At GetReligion Terry Mattingly comments on a David French piece about Paula White's sermon and reference to "satanic pregnancies". The summary is that French went to the trouble of understanding what White actually said in the context of the Pentecostal tradition she's part of rather than react in a clickbait Twitter-moment approach. As an ex-Pentecostal who has nevertheless not rejected everything from that tradition, I have had some misgivings about mainstream journalism and editorials about "evangelicals" who have supported Trump. Thirty years ago many an "evangelical" did not regard Pentecostals or charismatics as evangelical at all. Cessationist and continuationist camps persist and if journalists are not religiously literate enough to understand the categories they can rely on shorthands and stereotypes. That's not to endorse Paula White at all. Far from it.
But since Mark Burford's monograph on Mahalia Jackson came out I've read it and related works and it's been fascinating to read how, per Anthony Heilbut, so much of American popular music is culturally indebted to black Pentecostalism. Heilbut has made a point in The Fan Who Knew Too Much that black churches in the United States have become more rather than less against gays. Figures like T. D. Jakes have been pioneers in this direction so while in mainstream journalistic coverage white evangelicals will potentially (or actually) be presented as homophobic Heilbut has said that black churches are far more so. If it seems abstract it is a point GetReligion has touched upon when considering how Mayor Pete has pretty thoroughly failed to win over the black voting block.
In the last thirty years Pentecostalism has become a more prominent global presence and yet to go by the religious literacy of a lot of religion coverage and social media reaction to statements made from Pentecostal figures there's not much more literacy on the movement in the mainstream than there was decades ago.
Incubating some more detailed posts on music. We've been overdue to get back to blogging through Nikita Koshkin's 24 preludes and fugues and having had some time to listen to the recent Naxos recording and go through the scores there's some slight revisions to earlier observations I've been wanting to make on some of the earlier posts and I'm in the home stretch for the last few entries in the first half of the cycle. When I finally have things together for the blog posts the plan is to drop all twelve analytical/descriptive posts on the first twelve preludes and fugues from the cycle all in a go for easier reading for anyone who wasn't already following that blog project here.Thanks to Youtube there are now videos active for every single track which makes the prospect of blogging through the cycle far easier than when I was blogging through the works with guitar and score in hand and no way to convey to you, dear reader, what was going on if you didn't have guitar and score in hand, too.
So things are a bit fallow at the blog but that's the reason.