This concluding chapter considers the implications from the studies discussed in previous chapters. First is the fact that black gospel music sustains a richly textured, oppositional, ethnoracial consciousness, which might imply further sympathies toward black identity in the evangelical landscape. Second, the fact that blackness has markedly different meanings for musicians of the three scenes indicates the need to examine the multiple meanings of blackness in the African diaspora. Third, the usefulness of the categories of history, place, and body to ferret out the underlying ethnoracial meanings of different musical scenes suggests the value of applying them to other musical scenes and arenas of expressive culture. Finally, how and why the fact that expressive culture sometimes supports and sometimes dilutes ethnoracial identities among evangelicals may contribute to the improvement of strategy by black evangelical movement activists.