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How black gospel music crossed over, reshaped American popular music, and transformed the culture at large.

Gospel music is the soundtrack of black Christian history, a soulful expression of faith, endurance, and hope. From the mid-twentieth-century Golden Age of Gospel-when artists like Mahalia Jackson and Clara Ward helped make church music a national force-to today, gospel has evolved from images of energetic choirs belting and clapping in rhythm into a sound as innovative and pervasive as chart-topping pop.

Ethnomusicologist, minister, and gospel singer Charrise Barron calls 1993 to 2013 the Platinum Age of Gospel, when new artists and industry executives pushed gospel beyond the church and into a commercial, show-driven, crossover era. While traditional and early contemporary gospel arose from church life, Platinum Age gospel often emerged from outside it, stretching the boundaries of worship and religiosity and helping to reshape black churches-especially megachurches-and what it means to be a black Christian.

Crossover music and Christian entertainment transformed gospel and amplified shifts in black Pentecostalism. Gospel came to encompass far more sounds than most people imagine-from the diverse and collaborative worship of Israel Houghton to the "sexy for Jesus" flare of Mary Mary; from Fred Hammond and CeCe Winans's soaring praise to Kirk Franklin's hip hop and R&B fusions and Kim Burrell's velvety rasp and runs. Bridging Christian and secular audiences, these pioneers and their producers redrew the boundaries of the genre. The Platinum Age of Gospel calls readers to reckon with what changed-and to examine and preserve gospel's soul.