WEBVTT - Bonus – Shout Music: Conversation with Lovett Hines

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<v Speaker 1>Lovett. Heinz Junior is a longtime artistic director of the

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<v Speaker 1>Philadelphia Clef Club of Jazz and Performing Arts. He's a

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<v Speaker 1>staple of the city's jazz scene, and through his work

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<v Speaker 1>as a music educator, he's mentored everyone from bassist Christian

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<v Speaker 1>McBride r and B singer Belave, and various members of

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<v Speaker 1>the roots, including drummer Questlov and tuba player Damon Bryson.

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<v Speaker 1>In short, he's truly a Philadelphia legend, and he got

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<v Speaker 1>his start at the United House of Prayer for All People.

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<v Speaker 1>By the time he was in high school, he was

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<v Speaker 1>playing saxophone in the church shout band alongside some of

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<v Speaker 1>the city's top musicians, and he credits the education he

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<v Speaker 1>got there to making him the musician he is today.

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<v Speaker 1>Shout music is particular to the United House of Prayer

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<v Speaker 1>and to Daddy Grace. It's joyful music meant to bring

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<v Speaker 1>listeners into worship. It's also very, very danceable. Mister Hines

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<v Speaker 1>was kind enough to talk to me about what it

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<v Speaker 1>was like playing in the House of Prayer bands and

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<v Speaker 1>how he sees the legacy of shout music carry on today.

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<v Speaker 1>Thank you so much for being with me today. I'm

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<v Speaker 1>so so honored to be able to talk to you

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<v Speaker 1>and get into this conversation about the music. As I've

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<v Speaker 1>been doing my research on Daddy Grayson and the United

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<v Speaker 1>House of Prayer and their impact and what has been

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<v Speaker 1>accomplished over the years, the thing that stands out to

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<v Speaker 1>me over and over and over again is the music.

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<v Speaker 1>And you know, Daddy Grace not only a spiritual leader,

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<v Speaker 1>but I consider a marketing genius and an entrepreneurial wizard

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<v Speaker 1>who just understood the power of music and the power

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<v Speaker 1>in which music can not only draw people in with

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<v Speaker 1>sound and joy, but how it reaches people on a

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<v Speaker 1>spiritual level and how it touches them on a spiritual level.

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<v Speaker 1>So in starting off, I'd love for you to tell

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<v Speaker 1>me a little bit about your own experience and your

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<v Speaker 1>connection with the United House of Prayer.

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<v Speaker 2>Okay, well, I think I talked about my beginnings. You know,

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<v Speaker 2>I started to play piano. I was made to start

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<v Speaker 2>to play piano by my mother. You know, we grew

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<v Speaker 2>up in the Philadelphia right a black neighborhood, and you know,

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<v Speaker 2>she started going to church. So when I got six

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<v Speaker 2>seven years old, she was already in church. In essence,

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<v Speaker 2>you know, the House of Prayer was our church, and

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<v Speaker 2>the music actually pulled her in. So when I was

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<v Speaker 2>made to take piano lessons, invariably my first.

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<v Speaker 3>Teacher was from the House of Prayer.

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<v Speaker 2>Well neither Bradley, who would turn out to be my

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<v Speaker 2>music teacher, was the most I guess, prolific, you know, intelligent,

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<v Speaker 2>most talented.

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<v Speaker 3>Musician at the church.

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<v Speaker 2>Okay, she was one of those females that was with pianists.

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<v Speaker 2>But then finally or later she could play trumpet, they

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<v Speaker 2>could play, you know.

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<v Speaker 3>She choose not to play.

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<v Speaker 2>In the band because the band was considered you know,

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<v Speaker 2>the guys, you know, a band, but she played piano.

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<v Speaker 2>She was the choir director, and she gave me such

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<v Speaker 2>a strong foundation in music that carried me the rest

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<v Speaker 2>of my life. Everything I did was based on that

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<v Speaker 2>foundation of the fundamentals of music that I learned from her. Okay,

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<v Speaker 2>by going to the church, I had a chance to

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<v Speaker 2>see the band, and growing up in the House of Prayer,

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<v Speaker 2>that's all we all young people, right we can six

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<v Speaker 2>years old, seven eight years old. We couldn't join the band,

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<v Speaker 2>but we were influenced by it, you know, so we

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<v Speaker 2>would roll up magazines and play you know and pretend

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<v Speaker 2>that we had a horn or something. And so when

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<v Speaker 2>I told my mother said I want well born, she said,

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<v Speaker 2>well what you want and I said, I want to

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<v Speaker 2>play some sacks.

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<v Speaker 3>Kid. I really meant trumpet, but I was saying it wrong.

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<v Speaker 2>So they bought me a saxophone and that became my

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<v Speaker 2>instrument and my teacher on The first teacher on saxophone

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<v Speaker 2>was jan Nita Bradley's husband, Eugene Radley. And so I

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<v Speaker 2>would go study piano for a hour and then get

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<v Speaker 2>up from the piano and study saxophone four hours.

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<v Speaker 3>And that's where it started.

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<v Speaker 2>And I would take that, you know, and play in

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<v Speaker 2>the church band.

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<v Speaker 1>Mister Hines joined the House of Prayer band when he

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<v Speaker 1>was in high school in the late nineteen fifties. Daddy

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<v Speaker 1>Grace passed away in nineteen sixty, so their time didn't

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<v Speaker 1>overlap too much, but he does remember how special it

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<v Speaker 1>was when the bishop would come into town.

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<v Speaker 2>When Daddy Grace came to town, all the bands gathered, so

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<v Speaker 2>you would have bands on each side, so it was

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<v Speaker 2>a like a music festival. Be at three churches in

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<v Speaker 2>Philadelphia at South Philadelphia, they had a church out of

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<v Speaker 2>West Philadelphia and then the North Philadelphia church was closest

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<v Speaker 2>to our neighborhood, so that's the church I went to.

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<v Speaker 2>And each one of them had a band, so and

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<v Speaker 2>they would compete against each other, you know, so we

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<v Speaker 2>call them the shout bands. And the different churches was

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<v Speaker 2>made up of trombones, maybe a trumpet, you know, but

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<v Speaker 2>maybe trombones, baritone horns, tubers best, definitely tubers of course,

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<v Speaker 2>drum set well to South Philadelphia, that particular band at clarinets,

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<v Speaker 2>several saxophones, you know. So it was really a comparable

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<v Speaker 2>band that you was finding any school, any college band.

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<v Speaker 1>Can you just break down for us shout music? What

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<v Speaker 1>exactly is shout music? What's the structure of it?

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<v Speaker 2>Well, the shout music is when the band plays a song.

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<v Speaker 2>They start off with a song, the recognizable song, the

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<v Speaker 2>song that someone sings. It's a song, so you'll recognize

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<v Speaker 2>the song right away.

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<v Speaker 3>Okay.

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<v Speaker 2>Then the band goes into the shout part. The shout

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<v Speaker 2>part is simply standing on one chord. The chord doesn't

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<v Speaker 2>change it. It's not melodic where the song goes up

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<v Speaker 2>and down.

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<v Speaker 3>Now, what they.

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<v Speaker 2>May do inside the shout they'll do maybe a change

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<v Speaker 2>right may go to another key right to get a

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<v Speaker 2>different feeling.

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<v Speaker 3>They may have one change.

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<v Speaker 2>Like when I talk about chord changes in the melody,

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<v Speaker 2>you're gonna have several chord changes in the shout.

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<v Speaker 3>You're not gonna have that many.

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<v Speaker 2>So you're hearing the same thing over and over and

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<v Speaker 2>over and over again. Now, this is the power of

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<v Speaker 2>black music. Okay, And it's so so subtle, but it's

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<v Speaker 2>so amazing.

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<v Speaker 3>You know, James Brown can do it.

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<v Speaker 2>Yay, James Brown can play the same thing over and

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<v Speaker 2>over and over and you had danced as long as

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<v Speaker 2>the music is being played. Hey, you can hear another

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<v Speaker 2>band playing maybe like Amendment James Brown.

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<v Speaker 3>And then after a while it gets boring. You stop moving.

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<v Speaker 3>You sit there, right. That's the power of the shout.

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<v Speaker 2>The shout is that that element that's the most spiritual

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<v Speaker 2>part of the song. That's the part that moves continuously, continually.

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<v Speaker 3>And you do.

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<v Speaker 2>Subtle things, you build you subdue sound, you know, deprescendo, presciendo,

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<v Speaker 2>you know, the drums, the leader if he feels it,

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<v Speaker 2>or two leaders, whatever it is in the house of prayer,

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<v Speaker 2>you know you'll feel that.

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<v Speaker 3>But that's that shout.

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<v Speaker 2>One of the things that I found out in just

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<v Speaker 2>studying that.

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<v Speaker 3>You know. I said, well, the shout of the vamp

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<v Speaker 3>itself is like a.

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<v Speaker 2>Continuous poor the continuous musical movement.

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<v Speaker 3>It started in Africa. But this rhythms with the drums, so.

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<v Speaker 2>You haven't even a lot of but that kind of thing.

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<v Speaker 2>The drum plays a major part in that. So if

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<v Speaker 2>you're playing a shout and you have a drummer that's inconsistent,

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<v Speaker 2>the people feel it okay. In spiritual terms, you know,

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<v Speaker 2>the music has the you know, that continuous feeling. We

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<v Speaker 2>talk about that passion, that feeling in the music that

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<v Speaker 2>has to stay there whatever it takes, whatever James Brown

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<v Speaker 2>does to keep his music flunky.

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<v Speaker 1>Mister Hines also told me about how special the annual

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<v Speaker 1>Convocation time was for band members.

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<v Speaker 2>One of the great opportunities in the House of Prayer

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<v Speaker 2>for a young musician of the convocation, the comvoication is

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<v Speaker 2>when the churches would travel from church to church throughout

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<v Speaker 2>all the states that the House of Prayer existed. So

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<v Speaker 2>you consequently you can start from New Hampshire to New York, Philadelphia,

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<v Speaker 2>the Baltimore to Washington, right, and that opportunity if you

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<v Speaker 2>had a band, the band would travel and play all

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<v Speaker 2>of those places, and each one of these churches, in

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<v Speaker 2>each one of these states, in these House of prayers,

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<v Speaker 2>all of them had a unique sound, you know, although

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<v Speaker 2>they were basically playing the same style of music, but

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<v Speaker 2>their approach was totally different. And I don't think any

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<v Speaker 2>other church during that period had that kind of structure

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<v Speaker 2>and that type of we say ritual in the way,

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<v Speaker 2>but it was much more than that, and that was

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<v Speaker 2>the brainchild of Daddy Grace, you know, the power of

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<v Speaker 2>the convocation, and that Sunday would have a bade and

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<v Speaker 2>a baptism. If it was in Newport, News, the baptism

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<v Speaker 2>would happen at the ocean or the League, or or

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<v Speaker 2>the natural water body. If it happened in the North

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<v Speaker 2>like New York City, Philadelphia, it would happen under the

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<v Speaker 2>Bronman's holes.

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<v Speaker 3>And then you had the band playing bottle water. But

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<v Speaker 3>that was the impact.

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<v Speaker 2>So it was structure, it was formatting, you know, it

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<v Speaker 2>was the instrumentation or all of those elements made for

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<v Speaker 2>a really really strong experience and it didn't happen in

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<v Speaker 2>any other church except the House of Prayer.

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<v Speaker 3>Beautiful.

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<v Speaker 1>Do you have any stories specifically about Daddy Grace and

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<v Speaker 1>his connection with the music and the House of Prayer.

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<v Speaker 1>I do know that he did play piano. I know

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<v Speaker 1>that he was a major music lover, and I do

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<v Speaker 1>know that there are some songs that are attributed to him.

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<v Speaker 1>Whether or not he actually wrote them or not, we

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<v Speaker 1>don't know. But I'm curious to see what you might

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<v Speaker 1>know about specifically how he influenced the music directly.

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<v Speaker 2>From my point of view, is when he started the

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<v Speaker 2>church someplace along the way he was that came up

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<v Speaker 2>because he started that.

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<v Speaker 3>What did he hear.

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<v Speaker 2>When he established a band to bring that element into

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<v Speaker 2>the ritual? You know, and it's I can go back

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<v Speaker 2>in surmise, Okay, Well he was listening to New Orleans jazz, okay,

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<v Speaker 2>because that's basically where that New Orleans found with the

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<v Speaker 2>brass bands came from, you know, but it had a

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<v Speaker 2>more How did he integrate that into the service. One

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<v Speaker 2>of the things that he brought them anything. If you

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<v Speaker 2>look at a producer, you know, the job as a

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<v Speaker 2>producers take music and put it together so it becomes

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<v Speaker 2>this really impactful element. You know, all the pieces, what

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<v Speaker 2>the horn is going to do, what the singer is

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<v Speaker 2>going to do, with the backup singers going to do

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<v Speaker 2>so if you look at it from a church ritual standpoint,

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<v Speaker 2>to bring the band in okay, because he could actually say,

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<v Speaker 2>I just want a piano player, I just want Oregon player,

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<v Speaker 2>I just wanted trump But he could have picked any

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<v Speaker 2>sort of instruments. What I'm saying is that he was

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<v Speaker 2>a great producer. He was in massario of sound. You know,

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<v Speaker 2>he knew the elements that he wanted to make his

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<v Speaker 2>service something special, and he wanted that music to be

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<v Speaker 2>more than just a singular instrument. You know, he wanted

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<v Speaker 2>to be something that would be special but resonate with

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<v Speaker 2>people wherever that came from. So it's a little bit

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<v Speaker 2>of jazz if it came from New Orleans, and a

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<v Speaker 2>little bit of gospel, and he integrated that and that

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<v Speaker 2>became actually the signature.

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<v Speaker 3>Of the House of Prayer.

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<v Speaker 1>I do want to tell you this one thing that

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<v Speaker 1>in the research that I've done, I can tell you

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<v Speaker 1>that a lot of what I see Daddy Grace, what

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<v Speaker 1>he implemented, did come from his Cape Verdian roots. So

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<v Speaker 1>for example, the marching bands, the processionals, that's very much

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<v Speaker 1>a part of the church structure. There you know, the drum,

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<v Speaker 1>the drumming going down both traditional you know, what we

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<v Speaker 1>would consider African drumming, and also drums in the way

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<v Speaker 1>that we see them today with a drum kit. Those

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<v Speaker 1>are part of the church celebrations and rituals in Kabalvid

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<v Speaker 1>And when people first came over, they started doing these bands.

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<v Speaker 1>It's a band called the Cape Verdian Ultramarine Band, which

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<v Speaker 1>very similar to what you see in New Orleans. But

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<v Speaker 1>I feel like it's an interesting convergence of just all

0:13:23.240 --> 0:13:27.080
<v Speaker 1>these different African elements, same origin, different branches, and it

0:13:27.200 --> 0:13:30.640
<v Speaker 1>all kind of came together. And so in looking at that,

0:13:30.800 --> 0:13:32.800
<v Speaker 1>you know, it all makes sense to me, this idea,

0:13:32.960 --> 0:13:36.360
<v Speaker 1>all of these elements, you know, the colin response, the repetition,

0:13:36.800 --> 0:13:39.000
<v Speaker 1>all of these things going into trance with the music.

0:13:39.120 --> 0:13:42.319
<v Speaker 1>This is the root of this is Africa. So when

0:13:42.360 --> 0:13:44.120
<v Speaker 1>I look at Daddy Grace and I look at how

0:13:44.120 --> 0:13:46.120
<v Speaker 1>things unfolded for him, I do think that his Cape

0:13:46.160 --> 0:13:50.480
<v Speaker 1>Verdian origins had a lot to do with it. And

0:13:50.520 --> 0:13:52.840
<v Speaker 1>then when I thought about what else was happening in

0:13:52.880 --> 0:13:55.000
<v Speaker 1>New Bedford and on the scene at the time. So

0:13:55.280 --> 0:13:58.320
<v Speaker 1>my grandfather's first cousin is Paul Gonzalves, and there was

0:13:58.440 --> 0:14:02.679
<v Speaker 1>also this interesting convergence of Cape verdie and musicians that

0:14:02.720 --> 0:14:05.840
<v Speaker 1>were in the jazz era and started to play. They

0:14:05.840 --> 0:14:07.840
<v Speaker 1>were going to Harlem, they were playing, you know. Obviously

0:14:07.840 --> 0:14:10.840
<v Speaker 1>Paul Gonzobs was playing with Duke Ellington. So it's really

0:14:10.920 --> 0:14:14.440
<v Speaker 1>interesting to see how all these things came together and

0:14:14.480 --> 0:14:17.720
<v Speaker 1>the different elements just blended into one, and you know,

0:14:17.760 --> 0:14:18.720
<v Speaker 1>and here we are today.

0:14:18.840 --> 0:14:24.360
<v Speaker 3>So whoa Okay, well, see taught me a lot. I

0:14:24.400 --> 0:14:25.360
<v Speaker 3>would write that down.

0:14:26.440 --> 0:14:29.040
<v Speaker 1>What are some of the cousins or the offshoots or

0:14:29.040 --> 0:14:33.000
<v Speaker 1>the influences that are now in popular secular music that

0:14:33.160 --> 0:14:35.760
<v Speaker 1>specifically are related to shout music.

0:14:36.760 --> 0:14:39.120
<v Speaker 2>Musicians are still coming out of that, you're ause of bread.

0:14:39.880 --> 0:14:44.240
<v Speaker 2>So that's his lasting legacy from the cultural standpoint, because

0:14:44.320 --> 0:14:46.560
<v Speaker 2>each one of those bands, you know what you know,

0:14:46.600 --> 0:14:49.760
<v Speaker 2>I knew about the Philadelphia Band, but we were talking

0:14:49.800 --> 0:14:53.760
<v Speaker 2>about each one of those bands had a legendary player,

0:14:54.160 --> 0:14:57.680
<v Speaker 2>you know, that did certain things to keep that band developing.

0:14:58.240 --> 0:15:02.520
<v Speaker 2>They had their own identity, you know. And one of

0:15:02.560 --> 0:15:05.080
<v Speaker 2>the things I think is so important about this story.

0:15:05.640 --> 0:15:09.320
<v Speaker 2>If you have Daddy Grace as the nucleus, you know,

0:15:09.960 --> 0:15:14.520
<v Speaker 2>the son as it can be, you know, and all

0:15:14.600 --> 0:15:17.560
<v Speaker 2>these radiations that came out from the choirs and the

0:15:17.600 --> 0:15:21.120
<v Speaker 2>singers and pianists and all those other people. Each one

0:15:21.160 --> 0:15:25.280
<v Speaker 2>of these places had their own unique stories of excellence.

0:15:26.320 --> 0:15:30.040
<v Speaker 2>Today you have in that House of Prayer band in

0:15:30.080 --> 0:15:34.760
<v Speaker 2>South Philadelphia. The person who I studied under, you know,

0:15:34.840 --> 0:15:38.680
<v Speaker 2>my leaders then when I was with fourteen fifteen, was

0:15:39.560 --> 0:15:45.720
<v Speaker 2>Ob Bryson. Now let's look at the Bryson family. Ob

0:15:46.920 --> 0:15:52.120
<v Speaker 2>just sticking with him, his son Eugene Bryson Kay. Then

0:15:52.280 --> 0:15:59.880
<v Speaker 2>Eugene had three sons. One was Damiens k Jervayne and Jermaine.

0:16:01.040 --> 0:16:03.000
<v Speaker 2>Jermaine is playing with Cooling the.

0:16:02.960 --> 0:16:08.040
<v Speaker 3>Gang, okay h Jermain and they have a group called

0:16:08.120 --> 0:16:09.040
<v Speaker 3>Mosaic Flow.

0:16:09.880 --> 0:16:14.000
<v Speaker 2>And Damien he's playing on television every night, playing with the.

0:16:13.880 --> 0:16:16.720
<v Speaker 3>Most popular rap group in the world, the Roots, but

0:16:16.880 --> 0:16:18.680
<v Speaker 3>the fore fathers of.

0:16:20.200 --> 0:16:25.160
<v Speaker 2>His instrument, the tuba, the House of Prayer Legends.

0:16:25.600 --> 0:16:27.280
<v Speaker 3>And I remember when.

0:16:28.400 --> 0:16:31.840
<v Speaker 2>I'm teaching at the Club Club and Damien came down

0:16:32.560 --> 0:16:32.920
<v Speaker 2>and he.

0:16:32.840 --> 0:16:35.120
<v Speaker 3>Said, miss Times. He said, Uncle Love, He said, Uncle,

0:16:35.120 --> 0:16:38.080
<v Speaker 3>can I practice? You know? I said, of course. So

0:16:38.120 --> 0:16:40.120
<v Speaker 3>he's at my school and he's pray.

0:16:40.280 --> 0:16:42.760
<v Speaker 2>He asked me the question, he said, he said, can

0:16:42.760 --> 0:16:47.080
<v Speaker 2>a tuba play melodies, you know, I said, of course

0:16:47.080 --> 0:16:48.680
<v Speaker 2>they can't. You know, they have to be in the

0:16:48.720 --> 0:16:53.400
<v Speaker 2>back room, right, yeah, can He played melodies, and he would.

0:16:53.120 --> 0:16:55.760
<v Speaker 3>Practice songs, you know.

0:16:56.400 --> 0:16:59.200
<v Speaker 2>And everybody has this idea that the tuba in the church,

0:16:59.240 --> 0:17:03.480
<v Speaker 2>in the watching band is going to But in the

0:17:03.520 --> 0:17:07.560
<v Speaker 2>House of Prayer, if you listen to the tuba players,

0:17:08.200 --> 0:17:11.480
<v Speaker 2>I mean it's they're the most colorful instrument in the

0:17:11.520 --> 0:17:12.880
<v Speaker 2>band because they're.

0:17:12.720 --> 0:17:15.639
<v Speaker 3>Doing all these moving parts, you know.

0:17:16.280 --> 0:17:20.760
<v Speaker 2>And so you see how that generational kind of influence.

0:17:20.880 --> 0:17:23.120
<v Speaker 3>It just continued and continued.

0:17:25.160 --> 0:17:28.399
<v Speaker 1>And this is my final question. What does the United

0:17:28.400 --> 0:17:31.080
<v Speaker 1>House of Prayer mean to you and Daddy Grace's legacy.

0:17:31.080 --> 0:17:33.600
<v Speaker 1>What does it mean to you personally and to your career.

0:17:34.240 --> 0:17:35.080
<v Speaker 3>It's a big question.

0:17:37.200 --> 0:17:39.720
<v Speaker 2>Well, my career, that's where I started from. It's going

0:17:39.800 --> 0:17:43.440
<v Speaker 2>to always be part of my beginnings. Like I said,

0:17:43.480 --> 0:17:47.879
<v Speaker 2>my first teacher, my first piano teacher, my introduction to

0:17:48.080 --> 0:17:50.960
<v Speaker 2>the fundamentals of music. You know, it's the basis of

0:17:51.160 --> 0:17:53.400
<v Speaker 2>what have carried me all these years.

0:17:53.720 --> 0:17:53.919
<v Speaker 3>You know.

0:17:54.640 --> 0:17:56.960
<v Speaker 2>In my particular case, I think I have to owe

0:17:57.040 --> 0:18:02.000
<v Speaker 2>everything that I do musically right to the House of Prey.

0:18:02.080 --> 0:18:05.080
<v Speaker 2>I don't think I've been the kind of musician or

0:18:05.280 --> 0:18:08.439
<v Speaker 2>have the samele sensibilities that I have about my music

0:18:08.680 --> 0:18:11.199
<v Speaker 2>and want to share that with my young people that

0:18:11.280 --> 0:18:13.040
<v Speaker 2>if I didn't come from the house Prey I, it

0:18:13.200 --> 0:18:14.359
<v Speaker 2>wasn't for house of prayer.

0:18:14.840 --> 0:18:17.480
<v Speaker 1>Wow, thank you. You're bringing tears to my eyes.

0:18:17.560 --> 0:18:19.600
<v Speaker 3>Thank you so much, Thank you, Erry.

0:18:19.640 --> 0:18:20.879
<v Speaker 1>This has been wonderful.

0:18:21.000 --> 0:18:24.200
<v Speaker 3>Okay, all right, you.

0:18:23.800 --> 0:18:26.000
<v Speaker 1>Take so much care of yourself and lots of love.

0:18:26.400 --> 0:18:27.840
<v Speaker 3>Oh right, say you, dear.

0:18:30.200 --> 0:18:33.680
<v Speaker 1>Sweet Daddy. Grace is a production of iHeart Podcasts and Force,

0:18:33.720 --> 0:18:38.120
<v Speaker 1>a media group. This show is hosted by Me Marcy Depina.

0:18:38.920 --> 0:18:43.199
<v Speaker 1>It's written and produced by Marissa Brown and Me. Our

0:18:43.280 --> 0:18:48.959
<v Speaker 1>story editors are Darryl Stewart, Duncan Riedel, and Zarren Burnett. Editing,

0:18:49.240 --> 0:18:54.439
<v Speaker 1>sound design and theme music by Jonathan Washington. Additional editing

0:18:54.600 --> 0:18:59.119
<v Speaker 1>by Matt Russell. Show cover art by Viviana Salgado of

0:18:59.200 --> 0:19:05.560
<v Speaker 1>Studio Creative Group. Fact checking by Austin Thompson. Our executive

0:19:05.560 --> 0:19:11.240
<v Speaker 1>producers are Marcy Depina and Jason English. Special thanks to

0:19:11.320 --> 0:19:16.800
<v Speaker 1>Will Pearson, Nikki Ettore, Ali Perry, Tamika Campbell, and Lulu

0:19:16.840 --> 0:19:21.080
<v Speaker 1>Phillip of iHeartMedia and all of my family members. Who

0:19:21.160 --> 0:19:25.240
<v Speaker 1>talk to me for this show, my ancestors, the United

0:19:25.240 --> 0:19:28.440
<v Speaker 1>House of Prayer for All People, and the countless number

0:19:28.480 --> 0:19:31.880
<v Speaker 1>of people who shared their memories of Sweet Daddy Grace

0:19:31.920 --> 0:19:35.960
<v Speaker 1>with me. Thanks also to doctor Marie Dollam and doctor

0:19:36.080 --> 0:19:39.840
<v Speaker 1>Danielle brun Sigler, whose academic work on Sweet Daddy Grace

0:19:40.080 --> 0:19:44.560
<v Speaker 1>has been incredibly helpful. And finally, I want to thank

0:19:44.600 --> 0:19:48.280
<v Speaker 1>Bishop Grace himself for choosing me to tell his story.

0:19:49.320 --> 0:19:53.240
<v Speaker 1>For more information on Bishop Charles M. Grace, check out

0:19:53.280 --> 0:19:57.200
<v Speaker 1>the website Sweet Daddy Grace and follow me at Marcy

0:19:57.280 --> 0:20:00.840
<v Speaker 1>Depina on all social platforms