He stood on the shoulders of gospel greats who had similarly thrown tradition to the wayside. Though his acceptance of hip-hop broke significant ground for his generation, Franklin was in good company in making secular-sounding religious music. He’s young, and his presentation is young.” A few months later, she doubled down on the widespread appeal of “Why We Sing,” saying “the secret is finally out: Gospel lovers listen to urban radio - not a little, but quite a lot.” Vicki Mack Lataillade, founder of GospoCentric Records, a once-independent label now owned by Sony, said in a 1995 interview with Billboard that “ music is straight up gospel. Though gospel had already been a staple in many black households - my own life was soundtracked by my father’s Shirley Caesar and Yolanda Adams CDs - Franklin simply made music that resonated with young people. Several years later, when I joined my church’s youth choir, nearly every song we took on came from his catalog.
When his Nu Nation tour stopped in my hometown of Asheville, North Carolina, I proudly attended and leapt at the opportunity to “stomp” on stage with other kids.
For me, Franklin and God’s Property marked the first time the word didn’t feel force-fed.
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