Religious Music History

Best-selling author and Sundance award-winning director Questlove harnesses his encyclopedic knowledge of popular music and his deep curiosity about history to examine America over the past 50 years. Choosing one essential track from each year, Questlove unpacks each song’s significance, revealing the pivotal role that American music plays around issues of race, gender, politics, and identity.

Duffy engages with some of the central aspects of Western religion in the thousand years between the decline of pagan Rome and the rise of the Protestant Reformation. In the process, he opens windows on the vibrant and multifaceted beliefs and practices by which medieval people made sense of their world: the fear of death and the impact of devastating pandemic, holy war against Islam and the invention of the blood libel against the Jews, provision for the afterlife and the continuing power of the dead over the living, the meaning of pilgrimage and the evolution of Christian music.

In 1969, in Capitol Records' Hollywood studio, a blonde-haired troubadour named Larry Norman laid track for an album that would launch a new genre of music and one of the strangest, most interesting careers in modern rock. Having spent the bulk of the 1960s playing on bills with acts like The Who, Janis Joplin, and The Doors, Norman decided that he wanted to sing about the most countercultural subject of all: Jesus.

Satanism is, without a doubt, a perplexing marvel. It has been the subject of various definitions that feature its multiple viewpoints and directions. From a sociological perspective, Satanism may be defined as the adoration of Satan or the Devil through recurrent social or ceremonial behaviors.

A boy finds his great grandfather's accordion in the attic and with it the sweet history of klezmer music and the role the old accordion played in Jewish life through the years.