Music of “Freedom Song”

“God sets the lonely in families, he leads out the prisoners with singing….” — Psalm 68:6a (New International Version)

All music that tells the story of redemption through Jesus Christ is gospel music.  Yet in some circles “gospel music” is confined to a niche — a certain style of music, generally music associated with African-Americans. 

True, while there are variations of “gospel music” depending on region (usually a modifying region of the United States: Southern gospel, Appalachian gospel — is there such a thing as Asian gospel or Indian gospel?) , for the purposes of this conversation, track with the premise that in many views, the phrase “gospel music” is synonymous with “black gospel music.”

In that sense, components of “gospel music” are symbolized by two easily identifiable images: a choir, and robes.  These symbols come from a powerful aesthetic in African-American heritage; yet there are dangers in defining gospel music and African-Americans by these two symbols alone.

One danger is that of co-opting the sound of gospel music for other messages.  Think, for instance, how often you have heard “gospel music” in a film, television program or commercial, none of which is associated with the gospel of Christ? Enjoyable as the sound may be, the listener must discern the context.

The other danger is underestimating the impact of various styles of music upon liberating Africans in America.  That liberation developed as the robed-choirs connected the music of the times and the regions where they lived with the lyrics from which they were rooted:  the Hebrew and New Testament scriptures those that professed good news gospel music of Jesus Christ as He intended — to link man and God.



Hear “Free Indeed” based on John 8:36.

More than Black’s History

Exploring that link, and telling the story of how gospel music has developed in the United States is the purpose of “Freedom Song,” one of the ensemble plays from the Kingdom Impact Theater Ministries history cycle.  The script was created in 2011 as reader’s theater presentation in response to a  request for a church’s African-American History Month program.  Since then, “Freedom Song” has been presented annually as part of church and corporate commemorations in February.  Because of those performances, “Freedom Song” has received subsequent off-season productions – not just during African-American history month. 

Its  themes extend beyond February, beyond the topic of physical slavery in the U.S., beyond the confines of the American shores.  The weaving of Scripture, song history and musical genres create a tale of liberation through Christ from an assortment of enslaving circumstances and behaviors.

Indeed, taking into account the headlines of any given day — perhaps, even, the last hour — it’s natural to conclude that if cries and flights to freedom are universal, then perhaps the key to liberation is beyond the state of any particular union. Or nation. This ageless human cry to escape through a designated liberator became more recognizable as the music listened to over time and in different places became more poignant when heard collectively, especially as the tales of how they were created or utilized were discovered.


Films & Noir

Over 30 songs from America’s colonial slavery to millennial technology bondage are sampled, dramatized and  in the program that is staged as an abbreviated one-act or movie-length  outreach complete with a post-performance talk-back.  In the course of the evening, the audience receives new insight into traditional, beloved gospel music, and is introduced to newer selections that don’t have the gospel music sound, but deliver the gospel of Christ message.   Researching the songs that inspired the script provided more insight than performance times allow.  Nevertheless, the insights and sounds are too important to NOT share.  And so, we compiled most of the songs that inspired the script’s creation into a playlist, assembled on our KIT Ministries YouTube Channel, and have written short essays about each song or song sequence.  We will post those essays and the songs on these pages and our social media pages in coming days as our commemoration of  how Scriptures have shaped African-America.

For starters, we present the entire playlist here along with a brief introduction to the show.   By listening to the playlist, you’ll find unlikely musical connections between  Czechoslovakian classical composer Anton Dvorak and American folk icon Paul Robeson; poet James Weldon Johnson and rappers Doughboy the Midwest Maestro and DJ Kool Rod;  Peter, Paul  & Mary, and Mavis Staples.  You’ll also see rare performances by Sister Rosetta TharpeMahalia Jackson and Richie Havens, and provocative movie clips the voice of African-Americans and  gospel music in film.

​Visit these FacebookTwitter and Pinterest pages for daily posts on individual songs.  Most of the songs will be posted during African-American History Month.  However, don’t be surprised if posting continues into the days after Feb. 28.  Just as African-American history occurs beyond the end of February, the gospel of Christ cannot be contained to just 28 days.

Please consider adding the entire “Freedom Song” playlist to your YouTube channel.

Michael Edgar Myers Freedom Song
Videos of Paul Robeson, Burt Lancaster, Eddie James influence the “Freedom Song” script.

A History of Gospel Music

For those who wish to learn about the genre of “gospel music,” we recommend, “Make a Joyful Noise!  A Brief History of Gospel Music Ministry in America,” available in print or audiobook.  The book was written by Kathryn B. Kemp and is narrated by KIT Ministries Founding Director Michael Edgar Myers and award-winning audiobook actor Barbara Ann Martin.

Make a Joyful Noise Cover

Dr. Kemp gives great detail and colorful anecdotes about how many gospel songs in the U.S. developed through painstaking adaptation and recording from their roots among African Tribes and maintained throughout despite the efforts to disassociate the slaves from those roots on these shores.

Kemp also relates the development of those songs on record, mostly through the efforts of Rev. James Cleveland, founder of the Gospel Music Workshop of America.

LEARN MORE

MEMos and Musings

Because we were asked to create a new script based in faith and African-American history, we are not touring “Freedom Song” this February. It’s the first time in five years. “Freedom Song” is available after Easter, and our new show, “Strolling Down MLK Street,” has limited availability through the spring and thereafter.

Since both shows evoke questions and conversation, we want to make available not just the music and song stories that we’ve employed, but also other research and commentaries about faith and ethnicity in America. Not just because this is African-American History Month. Just because they’re fascinating and sometimes fun. Like, we hope, the three below: previous faith-race-and-history blogs from Worship Wonderings and a MEMoFromMichaelEdgarMyers that seem to still have relevance as well as an occasional off-kilter perspective about race. Feel free to read, ask questions, share a thought, and enjoy.

Related African-American History Stories

A Black Jew, A Female Pastor, A Segregationist and Thou

“Look, Grandfather (Nubians)!”

MaMa & Obama: 10 Years After

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Carol Story: As Others Wonder, The Faithful Pay It Forward

A great difficulty with contemporary celebrations of Christmas is the misconception of the events and timing of the birth of Jesus. This occurs even among Christians Believers, particularly in Western cultures. The problem? The prevailing concept that Christmas climaxes on a singular date: December 25.

Yes, there are further celebrations of Christ’s birth in assorted denominations – the 13 days of Christmas continuing through the Epiphany in Catholic and related congregations; and the remembrance in the Orthodox Church observed January 7, or 12 days after the “traditional” Christmas. 

However, if you look around, come December 26, “the Christmas spirit” begins dissipating. Observe three tendencies:  the urgency to remove decorations; the rush to return gifts; the reduction of Christmas songs in public.  Even the most earnest pastors and worship music leaders may wonder how many weekends after December 25 should the congregation continue singing “Christmas” songs in Services of Worship.

FURTHER READING:  “When the 26th Is Over,” a poem for reflection

The transitional songs of the Kingdom Impact Theater production “Carol Story” belie the idea that Christmas music should go away immediately after December 25.  Indeed, a number of Christmas selections build on the concept of evangelizing – that is, telling others the Good News of salvation through Messiah’s birth. Lyrics of three carols,  “Angels We Have Heard On High,” “O Come, All Ye Faithful,” and “I Wonder as I Wander,” can be viewed as tools in the on-going witnessing concept first noted here in “Go Tell It On The Mountain.”  Taken as a whole, these lyrics should remind Christ-followers that the birth of the baby was the beginning of the Christmas story, not its conclusion, and their a responsibility to share this information. 


LEARN MORE:Donate and Partner with Kingdom Impact Theater.


To grasp this idea, it’s necessary to review the scriptural timeline of the Christmas narrative rather than Hallmark cards.  The Biblical story recorded in Luke Chapter 2 indicates that Jesus was born at night. So, unlike us who often open presents at the crack of dawn, Mary and Joseph’s gift of parenthood didn’t arrive until nightfall … at the END of the day.

(Jesus wasn’t swaddled in cloths on Christmas Eve, either, for it didn’t exist yet.  Though we’ll give some allowances for a right-after-midnight arrival, meaning the shepherds COULD have been stirred by middle-of-the-night celestial viewings).

Lifesize Nativity Chicago
Lifesize nativity in downtown Chicago represents the worship vistiations that may have actually taken place over a couple of years. (Photo: Michael Edgar Myers)

By the time the shepherds saw the stars and singing angels, and walked (or ran) to see this thing, arriving at the manger took time. And it wasn’t the same evening as the three visitors from the East recorded in Matthew Chapter, whose account of the Wise Men’s arrival likely was two years later.

Indeed, for point of conversation, it’s possible that the Wise Men’s encounter with King Herod was less about the birth itself, but as a result of what occurred afterwards:

When the angels had left them and gone into heaven, the shepherds said to one another, “Let’s go to Bethlehem and see this thing that has happened, which the Lord has told us about.”

So they hurried off and found Mary and Joseph, and the baby, who was lying in the manger. When they had seen him, they spread the word concerning what had been told them about this child, and all who heard it were amazed at what the shepherds said to them. —

Gospel of Luke, Chapter 2, Verses 15:18 (New International Version)

Three things did happen that night that continue in today’s Christmas season:  1) people came to worship the child, believing the Old Testament (Hebrew) prophecies were fulfilled after 500 years; 2) witnesses went and told others the significance of the child’s birth; 3) others came to discover for themselves, and began to ask questions.

This worship and investigation led to the wonderfully imagined nativity scenes which decorate our landscapes and homes.  However, these are a composite of what happened over time, not on the night of, Hallmark notwithstanding.

Three songs in the middle passage of “Carol Story” capture this sense of “shepherds’ telephone line” that inspired the crowds to visit Bethlehem and ponder what occurred. Their lyrics inspired a poetic encounter between the shepherds heading to the manger and the people they meet on the way to Bethlehem. Those people, like us, have questions.

“Shepherds, why this jubilee…?”

“Angels we have heard on high…”

“Come, all ye faithful! Join the triumph of the skies!”

(Sotto voice): “I wonder, as I wander…”

— Songs Lyrics, adapted in “Carol Story”

The questioning lyrics come from a latter-day carol from Appalachia, representing a person curious about the possibility the newborn babe could be the prophesied savior, while at the same time questioning one’s own belief in Christ during a time of crisis, period.  Questioning occurs even among those who have heard the scriptures for years.  Ask a teenager, as we discovered at a high school dinner party years ago.

LEARN MORE:  The Virgin Shall Be With Child, Really?

The story of how this folk carol from rural 1930s America came to be a beloved Christmas witness is its own miracle.  The accompanying video, a live performance by Vanessa Williams, maintains the reflective intimacy of the lyrics despite an orchestra accompaniment.

VIDEO MOMENT:  “I Wonder as I Wander,” captured in revival after jail

That solitude is contrasted by the acappella power of Italy’s SoundDiva Classical Choir whose harmonies in the French carol “Angels We Have Heard on High,” are a scaled-down version of how the Heavenly Host may have sounded singing, “Gloria! In excelsis Deo,” (“Glory to God in the Highest!” Which is echoed as “Carol Story” some to its climax (in days to come).

DISCIPLE SOMEONE“Angels We Have Heard On High,” A French carol anglicized

The idea of inviting people to Christ, and musically sharing the gospel door-to-door and outside church buildings, is captured in the remarkable violin-driven flash-mob “O Come All Ye Faithful,” by The Five Strings. This relatively new video reached the Kingdom Impact Theater offices via a friend’s private social messenger as a Christmas greet to be shared.  And so, we do. Here. Interspersed with James Chadwick’s translated lyrics of “Angels We Have Heard on High,” are a wonderful interview dialogue: A question asked, a story told, an invitation made to join. Heading to Bethlehem, we imagine they encounter a new curious fellow: a little drummer boy.


SoundDiva Classical Choir

SoundDiva is actually a production studio in Italy that’s dedicated to improving the quality and production. The assembled choir in this video is directed by Antonello Martina for part of a series demonstrating the work quality by the studio.

LEARN MORE: SoundDiva Recordings.


The Five Strings

The Five Strings are a performing family band from Utah. The band is made up of 5 siblings, ranging in ages from 8-18. The Five Strings’ high energy concerts showcase eight different instruments including violin, piano, guitar, mandolin, ukulele, percussion, five-part harmonies, clogging, and choreography.

LEARN MORE: The Five Strings YouTube Channel.


Vanessa Williams

Vanessa L. Williams is an American singer, actress, and fashion designer. She initially gained recognition as the first woman of African-American descent to receive the Miss America title in 1983. Since then her critically acclaimed work in film, television, music and Broadway has been recognized by every major industry award affiliate including 4 Emmy nominations, 11 Grammy nominations, a Tony nomination, 3 SAG award nominations, 7 NAACP Image Awards and 3 Satellite Awards. She often performs in the Rob Mathes Holiday Concert, from which this clip was recorded.

LEARN MORE: Vanessa Williams’ autobiography.

More Christmas MEMos and Wonderings

Advent Revelations

Christmas and All The (Indy) News

Shopping at 15

Combatting Cultural Christmas

Sinterklaas, Piet and Me

Sophomoric Christmas

Worship in The Barn

The Virgin Shall Be With Child: Really?

When the 25th Is Over


Carol Story: Africans in America Go To The Mountain

It may be fair to conclude that the first Christmas carol created on the shores of the U.S. was by Americans of African descent. That is, African-Americans.

Keep in mind that, in #CarolStory, the ten-minute play by Kingdom Impact Theater Ministries, the definition of a Christmas carol is a song that includes the salvation message of Christ amid the story of the birth of Jesus.

Until “Go Tell It on the Mountain” was put to paper by John Wesley Work Jr., in 1906, the traditional carols sung in the States originated in Europe. Work collected, transcribed and published numerous songs born from the oral traditions of African-American slavery. Many were sung by the original Fisk Jubilee Singers after the Civil War.

LEARN MORE: John Wesley Work & Fisk University Singers

“Go Tell It…” embodies the faith many slaves deeply held in Christianity as their route to freedom once they unraveled the scriptures for themselves. This contasted with acquiescence to the limited Bible knowledge misappropriated by their owners to justify enslavement.

As with many slave songs, “Go Tell It…” is coded. The title implies the direct evangelical imperative to go and tell others of Him that Jesus gave after His resurrection; His earlier declaration that even the rocks would tell who He is, and the post-birth sharing by the birth by the shepherds and the Wise Men. Such allusions made the song palatable to owners who missed the potential abolitionist cues “to go” from place to places and prepare for liberation.

The latter idea was not lost upon civil rights advocates in the 1960s who adapted the tune and lyrics as a freedom song.

Many recorded arrangements of “Go Tell It…” embellish the lyrics with joyous gospel funk rhythms, and live choirs embrace the audience sing-along qualities. Either interpretation is effective. The #CarolStoryPlaylist includes video versions that show the universality of the lyrics, and represent the sacred passion of the Negro spirituals which Works captured from the Jubilee Singers.

The playlist again employs a rendition by the Queen of Gospel, Mahalia Jackson, that reflects the soulful hope characteristic in spirituals.
The universal influence of “Go Tell It…” is illustrated in two videos borrowed from the playlist of “Freedom Song,” the Kingdom Impact Theater Ministries historical program about African-American music and Biblical scriptures. One is a recording by a choir in Oslo, Norway. The other, by the 1960s folk music trio Peter, Paul and Mary, captures the abolitionist spirit by adapting the lyrics as a civil rights anthem show.

LEARN MORE:Adapted Lyrics and Recordings History.

One More Thing…

John Wesley Work Jr.
John Wesley Work Jr.

Not as well known as the European composers before him, many of the authors of gospel and Christmas songs afterwards, or even the Fisk Jubilee Singers whose music he catalogued and chronicled, John Wesley Work Jr. Is an important person to know and study. And so, we link.

LEARN MORE: John Wesley Work Jr. Biography.

LEARN MORE: Songs Adapted, Arranged by John Wesley Work Jr.


Mahalia Jackson

Mahalia Jackson’s classic, unplugged recording, 1950.

Mahalia Jackson was an American gospel singer. Possessing a powerful contralto voice, she was referred to as “The Queen of Gospel.”  She became one of the most influential gospel singers in the world and was heralded internationally as a singer and civil rights activist. She was described by entertainer Harry Belafonte as “the single most powerful black woman in the United States”. She recorded about 30 albums (mostly for Columbia Records) during her career, and her 45 rpm records included a dozen “golds”—million-sellers.

LEARN MOREMahalia Jackson Biography

Mahalia Jackson is also one of the individuals whose story is included in  the Kingdom Impact Theater production, “Faith, Hope & Love:  History-Making Women of Faith,” a one-woman performance by Vikki J.  Myers.


The Oslo Gospel Choir

Oslo Gospel Choir is a Norwegian gospel choir centred in Oslo, Norway conducted by Tore W. Aas. The choir started in 1988 and has become one of the most successful in Europe and America. They have released around 20 albums. They are very much influenced by the American black gospel sound and Andraé Crouch is a major source of inspiration, with his approach in taking the gospel out of the churches and into other arenas, reaching a larger audience. The choir has sold over 1.5 million albums.

LEARN MORE: Oslo Gospel Choir History


Peter, Paul & Mary

Peter, Paul and Mary was an American folk group formed in New York City in 1961, during the American folk music revival phenomenon. The trio was composed of tenor Peter Yarrow, baritone Noel Paul Stookey and alto Mary Travers. The group’s repertoire included songs written by Yarrow and Stookey, early songs by Bob Dylan as well as covers of other folk musicians. After the death of Travers in 2009, Yarrow and Stookey continued to perform as a duo under their individual names.

LEARN MORE: Peter, Paul and Mary History.

Carol Story: Hark! It’s The Gospel, Charlie Brown!

This carol is one of 61 on the playlist of “Carol Story,”  a 10-minute play that tells the story of Christ solely through lyrics of Christmas songs as dialogue.  Learn More.


As with Handel’s “Messiah,” discussed in the previous Carol Story essay on songs about the night Jesus was born, the development of “Hark! The Herald Angel Sings” exemplifies  the ever-evolving collaboration (some say interference) of artist, patron and theologian.

The original poem which begat the song, written in 1739 by Methodist pastor and song writer Charles Wesley, was entitled “Hymn for Christmas Day.”  Wesley’s hymn was an epic with over 10 stanzas. It included words that showed Wesley’s intellect but left listeners scratching their heads.  Wesley’s pastor friend, George Whitfield, pointed this out and suggested revisions, simplifying the text.

Half of the Wesley-Whitfield stanzas survived into the next century and made an impression on English composter  William  Cummings. Cummings liked the lyrics, but not the slower, Easter-season tune Wesley had composed (“Christ  The Lord is Risen Today.”) However, Cummings felt the words were compatible with the tune of the popular “Gutenberg Cantata” recently written by German composer Felix Mendelssohn.  Cummings believed Mendelssohn’s symphonic arrangement captured the implied awe and power of a sky full of “a multitude of the heavenly host praising God,” the passage in the Gospel of Luke that  inspired Wesley’s hymn.

The “Collaborators”

In 1855 the Wesley-Whitfield-Cummings-Mendelssohn  composition debuted with  the structure changes familiar today, but maintaining the essence of the words first recorded centuries before in the gospel of Luke: 

“Glory to God in the highest,

and on earth peace,

good will toward men.” —

 (The Gospel of Luke, Chapter 2, verses 8-15)


LEARN MORE:  Comparative lyrics.

Centuries later, these words and music created controversy when used in what is not one of the most iconic annual Christmas television programs, “Merry Christmas, Charlie Brown,” the 1965 TV special that almost didn’t occur.

The overt gospel presentation that author Charles Schulz included in the script had CBS network offices and sponsors concerned.  They were okay with the “Peanuts” gang rendering one of the most poignant versions ever of “Hark! The Herald…” as they caroled at Snoopy’s house with Charlie Brown’s revived tree to end the show. 

LEARN MOREGlenn McDonald, CBS & Linus’ security blanket.

What scared the executives was an earlier scene when Linus explains the true meaning of Christmas by reciting the gospel of Luke in the pageant rehearsal. This makes Charlie Brown one of the  few programs that directly speaks the gospel of Christ for a non-church audience.  There was the rub.  Fearing a public backlash about show including the story of Christ in Christmas, CBS wanted the scene cut. Schulz stood firm.  No gospel; no “Peanuts.”  And unto us, a franchise was born.

LEARN MORELinus recites what Christmas is all about.

Many wonder if – or how – the should could be created and aired today.  Nevertheless, the evolution of “Hark! The Herald…” from lengthy, erudite poem, to symphonic anthem, to simple children’s song, to uncomfortable gospel message, point out the enduring strength of the essay researched by Luke the historian.

Poetically, the visuals of the lyrics as presented in #CarolStory starts a sequence of dialogue between the shepherds and the angels.  “Do You Hear What I Hear?,” another carol more recently associated with a children’s cinema favorite (“Gremlins”), is added to the conversation to  begin the evening’s journey.  First , hearing, then seeing the angels,  the shepherds are moved from fear to comfort as they interpret the angels’ mission and  instructions to begin  a Pied-Piperesque journey to Bethlehem, picking up a drummer boy and others as they go away to the manger.

The videos here — the  majesty of Mendelssohn’s  anthem in  Alan Silvestri’s arrangement of “Hark! The Herald…,” contrasted with its  quiet message to Charlie Brown and connected by the intimacy of Johnny Mathis asking, “Do You Hear What I Hear?” — allow us to experience various ways the Lord speaks:  with herald trumpets and a sweet, still voice.

See December Archives (left) for other “Carol Story” stories.

LEARN MORE:  “Carol Story” The Script

LEARN MORE:  “Carol Story” Live


Alan Silvestri

Alan Anthony Silvestri is an American composer and conductor known for his film and television scores. He is best known for his frequent collaboration with Robert Zemeckis.  He is a two-time Academy Award and Golden Globe Award nominee, and a three-time Saturn Award and Primetime Emmy Award recipient. 

LEARN MORE: The Film Music of Alan Silvestri.


Vince Guaraldi


Vincent Anthony Guaraldi was an American jazz pianist noted for his innovative compositions and arrangements and for composing music for animated television adaptations of the “Peanuts” comic strip, as well as his performances on piano as a member of Cal Tjader’s 1950s ensembles and for his own solo career which included the radio hit Cast Your Fate to the Wind. 

LEARN MORE: The Guaraldi-Peanuts Connection.


Johnny Mathis

John Royce “Johnny” Mathis is an American singer of popular music. According to Guiness Music Chart historian Paul Gambacini, Johnny Mathis has sold well over 360 Million Records Worldwide making him the 3rd biggest selling artist of the 20th Century. Mathis has received the Grammy Lifetime Achievement Award and has been inducted into the Grammy Hall of Fame for three separate recordings.

LEARN MORE:  Johnny Mathis Biography.

LEARN MORE: Donate and Partner with Kingdom Impact Theater.

Carol Story: A Handel on Flash Mobs, Hallelujah!

Imagine going about your daily activities of life — school, shopping, work, dining — and suddenly the sky around you bursts into song:  a voice here, a voice there, until the entire sky is filled with powerful harmonies singing repeatedly  the same set of lyrics, delivering a message.

What would you do?  Sit slack-jawed!  Complain?  Hide?   Join in? Call the authorities? Utter a sentence starting with “What the…”?

The shepherds tending flocks on the silent night on the hills above Bethlehem faced this situation.  In their case, “What the…?” may not have been  an unreasonable response, especially since shepherds were considered lower than blue collars, and even though the “authorities” were the chorus of Heavenly Host and voices of angels who announced the birth of the long-awaited Messiah and calmed them with messages to not be afraid. 

George Fridrick Handel
Handel created “Messiah” for an Easter concert, not Christmas.

​The composers of the earliest Christmas carols musically captured the range of human emotions, and the majesty of authoritative voices in their fully orchestrated scores.  Two notable composers were Friderik Handel and ​Felix Mendelssohn, each of whom composed while embroiled in classic creative differences with other artists or financiers.

Handel’s now-beloved “Messiah” was controversial when he debuted it in 1741 as part of a commission to help get him out of debt.  “Messiah” ends with “The Hallelujah Chorus.” which Handel simply called  “Hallelujah.” He based the selection, not one the birth of Christ in Bethlehem, but on the Book of Revelation which prophesies the Second Christmas, the return of Jesus, for “Messiah” (which means God’s Anointed One, promised in the Old Testament), was created as an Easter presentation, not for Christmas.


LEARN MOREHow Handel’s Messiah Came About


However, over the years, “Hallelujah” has become a Christmas staple, enhanced by traditions which include the audience standing.  This tradition began, not in reverence to the King of Kings, but in deference to King George II of England, who stood at the concert when the chorus began.  Some say he stood to honor Handel, others say because he needed to stretch for health reasons (much like President William Howard Taft begat baseball’s seventh-inning stretch).  With King George and President Taft, protocol was when the head of state stood, everybody stood.

Why we stand when the chorus is sung today isn’t always clear to listening audiences.  But as you’ll see in the video of a flash mob in a Canadian shopping mall, it’s a tradition that has passed on and has meaning today.

Another missing element is understanding the meaning of the word “Hallelujah.”  It’s a compound Hebrew word meaning “Praise” (“Halle”) Yaweh (“lujah”); Yaweh being one of the Old Testament names of God.  (Another derivation is Hall-El-Ujah; “El” being a Hebrew designation for God.)

Of all the video versions of “Hallelujah,” this food court improvisation captures the beautiful vocal harmonies Handel created, the confusion the shepherds must have felt hearing the Heavenly Host,  the spirit of being moved to participate in the moment, then, ultimately, turn to others to share what they say and tell the good news.  In #CarolStory, the chorus emerges from the “Silent Night” Heavenly Host singing, “Hallelujah!” (“Praise Yaweh!”) to establish a conversation between the shepherds and angels that Charles Wesley expresses next with a little help from Mendelsohn.  Sort of.  As we shall see.

LEARN MORE:  “Carol Story” The Script

LEARN MORE:  “Carol Story” Live

Viral flash mob post that started as a customer thank you.

Alphabet Flash Mob

 On November 13,  2010, unsuspecting shoppers got a big surprise while enjoying their lunch.   Alphabet Photography Inc. of Niagara Falls, Ont. (Canada) created this video as a virtual ‘Christmas Card’ to its on-line customers and Facebook fans. The customers of Alphabet Photography Inc. passed it along to their friends and family. In a flash,  the video had over 20 million views and was featured on many news and media outlets. Today the video has over 34 million views and has broken all world records to date. 

LEARN MORE:  http://www.AlphabetPhotography.com

Carol Story: Elvis & The Prophecy

This carol is one of 61 on the playlist of “Carol Story,”  a 10-minute play that tells the story of Christ solely through lyrics of Christmas songs as dialogue.  Learn More.


O Little Town of Bethlehem” is the fulfillment of prophecy that was proclaimed in Micah 5:1-2.  This eloquently recording by Elvis Presley, backed up by his compatriots The Jordanaires, is from  his simple beginnings and reflect his deep, yet embattled faith in Christ. 

Elvis was poster-child for conflicted Believers, especially those in performing arts.  He was among the first of countless recording artists — such as  Sam Cooke and Whitney Houston — who began singing in church and, in many cases, started their musical careers recording gospel, worship and praise songs, but who later passed away because of dubious life choices.

LEARN MORE:  Micah’s Bethlehem Prophecy

Before the glitz and worldly temptations led to “Blue Christmas” and its ilk, Presley’s pure baritone resonated in gospel selections. Even backstage before concert, Elvis and his posse would warm up with songs of the gospel genre. He occasionally included some onstage.

His interpretation here presents the crispness of the night, the peace on earth, the calm before the storm of activity.  

We cannot tell #CarolStory without the lyrics which introduce new characters and setting in which to act the events of travelling to Bethelehem to see this thing that had been fulfilled.

LEARN MORE:  “Carol Story” The Script

LEARN MORE:
“Carol Story” Live

Elvis Presley

Elvis Presley with the Jordanaires

Elvis Aaron Presley was an American singer and actor. Regarded as one of the most significant cultural icons of the 20th century, he is often referred to as the “King of Rock and Roll” or simply “the King.”

LEARN MORE:  Elvis’ Biography

More Christmas MEMos and Wonderings

Advent Revelations

Christmas and All The (Indy) News

Shopping at 15

Combatting Cultural Christmas

Sinterklaas, Piet and Me

Sophomoric Christmas

Worship in The Barn

The Virgin Shall Be With Child: Really?

When the 25th Is Over

Carol Story: Songs of “The Night”

This carol is one of 61 on the playlist of “Carol Story,”  a 10-minute play that tells the story of Christ solely through lyrics of Christmas songs as dialogue.  Learn More.


“O Holy Night” is an English translation of the French carol “Le Christien Minuit” that was translated and became a rallying cry of abolitionists during the Civil War. The third verse of “O Holy Night” was a direct Christian call to eradicate slavery, a sentiment that led to the song begin edited  or outright banned in some sections of the country. We address this story more in our production, “Freedom Song.” 

​In the context of #CarolStory, “O Holy Night” is woven with five other standard carols — “Silent Night,” “Hark! The Herald,” “O Little Town of Bethlehem,” and “The Hallelujah Chorus” to establish the atmosphere of fear, awe and respect that the shepherds experienced when the Heavenly Host appeared on “The Night” when Christ was born. (The Gospel of Luke, Chapter 2, verses 8-15).

Danny Gokey, a former American Idol runnerup, cleanly expresses those emotions and the abolitionist sentiment in his elegant yet simple video.  As a bonus, we add a unique one-man barbershop quartet performance by Julien Neel, aka Trudbol A Capella, in the original French.

LEARN MORE:  Original French Lyrics

LEARN MORE:  Beloved Carols with non-American Origins

LEARN MORE:Donate and Partner with Kingdom Impact Theater.


About the Singers


Danny Gokey

Danny Gokey — “O Holy Night” (English)

Daniel Jay Gokey is an American singer and former church music director from Milwaukee, Wisconsin. He was the third-place finalist on the eighth season of “American Idol.” After his placing on the show, Gokey signed to 19 Recordings and RCA Nashville at the beginning of a career in country music, releasing the single “My Best Days Are Ahead of Me.”  

LEARN MORE:  Danny Gokey’s Biography.

Trudbol A Cappella

Trudbol A Cappella — Le Minuit Christien (French)

Trudbol A Cappella (Julien Neel) is a one-man barbershop quartet. Julien sings all the parts from bass, to baritone, to tenor.  He typically covers classic barbershop tunes, but also Beatles songs, video game and TV theme songs, choral music, etc..  Julien lives in France and sings in French, English,  German, Swedish and will try other languages. Julien sells audio learning tracks and publishes a cappella videos each Thursday. 

LEARN MORE:  Trudbol’s Biography.


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