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Every aspect of our community is steeped in a logic that, in order for Black America to be its best self, Black men must be protected at all costs. The collective silence of Black gospel artists, pastors and religious leaders is nothing new. Where Black pastors unite to speak against the injustices faced by Black boys and men, the plight of their counterparts is often only addressed on a church-by-church basis. And, at the same time, there has been no concentrated effort to address the continued sexual assault and violence against Black girls and women. In national moments of heightened racial injustice and political unrest, we have seen our leadership stand in the legacy of the Black prophetic tradition to speak truth to power and rail against systematic oppression. It was also appreciated when pastors and religious leaders wrote an open letter, challenging the Black and Brown pastors who met with Donald Trump last year to discuss prison reform (ironically Sapp signed this). We were grateful when pastors across the country collaborated for “Hoodie Sunday”, the church’s response to the unjust killing of Trayvon Martin and mishandling of the investigation into his death.
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There has been a deafening collective silence among pastors and religious leaders within the Black community. Unfortunately, Black gospel artists have not been the only silent ones. For whatever a mans (sic) does that shall he also reap.” Imagine writing “I Survived It” and doubling down to defend an unrepentant pedophile. And when comedian Jonathan Slocumb announced that he was joining efforts to #MuteRKelly, gospel artist Ricky Dillard said that such a move is “not fair” and “you can’t mute what God has ordained and allowed.” When one commenter said it is possible to pray and mute at the same time, Dillard said “go right ahead with your hateful behavior. Imagine comparing Noah and Moses to a man who urinated in the mouth of a 14 year old girl simply because you wanted to do a song with him. They have either ignored our pain or chosen to be on the wrong side of this entirely.ĭefending his choice to record a song with Kelly last year, Marvin Sapp -who is also a pastor- recounted how God often used “flawed men” to do important work. To the many survivors who have often turned to gospel music to remind us of a God who cares, these artists have shown that they do not.
R KELLY GOSPEL SONGS YOUTUBE TRIAL
There have been no apologies made by artists who once collaborated with the infamous star (most of his gospel collaborations happening after his fraudulent marriage to Aaliyah, “the tape”, his trial and continued allegations of misconduct), no prayers for the victims of sexual assault and violence, no calls for justice and accountability. Kelly”- detailing the singer’s demonic violation of Black girls, the gospel music industry has been quiet. In the aftermath of dream hampton’s powerful docu-series, “Surviving R. Perhaps that explains the collective silence of artists whose primary vocation is to share the good news of a man who consistently stood with the oppressed. Kelly’s reach into the gospel music industry is long. Kee has credits on Kelly’s “Trade In My Life”, Yolanda Adams recorded a version of “I Believe I Can Fly” and Kelly himself even has a song on Tyler Perry’s “Daddy’s Little Girls” soundtrack. He has been on projects with Kirk Franklin, Kim Burrell, Kelly Price and Jennifer Hudson. Kelly has written and/or produced gospel songs for Vicki Winans, The Winans, Trin-I-Tee 5:7, Ruben Studdard, Whitney Houston and Marvin Sapp. The singer, who is also a songwriter and producer, has since released five additional Top Ten R&B/hip-hop albums, from the platinum Mirror Mirror (2000) through Sing Pray Love, Vol. While she could have easily left supporting work to the past, Price scored one of her biggest hits as a featured artist post-breakthrough with Whitney Houston's "Heartbreak Hotel," her first Grammy-nominated recording. Price established herself in the early '90s as a vital background vocalist - most notably for Mariah Carey - and toward the end of the decade stepped to the front with Soul of a Woman (1998), her platinum solo debut. Possessing an arena-filling voice she honed in the church, Kelly Price has alternated with ease between contemporary gospel and soul-rooted R&B across her lengthy career.