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Coles From Infinite World: the Sound of Hammond Organ and Tragedy AIDS Black Church at Village Green Shopping Centre in Vernon, BC
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An innovative work that explores the relationship between the Black church, the Hammond organ, and the musicians that bring it to life.
The Hammond organ has long distinguished the Black church. Masters of the instrument, often Blackqueer men, invented and advanced gospel music, pioneered new modes of worship, and helped define Black life in the twentieth century. But when AIDS crisis struck, churches vociferously rejected all forms of queerness, even as musicians grew ill and hushed rumors spread. Drawing on years of experience as a preacher, choir director, and organist, award-winning visual artist and scholar Ashon Crawley combines personal history and cultural analysis to tell an urgent story about how AIDS fundamentally changed gospel music and the sound of the church. Profiling foundational figures in the church and Black life, such as Zora Neale Hurston and Rev. Clarence Cobbs of Chicago’s First Church of Deliverance, as well as the inventor of the organ, Laurens Hammond, Crawley’s lyrical work offers a captivating new portrait of the Black church as a site of refuge and rejection for Blackqueer genius.
An innovative work that explores the relationship between the Black church, the Hammond organ, and the musicians that bring it to life.
The Hammond organ has long distinguished the Black church. Masters of the instrument, often Blackqueer men, invented and advanced gospel music, pioneered new modes of worship, and helped define Black life in the twentieth century. But when AIDS crisis struck, churches vociferously rejected all forms of queerness, even as musicians grew ill and hushed rumors spread. Drawing on years of experience as a preacher, choir director, and organist, award-winning visual artist and scholar Ashon Crawley combines personal history and cultural analysis to tell an urgent story about how AIDS fundamentally changed gospel music and the sound of the church. Profiling foundational figures in the church and Black life, such as Zora Neale Hurston and Rev. Clarence Cobbs of Chicago’s First Church of Deliverance, as well as the inventor of the organ, Laurens Hammond, Crawley’s lyrical work offers a captivating new portrait of the Black church as a site of refuge and rejection for Blackqueer genius.
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