Gospel songwriter Thomas A. Dorsey and singer Willie Mae Ford Smith attend the National Convention of Gospel Choirs and Choruses, an annual convention founded by Dorsey. On another occasion, Willie Mae sings for a group of senior citizens, accompanied by her adopted daughter, Bertha, on piano. At home, Bertha reads aloud an essay she has written about her travels with Willie Mae, commemorating the many singers her mother has inspired and mentored. Radio station KIRL in St. Louis, Missouri, announces a tribute to Willie Mae, to be held the following Sunday at nearby Antioch Baptist Church, featuring performances by Delois Barrett Campbell and the Barrett Sisters, Zella Jackson Price, and the O’Neal Twins, Edward and Edgar. During the tribute, Willie Mae explains that her “bluesy” singing style was not accepted by many African American churches, but has now become the standard. She credits Thomas, known as the “father of gospel,” with adding the “energy and rhythm” to spiritual music, and with founding the National Convention to give its practitioners an identity. He has also been the choirmaster at Pilgrim Baptist Church in Chicago, Illinois, since the early 1930s. Willie Mae considers Thomas to be among the greatest gospel songwriters of all time, citing his most popular composition, “Take My Hand, Precious Lord,” which he wrote following the death of his wife and newborn son. In the 1920s, Thomas was a blues musician with 300 songs to his credit and several recordings with legendary singer Ma Rainey. After his transition to gospel music, Thomas formed a partnership with singer Sallie Martin, who popularized his songs, distributed his sheet music, and acted as his business manager. As Willie Mae and her grandson, Michael Keith Smith, drive through St. Louis, she discusses the history of her ministry, which Michael considers inappropriate for a woman, though he denies that he is a male chauvinist. Later, Zella Jackson Price tells Willie Mae that she will be away from her family for two weeks on a series of singing engagements. Willie Mae relates the story of how her late husband once tried to prevent her from boarding a train, but he only succeeded in falling down an elevator shaft. He was disabled for several years, which Willie Mae attributes to the will of God. In addition to singing, Willie Mae has also made a career of mentoring young gospel singers, including Delois Barrett Campbell and the O’Neal Twins. Willie Mae considers them true gospel singers, as they are motivated by religious convictions rather than commercial gain. Willie Mae’s son, Billy Smith, joins the O’Neal Twins for an interview at KIRL, where they discuss the state of contemporary gospel music. The twins lament the commercialism that has overtaken the genre, but also admit that they would like to see their music achieve mainstream success. At the Beersheba Baptist Church, Delois leads the congregation in a hymn, followed by a religious service conducted by her husband, Rev. Frank W. Campbell. Afterward, as Delois and Frank discuss her upcoming singing engagements in Europe, he expresses concern that she will be increasingly unavailable for his Sunday services. However, Delois refuses to abandon her career for the sake of his ministry. The O’Neal Twins continue their discussion on the music industry with the Barrett Sisters, all of whom are resigned to the fact that gospel music has simply become another form of entertainment. Billy and his sister, Jackie Jackson, visit the Kiel Auditorium in St. Louis, where their mother hosted the first African American radio program, Bringing the Nations Back to God, during the 1940s. The program brought her a national audience, and attracted such guest performers as Mahalia Jackson, Sister Rosetta Tharpe, and the Golden Gate Quartet. As they walk among the ruins of Union Railway Station, Jackie and Billy reminisce about Willie Mae’s numerous departures, and how happy their father was when she returned. Later, Willie Mae admits that her singing voice has lost some of its quality, but she will continue to sing as long as she is able. Again citing Thomas as her inspiration, she describes how he “jumps on the altar” at every opportunity, despite his two broken hips. Willie Mae prays for him daily, and hopes to see him at the upcoming National Convention of Gospel Choirs and Choruses. As gospel singers from around the U.S. congregate at the convention, Willie Mae, Thomas, and Sallie discuss its beginnings in 1933. The longtime rivalry between the two women surfaces as they disagree over its city of origin. Prior to the opening ceremony, the convention hall is dressed with white linen to symbolize purity. When the conventioneers are assembled, Thomas enters, bestows blessings on them, and leads them in song. Willie Mae believes it was God’s will that enabled Thomas to attend. Later, she performs at Antioch Baptist Church, surrounded by her family, peers, and admirers.