790 book called A Collection of Sacred tune such as “New Britain”. A publisher named Edwin Ballads: Othello Excell gave the version of “Amazing Grace” set 7

to “New Britain” immense popularity by publishing it in and worldly miseries.[31] Anthony Heilbut, author of The a series of hymnals that were used in urban churches. Gospel Sound, states that the “dangers, toils, and snares” Excell altered some of Walker’s music, making it more of Newton’s words are a “universal testimony” of the contemporary and European, giving “New Britain” some African American experience.[66] In the 1960s with the distance from its rural folk-music origins. Excell’s ver- African American Civil Rights Movement and opposition sion was more palatable for a growing urban middle class to the Vietnam War, the song took on a political tone. and arranged for larger church choirs. Several editions employed “Amazing Grace” for Civil featuring Newton’s first three stanzas and the verse previ- Rights marchers, writing that she used it “to give magi- ously included by in Uncle Tom’s cal protection – a charm to ward off danger, an incanta- Cabin were published by Excell between 1900 and 1910, tion to the angels of heaven to descend ... I was not sure and his version of “Amazing Grace” became the standard the magic worked outside the church walls ... in the open form of the song in American churches.[58][59] air of Mississippi. But I wasn't taking any chances.”[67] Folk singer , who knew the song before she could remember learning it, witnessed Fannie Lou Hamer leading marchers in Mississippi in 1964, singing “Amaz- 4 Recorded versions ing Grace”. Collins also considered it a talisman of sorts, and saw its equal emotional impact on the marchers, wit- With the advent of recorded music and radio, “Amaz- nesses, and law enforcement who opposed the civil rights [3] ing Grace” began to cross over from primarily a gospel demonstrators. According to fellow folk singer Joan standard to secular audiences. The ability to record com- Baez, it was one of the most requested songs from her bined with the marketing of records to specific audiences audiences, but she never realized its origin as a hymn; allowed “Amazing Grace” to take on thousands of dif- by the time she was singing it in the 1960s she said it [68] ferent forms in the 20th century. Where Edwin Othello had “developed a life of its own”. It even made an ap- Excell sought to make the singing of “Amazing Grace” pearance at the Music Festival in 1969 during [69] uniform throughout thousands of churches, records al- 's performance. lowed artists to improvise with the words and music spe- Collins decided to record it in the late 1960s amid an at- cific to each audience. AllMusic lists more than 7,000 mosphere of counterculture introspection; she was part recordings – including re-releases and compilations – as of an encounter group that ended a contentious meeting of September 2011.[60] Its first recording is an a cap- by singing “Amazing Grace” as it was the only song to pella version from 1922 by the Sacred Harp Choir. It which all the members knew the words. Her producer was included from 1926 to 1930 in Okeh Records' cata- was present and suggested she include a version of it on logue, which typically concentrated strongly on blues and her 1970 album Whales & Nightingales. Collins, who jazz. Demand was high for black gospel recordings of had a history of alcohol abuse, claimed that the song was the song by H. R. Tomlin and J. M. Gates. A poignant able to “pull her through” to recovery.[3] It was recorded sense of nostalgia accompanied the recordings of several in St. Paul’s, the chapel at , chosen gospel and blues singers in the 1940s and 1950s who used for the acoustics. She chose an arrangement the song to remember their grandparents, traditions, and that was close to Edwin Othello Excell’s, accompanied family roots.[61] It was recorded with musical accompa- by a chorus of amateur singers who were friends of hers. niment for the first time in 1930 by Fiddlin' John Car- Collins connected it to the Vietnam War, to which she son, although to another folk hymn named “At the Cross”, objected: “I didn't know what else to do about the war not to “New Britain”.[62] “Amazing Grace” is emblematic in Vietnam. I had marched, I had voted, I had gone to of several kinds of folk music styles, often used as the jail on political actions and worked for the candidates I standard example to illustrate such musical techniques as believed in. The war was still raging. There was noth- and call and response, that have been practiced ing left to do, I thought ... but sing 'Amazing Grace'.”[70] in both black and white folk music.[63] Gradually and unexpectedly, the song began to be played Those songs come out of conviction and suffering. The on the radio, and then be requested. It rose to number worst voices can get through singing them 'cause they're 15 on the Billboard Hot 100, remaining on the charts for [71] telling their experiences. 15 weeks, as if, she wrote, her fans had been “waiting to embrace it”.[72] In the UK, it charted 8 times between [64] Mahalia Jackson 1970 and 1972, peaking at number 5 and spending a total of 75 weeks on popular music charts.[73] Mahalia Jackson's 1947 version received significant ra- Although Collins used it as a catharsis for her opposition dio airplay, and as her popularity grew throughout the to the Vietnam War, two years after her rendition, the 1950s and 1960s, she often sang it at public events such Royal Scots Dragoon Guards, senior Scottish regiment of [65] as concerts at Carnegie Hall. Author James Basker the British Army, recorded an instrumental version fea- states that the song has been employed by African Amer- turing a bagpipe soloist accompanied by a pipe and drum icans as the “paradigmatic Negro spiritual” because it band. The tempo of their arrangement was slowed to al- expresses the joy felt at being delivered from slavery 8 6 MODERN INTERPRETATIONS

low for the bagpipes, but it was based on Collins’: it be- ger of becoming a cliché. It has been mass-produced gan with a bagpipe solo introduction similar to her lone on souvenirs, lent its name to a Superman villain, ap- voice, then it was accompanied by the band of bagpipes peared on The Simpsons to demonstrate the redemption and horns, whereas in her version she is backed up by a of a murderous character named Sideshow Bob, incor- chorus. It hit number 1 in the UK singles chart in April porated into Hare Krishna chants and adapted for Wicca 1972, spending 24 weeks total on the charts, topped the ceremonies.[80] The hymn has been employed in several RPM national singles chart in Canada for three weeks,[74] films, including Alice’s Restaurant, Coal Miner’s Daugh- and rose as high as number 11 in the U.S.[75][76] It is ter, and Silkwood. It is referenced in the 2006 film also a controversial instrumental, as it combined pipes Amazing Grace, which highlights Newton’s influence on with a military band. The Pipe Major of the Royal Scots the leading British abolitionist William Wilberforce,[81] Dragoon Guards was summoned to and and in the upcoming film biography of Newton, Newton’s chastised for demeaning the bagpipes.[77] Funeral proces- Grace.[82] The 1982 science fiction film Star Trek II: The sions for killed police, fire, and military personnel have Wrath of Khan used “Amazing Grace” amid a context of often played a bagpipes version ever since. Christian symbolism, to memorialize Mr. Spock follow- [81] but more practically, because the song and Rod Stewart also recorded “Amaz- ing his death, ing Grace” around the same time, and both of their ren- has become “instantly recognizable to many in the audi- [lower-alpha 9] ence as music that sounds appropriate for a funeral” ac- ditions were popular. All four versions were [83] marketed to distinct types of audiences thereby assuring cording to a Star Trek scholar. Since 1954 when an its place as a pop song.[78] recorded it on his organ instrumental of “New Britain” became a bestseller, “Amazing Grace” has been associated with funerals and 1975 album Sings Precious Memories, dedicating it to his [84] older brother Jack, who had been killed in a mill accident memorial services. It has become a song that inspires when they were boys in Dyess, Arkansas. Cash and his hope in the wake of tragedy, becoming a sort of “spiri- tual national anthem” according to authors Mary Rourke family sang it to themselves while they worked in the cot- [85] ton fields following Jack’s death. Cash often included the and Emily Gwathmey. For example, President Barack song when he toured prisons, saying “For the three min- Obama recited and then sang the hymn at the memorial service for Clementa Pinckney, one of the victims of the utes that song is going on, everybody is free. It just frees [86] the spirit and frees the person.”[3] 2015 Charleston church shooting. The U.S. Library of Congress has a collection of 3,000 versions of and songs inspired by “Amazing Grace”, some of which were first-time recordings by folklorists Alan 6 Modern interpretations and John Lomax, a father and son team who in 1932 traveled thousands of miles across the South to capture In recent years, the words of the hymn have been changed the different regional styles of the song. More con- in some religious publications to downplay a sense of temporary renditions include samples from such popu- imposed self-loathing by its singers. The second line, lar artists as and (1963), “That saved a wretch like me!" has been rewritten as (1970), (1971), “That saved and strengthened me”, “save a soul like (1972), Mighty Clouds of Joy (1972), Andy Williams me”, or “that saved and set me free”.[87] Kathleen Nor- (1972), Amazing Rhythm Aces (1975), ris in her book Amazing Grace: A Vocabulary of Faith (1976), The Lemonheads (1992) and Dropkick Murphys characterizes this transformation of the original words [62] (1999). as “wretched English” making the line that replaces the Somehow, “Amazing Grace” [embraced] core Ameri- original “laughably bland”.[88] Part of the reason for can values without ever sounding triumphant or jingois- this change has been the altered interpretations of what tic. It was a song that could be sung by young and old, wretchedness and grace means. Newton’s Calvinistic Republican and Democrat, Southern Baptist and Roman view of redemption and divine grace formed his perspec- Catholic, African American and Native American, high- tive that he considered himself a sinner so vile that he was ranking military officer and anticapitalist campaigner. unable to change his life or be redeemed without God’s help. Yet his lyrical subtlety, in Steve Turner’s opinion, Steve Turner, 2002[79] leaves the hymn’s meaning open to a variety of Chris- tian and non-Christian interpretations.[89] “Wretch” also represents a period in Newton’s life when he saw himself outcast and miserable, as he was when he was enslaved in 5 In popular culture Sierra Leone; his own arrogance was matched by how far he had fallen in his life.[90] Following the appropriation of the hymn in secular mu- The communal understanding of redemption and human sic, “Amazing Grace” became such an icon in Ameri- self-worth has changed since Newton’s time. Since the can culture that it has been used for a variety of secu- 1970s, self-help books, psychology, and some modern lar purposes and marketing campaigns, placing it in dan- expressions of Christianity have viewed this disparity in 9

edged this force when he explained why he chose “Amaz- ing Grace” to represent a collection of anti-slavery poetry: “there is a transformative power that is applicable ... : the transformation of sin and sorrow into grace, of suffering into beauty, of alienation into empathy and connection, of the unspeakable into imaginative literature.”[93] Moyers interviewed Collins, Cash, opera singer , Appalachian folk musician and her family, white Sacred Harp singers in Georgia, black Sa- cred Harp singers in Alabama, and a prison choir at the Texas State Penitentiary at Huntsville. Collins, Cash, and Norman were unable to discern if the power of the song came from the music or the lyrics. Norman, who once notably sang it at the end of a large outdoor rock concert for Nelson Mandela’s 70th birthday, stated, “I don't know whether it’s the text – I don't know whether we're talking about the lyrics when we say that it touches so many peo- ple – or whether it’s that tune that everybody knows.” A prisoner interviewed by Moyers explained his literal in- terpretation of the second verse: "'Twas grace that taught my heart to fear, and grace my fears relieved” by saying that the fear became immediately real to him when he realized he may never get his life in order, compounded by the loneliness and restriction in prison. Gospel singer summed up its effect: “That’s a song that gets to everybody”.[3]

A Canadian bagpiper playing “Amazing Grace” during a memo- The Dictionary of American Hymnology claims it is in- rial service, October 29, 2009, at Forward Operating Base Wil- cluded in more than a thousand published hymnals, and son, Afghanistan recommends its use for “occasions of worship when we need to confess with joy that we are saved by God’s grace alone; as a hymn of response to forgiveness of sin or as terms of grace being an innate quality within all peo- an assurance of pardon; as a confession of faith or after [4] ple who must be inspired or strong enough to find it: the sermon.” something to achieve. In contrast to Newton’s vision of wretchedness as his willful sin and distance from God, wretchedness has instead come to mean an obstacle of 7 References physical, social, or spiritual nature to overcome in order to achieve a state of grace, happiness, or contentment. Explanatory notes Since its immense popularity and iconic nature, “grace” and the meaning behind the words of “Amazing Grace” [1] Stripped of his rank, whipped in public, and subjected to have become as individual as the singer or listener.[91] the abuses directed to prisoners and other press-ganged Bruce Hindmarsh suggests that the secular popularity of men in the Navy, he demonstrated insolence and rebellion “Amazing Grace” is due to the absence of any mention of during his service for the next few months, remarking that the only reason he did not murder the captain or commit God in the lyrics until the fourth verse (by Excell’s ver- suicide was because he did not want Polly to think badly sion, the fourth verse begins “When we've been there ten of him. (Martin [1950], pp. 41–47.) thousand years”), and that the song represents the ability of humanity to transform itself instead of a transforma- [2] Newton kept a series of detailed journals as a slave trader; tion taking place at the hands of God. “Grace”, however, these are perhaps the first primary source of the Atlantic to John Newton had a clearer meaning, as he used the slave trade from the perspective of a merchant (Moyers). Women, naked or nearly so, upon their arrival on ship word to represent God or the power of God.[92] were claimed by the sailors, and Newton alluded to sexual The transformative power of the song was investigated by misbehavior in his writings that has since been interpreted journalist Bill Moyers in a documentary released in 1990. by historians to mean that he, along with other sailors, Moyers was inspired to focus on the song’s power after took (and presumably raped) whomever he chose. (Mar- watching a performance at Lincoln Center, where the au- tin [1950], pp. 82–85)(Aitken, p. 64.) dience consisted of Christians and non-Christians, and he [3] Newton’s father was friends with Joseph Manesty, who in- noticed that it had an equal impact on everybody in at- tervened several times in Newton’s life. Newton was sup- tendance, unifying them.[22] James Basker also acknowl- posed to go to Jamaica on Manesty’s ship, but missed it 10 7 REFERENCES

while he was with the Catletts. When Newton’s father got [7] Newton (1824), pp. 21–22. his son’s letter detailing his conditions in Sierra Leone, he asked Manesty to find Newton. Manesty sent the Grey- [8] Martin (1950), p. 23. hound, which traveled along the African coast trading at [9] Martin (1950), pp. 51–52. various stops. An associate of Newton lit a fire signaling to ships he was interested in trading only 30 minutes before [10] Martin (1950), p. 63. the Greyhound appeared. (Aitken, pp. 34–35, 64–65.) [11] Martin (1950), pp. 67–68. [4] Several retellings of Newton’s life story claim that he was carrying slaves during the voyage in which he experienced [12] Martin (1950), p. 73. his conversion, but the ship was carrying livestock, wood, and beeswax from the coast of Africa. (Aitken, p. 76.) [13] Newton (1824), p. 41.

[5] When Newton began his journal in 1750, not only was [14] Martin (1950), pp. 70–71. slave trading seen as a respectable profession by the ma- [15] Aitken, pp. 81–84. jority of Britons, its necessity to the overall prosperity of the kingdom was communally understood and approved. [16] Martin (1950), pp. 82–85. Only , who were much in the minority and per- ceived as eccentric, had raised any protest about the prac- [17] Aitken, p. 125. tice. (Martin and Spurrell [1962], pp. xi–xii.) [18] Martin (1950), pp. 166–188. [6] Newton’s biographers and Newton himself does not put [19] Aitken, pp. 153–154. a name to this episode other than a “fit” in which he be- came unresponsive, suffering dizziness and a headache. [20] Martin (1950), pp. 198–200. His doctor advised him not to go to sea again, and Newton complied. Jonathan Aitken called it a stroke or seizure, [21] Martin (1950), pp. 208–217. but its cause is unknown. (Martin [1950], pp. 140– 141.)(Aitken, p. 125.) [22] Pollock, John (2009). “Amazing Grace: The great Sea Change in the Life of John Newton”, The Trinity Forum [7] Watts had previously written a hymn named “Alas! And Reading, The Trinity Forum. Did My Saviour Bleed” that contained the lines “Amazing pity! Grace unknown!/ And love beyond degree!". Philip [23] Turner, p. 76. Doddridge, another well-known hymn writer, wrote an- [24] Aitken, p. 28. other in 1755 titled “The Humiliation and Exaltation of God’s Israel” that began “Amazing grace of God on high!" [25] Turner, pp. 77–79. and included other similar wording to Newton’s verses. Newton biographer Jonathan Aitken states that Watts had [26] Benson, p. 339. inspired most of Newton’s compositions. (Turner, pp. 82–83.)(Aitken, pp. 28–29.) [27] Noll and Blumhofer, p. 6.

[8] Only since the 1950s has it gained some popularity in the [28] Benson, p. 338. UK; not until 1964 was it published with the music most [29] Aitken, p. 226. commonly associated with it. (Noll and Blumhofer, p. 8) [30] Phipps, William (Summer 1990). " 'Amazing Grace' in [9] Franklin’s version is a prime example of “long meter” the hymnwriter’s life”, Anglican Theological Review, 72 rendition: she sings several notes representing a syllable (3), pp. 306–313. and the vocals are more dramatic and lilting. Her version lasts over ten minutes in comparison to the Royal Scots [31] Basker, p. 281. Dragoon Guards’ that lasts under three minutes. (Tall- madge)(Turner, pp. 150–151.) [32] Aitken, p. 231. [33] Aitken, p. 227. Citations [34] Noll and Blumhofer, p. 8.

[1] Chase, p. 181. [35] Turner, p. 81.

[2] Aitken, p. 224. [36] Watson, p. 215.

[3] Moyers, Bill (director). Amazing Grace with Bill Moyers, [37] Aitken, p. 228. Public Affairs Television, Inc. (1990). [38] Turner, p. 86. [4] “Amazing Grace How Sweet the Sound”, Dictionary of American Hymnology. Retrieved on October 31, 2009. [39] Julian, p. 55.

[5] Martin (1950), pp. 8–9. [40] Noll and Blumhofer, p. 10.

[6] Newton (1824), p. 12. [41] Aitken, pp. 232–233. 11

[42] Turner, pp. 115–116. [72] Collins, p. 166.

[43] Turner, p. 117. [73] Brown, Kutner, and Warwick p. 179.

[44] The Hymn Tune Index, Search="Hephzibah”. University [74] Top Singles – Volume 17, No. 17, June 10 1972 RPM of Illinois at Champaign-Urbana Library website. Re- Magazine (June 10, 1972). Retrieved November 4, 2011. trieved on December 31, 2010. [75] Brown, Kutner, and Warwick p. 757. [45] Turner, pp. 120–122. [76] Whitburn, p. 610. [46] Turner, p. 123. [77] Turner, p. 188. [47] Rachel Wells Hall (May 12, 2015). “Did Lucius Chapin [78] Turner, p. 192. write the Amazing Grace tune?". [79] Turner, p. 205. [48] Noll and Blumhofer, p. 11. [80] Turner, pp. 195–205. [49] Turner, p. 124. [81] Noll and Blumhofer, p. 15. [50] Turner, p. 126. [82] Wesley Young, A tale of grace: Local filmmaker bring- [51] Stowe, p. 417. ing story of John Newton to life Winston-Salem Journal, [52] Turner, pp. 127–128. August 1, 2013 [83] Porter and McLaren, p. 157. [53] Duvall, p. 35. [84] Turner, p. 159. [54] Swiderski, p. 91. [85] Rourke and Gwathmey, p. 108. [55] Patterson, p. 137. [86] “President Obama: Emanuel AME 'a phoenix rising from [56] Sutton, Brett (January 1982). “Shape-Note Tune Books the ashes’". MSNBC. 2014-09-17. Retrieved 2015-06- and Primitive Hymns”, Ethnomusicology, 26 (1), pp. 11– 28. 26. [87] Saunders, William (2003). Lenten Music Arlington [57] Turner, pp. 133–135. Catholic Herald. Retrieved on February 7, 2010.

[58] Noll and Blumhofer, p. 13. [88] Norris, p. 66.

[59] Turner, pp. 137–138, 140–145. [89] Turner, pp. 213–214.

[60] AllMusic search=Amazing Grace Song, AllMusic. Re- [90] Bruner and Ware, pp. 31–32. trieved on September 18, 2011. [91] Turner, pp. 218–220. [61] Turner, pp. 154–155. [92] Noll and Blumhofer, p. 16. [62] Amazing Grace: Special Presentation: Amazing Grace Timeline United States Library of Congress Performing [93] Basker, p. xxxiv. Arts Encyclopedia. Retrieved on November 1, 2008. Bibliography [63] Tallmadge, William (May 1961). “Dr. Watts and Mahalia Jackson: The Development, Decline, and Survival of a Folk Style in America”, Ethnomusicology, 5 (2), pp. 95– • Aitken, Jonathan (2007). John Newton: From Dis- 99. grace to Amazing Grace, Crossway Books. ISBN 1- 58134-848-7 [64] Turner, p. 157. • Basker, James (2002). Amazing Grace: An Anthol- [65] “Mahalia Jackson.” Dictionary of American Biography, ogy of Poems About Slavery, 1660–1810, Yale Uni- Supplement 9: 1971–1975. Charles Scribner’s Sons, versity Press. ISBN 0-300-09172-9 1994. • [66] Turner, p. 148. Benson, Louis (1915). The English Hymn: Its Devel- opment and Use in Worship, The Presbyterian Board [67] Aitken, p. 236. of Publication, Philadelphia. [68] Turner, p. 162. • Bradley, Ian (ed.)(1989). The Book of Hymns, The Overlook Press. ISBN 0-87951-346-2 [69] Turner, p. 175. • Brown, Tony; Kutner, Jon; Warwick, Neil (2000). [70] Collins, p. 165. Complete Book of the British Charts: Singles & Al- [71] Whitburn, p. 144. bums, Omnibus. ISBN 0-7119-7670-8 12 8 EXTERNAL LINKS

• Bruner, Kurt; Ware, Jim (2007). Finding God in the • Turner, Steve (2002). Amazing Grace: The Story of Story of Amazing Grace, Tyndale House Publishers, America’s Most Beloved Song, HarperCollins. ISBN Inc. ISBN 1-4143-1181-8 0-06-000219-0

• Chase, Gilbert (1987). America’s Music, From the • Watson, J. R. (ed.)(2002). An Annotated Anthol- Pilgrims to the Present, McGraw-Hill. ISBN 0-252- ogy of Hymns, Oxford University Press. ISBN 0- 00454-X 19-826973-0

• Collins, Judy (1998). Singing Lessons: A Memoir • Whitburn, Joel (2003). Joel Whitburn’s Top Pop Sin- of Love, Loss, Hope, and Healing , Pocket Books. gles, 1955–2002, Record Research, Inc. ISBN 0- ISBN 0-671-02745-X 89820-155-1

• Duvall, Deborah (2000). Tahlequah and the Chero- kee Nation, Arcadia Publishing. ISBN 0-7385- 8 External links 0782-2

• Julian, John (ed.)(1892). A Dictionary of Hymnol- • Amazing Grace at Hymnary.org ogy, Charles Scribner’s Sons, New York. • The Amazing Grace • Martin, Bernard (1950). John Newton: A Biogra- • U.S. Library of Congress Amazing Grace collection phy, William Heineman, Ltd., London. • Cowper & Newton Museum in Olney, England • Martin, Bernard and Spurrell, Mark, (eds.)(1962). The Journal of a Slave Trader (John Newton), The • Amazing Grace: Some Early Tunes Anthology of Epworth Press, London. the American Hymn-Tune Repertory • Newton, John (1811). Thoughts Upon the African • Amazing Grace: The story behind the song and its Slave Trade, Samuel Whiting and Co., London. connection to Lough Swilly • Newton, John (1824). The Works of the Rev. John • Amazing Grace Versions Online Sort Newton Late Rector of the United Parishes of St. Mary Woolnoth and St. Mary Woolchurch Haw, London: Volume 1, Nathan Whiting, London.

• Noll, Mark A.; Blumhofer, Edith L. (eds.) (2006). Sing Them Over Again to Me: Hymns and Hymn- books in America, University of Alabama Press. ISBN 0-8173-1505-5

• Norris, Kathleen (1999). Amazing Grace: A Vocab- ulary of Faith, Riverhead. ISBN 1-57322-078-7

• Patterson, Beverly Bush (1995). The Sound of the Dove: Singing in Appalachian Primitive Baptist Churches, University of Illinois Press. ISBN 0-252- 02123-1

• Porter, Jennifer; McLaren, Darcee (eds.)(1999). Star Trek and Sacred Ground: Explorations of Star Trek, Religion, and American Culture, State Univer- sity of New York Press, ISBN 0-585-29190-X

• Rourke, Mary; Gwathmey, Emily (1996). Amazing Grace in America: Our Spiritual National Anthem, Angel City Press. ISBN 1-883318-30-0

• Stowe, Harriet Beecher (1899). Uncle Tom’s Cabin, or Life Among the Lowly, R. F. Fenno & Company, New York City.

• Swiderski, Richard (1996). The Metamorphosis of English: Versions of Other Languages, Greenwood Publishing Group. ISBN 0-89789-468-5 13

9 Text and image sources, contributors, and licenses

9.1 Text

• Amazing Grace Source: https://en.wikipedia.org/wiki/Amazing_Grace?oldid=675035165 Contributors: Tbc~enwiki, Wesley, Bryan Derksen, Ed Poor, William Avery, Zoe, Heron, Frecklefoot, Liftarn, Ixfd64, Paul A, Ihcoyc, TUF-KAT, Notheruser, Kingturtle, Jiang, Ven- tura, Harris7, Tb, Hyacinth, Morven, Chidoll, Cjrother, Opus33, Raul654, Pollinator, UninvitedCompany, Robbot, Astronautics~enwiki, Academic Challenger, Jondel, Smb1001, Wikibot, Cymor, WiseWoman, Orpheus, Gamaliel, Wolfe, Sdfisher, Mboverload, Siroxo, Falcon Kirtaran, Bobblewik, Andycjp, RobinCarmody, Cckkab, Antandrus, Elembis, Kaldari, DragonflySixtyseven, M.R.Forrester, Neutrality, Coburnpharr04, Metahacker, Perey, Haruo, Discospinster, Rich Farmbrough, Guanabot, Narsil, Horkana, Wadewitz, Pavel Vozenilek, Gonzalo Diethelm, Stbalbach, Shlomif, BruceJohnson, Flapdragon, Kaisershatner, Narcisse, ThierryVignaud, RoyBoy, Ogg, KitHutch, Phidauex, Rje, Alansohn, Gary, Walter Görlitz, Qwghlm, SonPraises, Yogi de, SidP, Erik II, Dabbler, Uucp, Jobe6, Gpvos, CoastTO- coast533, Pcpcpc, Bacteria, Daniel Case, Smmurphy, Macaddct1984, SDC, MarcoTolo, KHM03, Timtom27, Johndoe85839, Graham87, FreplySpang, Jclemens, Crzrussian, Chizuml, Rjwilmsi, Fieari, Jake Wartenberg, Bill37212, BlueMoonlet, Cuenca, Ian Dunster, Mar- netteD, Hermione1980, Williamborg, Ucucha, Yamamoto Ichiro, Fish and karate, RobertG, Djrobgordon, AJR, Flowerparty, Pcj, Czar, Chobot, DVdm, Mhking, Design, Ben moss, YurikBot, Koveras, RussBot, Pigman, Hydrargyrum, Bboyneko, NawlinWiki, Irk, Wiki alf, Markt3, Badagnani, Cleared as filed, Pyrotec, TakingUpSpace, Ruhrfisch, Mahogany h00r, Joshurtree, Crisco 1492, TheSeer, Sandstein, Andrew D White, Nikkimaria, Closedmouth, Esprit15d, Ligeti42, Katieh5584, Kungfuadam, Paul Erik, J Lorraine, Brvynky, Wai Hong, Sarah, SmackBot, Britannicus, Estoy Aquí, Reedy, JPH-FM, Closetoeuphoria, Bwithh, AnOddName, Boris Barowski, Evanreyes, Slo- man, Gilliam, Hmains, Betacommand, Ncrfgs, Hayson1991, Rhtcmu, Neo-Jay, DHN-bot~enwiki, Jadger, Deciding39, Tony.rc, Aflin, Furby100, Doug123w, Greenshed, Alton.arts, Sogospelman, MartinP1983, Eyeball kid, Daykart, Ozdaren, BullRangifer, Petrichor, Kur- rupt3d, Bindingtheory, Ceoil, Synthe, Frade, BrownHairedGirl, Jk350, Kuru, J 1982, Onesloth, Here’s to Hope, A-moll9, Mr. Vernon, Lillygirl, NcSchu, Mr Stephen, Enlightenedment, SandyGeorgia, Midnightblueowl, HeartOfGold, Dogthehellrider, JoeBot, Warpfactor, Gregory Benoit, Shoreu, Happy-melon, Rkosh, Courcelles, Eickenberg, Danproduct, Clyde Miller, J Milburn, Scarecrow Repair, Cm- drObot, Normalchaos, Angryredplanet, Wafulz, BeenAroundAWhile, Iamcuriousblue, Stevo1000, Kelme, ShelfSkewed, MeekMark, Mon- tanabw, Matthew Treder, TheMarque, Paul Ittoop, Cydebot, Pais, Dadofsam, GoodExplainer, Soetermans, Amandajm, DumbBOT, Ak- carver, Yorkshiresky, Satori Son, Twifkak, Casliber, Malleus Fatuorum, Thijs!bot, Epbr123, TonyTheTiger, Nalvage, Bobblehead, Woody, Miller17CU94, Chavando, PaulVIF, LCamara, Chrisjsaunders, Gary Hooser, Afabbro, ProfessorPlumNY, Cvos, Ju66l3r, AntiVandalBot, Majorly, Kertraon, AUhl, Dr. Blofeld, ASDFGHJKL, Random173, Amrix, Lyricmac, Rtrev, TexMurphy, Modernist, Qwerty Binary, Sluzzelin, JAnDbot, Gobshite, Cragrat, Giftednumber10, Cakra, RebelRobot, MegX, 2006already, .anacondabot, Acroterion, MrDrak, Moni3, Tiwistani, MikailMoolla, VoABot II, Alexander Domanda, Hercudot, Brother Francis, Jjasi, HamishMacBeth, Rowsdower45, EliteMike, Janko88, JohnnyChicago, Mi6agent00g off, Animum, Sugarcaddy, Hamiltonstone, Am86, Teknomegisto, Hcl777, Highlunder, Garik 11, Maju wiki, Gandydancer, R'n'B, BobWinet, Moogin, Viktorluvr, Pomte, Tgeairn, J.delanoy, DrKiernan, Tlatito, Uncle Dick, JoeCasey, Ginsengbomb, Bcsoldier, Sensei Le Roof, Dinosaurier, LoserTalent, Kenshinflyer, Jotempe, WilsonTaylor, Yromemtnatsisrep, Stunz2, JRChadwick, Csodennc, Alexb102072, Sensei48, Richyb21, Cmichael, Armandoflores, DorganBot, Sparafucil, Straw Cat, The- NewPhobia, RJASE1, Funandtrvl, Izzy007, ABF, Gregorio555, Matthewt73, Kyle the bot, GSQ501, Martinevans123, Otakurenan, Gim- meBot, Kmadigan, Calwiki, Andreas Kaganov, Pjholloway, Cremepuff222, BotKung, Arnkristen, Eubulides, Gtwood154, Billinghurst, Synthebot, Peterrahme, Softlavender, Vchimpanzee, Bitbut, Logan, Sakoweoj, CConnla77, SieBot, StAnselm, JamesA, Mardrho, Mor- cus, Dawn Bard, Caltas, BloodDoll, Kareemmaylah, Mangostar, Sambee535, Albanman, Typritc, Towncommon, Rahotu, The Evil Spar- tan, Elcobbola, Samquinn, AngelOfSadness, Aspects, Android Mouse Bot 3, Lightmouse, Mayalld, Thisis0, Andrij Kursetsky, Vanished user ewfisn2348tui2f8n2fio2utjfeoi210r39jf, Crumpola, ManOnPipes, Dabomb87, Omazinggrace, Pinkadelica, Escape Orbit, LarRan, ClueBot, Jmgourd, TableManners, Kafka Liz, Plastikspork, DogTwo, Evets49, Boing! 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9.2 Images

• File:Afghanistan_bagpiper.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/60/Afghanistan_bagpiper.jpg License: CC BY 2.0 Contributors: We remember Original artist: ISAF Headquarters Public Affairs Office from Kabul, Afghanistan • File:Amazing_Grace-The_Royal_Scots_Dragoon_Guards_1972.ogg Source: https://upload.wikimedia.org/wikipedia/en/8/87/ Amazing_Grace-The_Royal_Scots_Dragoon_Guards_1972.ogg License: Fair use Contributors: ? Original artist: ? • File:Amazing_Grace_(USAFB_jazz_vocal).ogg Source: https://upload.wikimedia.org/wikipedia/commons/f/f0/Amazing_Grace_ %28USAFB_jazz_vocal%29.ogg License: Public domain Contributors: http://www.usafband.af.mil/ensembles/BandEnsSongs.asp? 14 9 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Ensemble=$-$1&Genre=6 Original artist: James Carrell/David Clayton/w:John Newton, arranged by MSgt. Alan Baylock, performed by The United States Air Force Band Airmen of Note • File:Amazing_Grace_(USAFB_strings).ogg Source: https://upload.wikimedia.org/wikipedia/commons/5/54/Amazing_Grace_ %28USAFB_strings%29.ogg License: Public domain Contributors: http://www.usafband.af.mil/ensembles/BandEnsSongs.asp? ensemble=57 Original artist: James Carrell/David Clayton/w:John Newton, performed by United States Air Force Band Strolling Strings • File:Amazing_Grace_-_Judy_Collins_1970.ogg Source: https://upload.wikimedia.org/wikipedia/en/c/ce/Amazing_Grace_-_Judy_ Collins_1970.ogg License: Fair use Contributors: ? Original artist: ? • File:Amazing_Grace_-_Sacred_Harp_Singing_Society.ogg Source: https://upload.wikimedia.org/wikipedia/commons/0/01/ Amazing_Grace_-_Sacred_Harp_Singing_Society.ogg License: Public domain Contributors: http://memory.loc.gov/diglib/ihas/loc.natlib. ihas.200049059/default.html (direct link) Original artist: Sacred Harp Singing Society, Birmingham, Alabama • File:Amazing_grace2.ogg Source: https://upload.wikimedia.org/wikipedia/commons/4/48/Amazing_grace2.ogg License: Public domain Contributors: http://memory.loc.gov/cgi-bin/query/h?ammem/lomaxbib:@field(DOCID+@lit(l2684a1)) Original artist: Jesse Allison, Vera Hall, Reed Dock (Group of Convicts; Reed, Dock (Zebediah)) • File:Audio_a.svg Source: https://upload.wikimedia.org/wikipedia/commons/2/2b/Audio_a.svg License: Public domain Contributors: • 'A'_(PSF).png Original artist: 'A'_(PSF).png: Pearson Scott Foresman • File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original artist: ? • File:Gnome-mime-sound-openclipart.svg Source: https://upload.wikimedia.org/wikipedia/commons/8/87/ Gnome-mime-sound-openclipart.svg License: Public domain Contributors: Own work. Based on File:Gnome-mime-audio-openclipart. svg, which is public domain. Original artist: User:Eubulides • File:New_Britain_Southern_Harmony_Amazing_Grace.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/47/New_ Britain_Southern_Harmony_Amazing_Grace.jpg License: Public domain Contributors: U.S Library of Congress and [1] Original artist: Southern Harmony was published by William Walker; the image is hosted at the U.S. Library of Congress • File:Newton_j.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/8d/Newton_j.jpg License: Public domain Contributors: The Cowper and Newton Museum Original artist: Joseph Collyer the Younger, after John Russell • File:Olney_Hymns_page_53_Amazing_Grace.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/68/Olney_Hymns_ page_53_Amazing_Grace.jpg License: Public domain Contributors: Transferred from en.wikipedia; transfer was stated to be made by User:Lucien leGrey. Original artist: Olney Hymns was published by John Newton and William Cowper; the image is hosted at the U.S. Library of Congress. Original uploader was Moni3 at en.wikipedia • File:Olney_vicarage.jpg Source: https://upload.wikimedia.org/wikipedia/commons/1/1c/Olney_vicarage.jpg License: Public domain Contributors: Transferred from en.wikipedia; transfer was stated to be made by User:Lucien leGrey. Original artist: T. Sulman. Original uploader was Moni3 at en.wikipedia • File:P_christianity.svg Source: https://upload.wikimedia.org/wikipedia/commons/7/79/P_christianity.svg License: CC-BY-SA-3.0 Con- tributors: ? Original artist: ? • File:Walker_w.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/59/Walker_w.jpg License: Public domain Contributors: CyberHymnal, and p. 112 of Turner, Steve (2002). Amazing Grace: The Story of America’s Most Beloved Song, HarperCollins. ISBN 0060002190 Original artist: Unknown • File:Wikibooks-logo.svg Source: https://upload.wikimedia.org/wikipedia/commons/f/fa/Wikibooks-logo.svg License: CC BY-SA 3.0 Contributors: Own work Original artist: User:Bastique, User:Ramac et al. • File:Wikisource-logo.svg Source: https://upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg License: CC BY-SA 3.0 Contributors: Rei-artur Original artist: Nicholas Moreau

9.3 Content license

• Creative Commons Attribution-Share Alike 3.0