So, I grew up a music nerd.
Specifically, I grew up as a Christian music nerd, and while I know the term “Christian music” can be problematic, let the record reflect that in the beginning of this sentence, the word “Christian” is modifying “nerd,” not “music,” which means that really what I’m saying is I was a music nerd who was also a Christian.
(Lest anyone doubt my nerd credentials, I present as Exhibit A: that previous sentence.)
I listened to a lot of contemporary gospel, and to what people later in the 90s referred as “CCM” (contemporary Christian music) which means that because my parents were harbingers of diversity — or, more accurately because they were New York transplants in the Pacific Northwest and needed to retain elements of blackness in order to retain their sanity — they exposed me to the best Christian music from both white and black artists. My love for the music of Andrae Crouch is well documented, but there was plenty of Russ Taff and The Imperials, Edwin & Tramaine Hawkins, The Winans, Reba Rambo & Dony McGuire, Commissioned, Michael W. Smith, Sandy Patti, the Brooklyn Tabernacle Choir, Rev. Milton Brunson & The Thompson Community Choir… on and on.