While she expands her discussion of Pentecostalism as part of the context for her chapter on "Folk Religion and Humor in Black Secular Recordings," she eventually diverges from. Reed introduces her discussion with a brief history of the Pentecostal church and its role in shaping the performance style of black secular music and artists.
She incorporates many of them here, including jazz, rhythm and blues, soul, Motown, funk, and gangsta rap. Rather than a linear chronology, Reed frames her argument around the blues, simultaneously analyzing it as a genre form and employing it as a theme to show continuity in the succeeding secular genres the blues has engendered. Contents: Pentecostalism and Black secular music - Blues lyrics : voice of religious consciousness - Elder Eatmore and. More specifically, Reed argues that black secular song evinces a shifting religious consciousness. The Holy Profane gives a different perspective to the nature of black popular music, ultimately seeking to reconcile the musical and social tenets of the sacred and the secular as a singular aesthetic. Such a refreshing approach is part of the book's appeal. She makes it clear that her intended audience expands beyond the walls of academia to a much broader readership that includes the popular music enthusiast as well as those seeking an introduction to popular forms and artists. As her primary methodology, Reed privileges the community's voice through her examination of blues and popular song lyrics. Reed's book, The Holy Profane: Religion in Black Popular Music, is a cultural study that aims to convey the religious consciousness of the African American community through its secular music, examining the expanse of secular genres from blues to gangsta rap. Lexington: University of Kentucky Press, 2003. The Holy Profane: Religion in Black Popular Music.
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