Those time-honored words have emanated from the pews of black churches in America for decades. They are often uttered by the congregation in response to what is being presented from the pulpit or the altar. Depending on the deliverer, the inflection of his voice, and the temperament and maturity of the one for whom the words are meant, the phrase can take on a couple of different definitions.
The first part — “That’s alright now” — can either be considered a show of affirmation (a sort of verbal cosign), or it can come as an encouraging, nonjudgmental admonishment.
The second part — “take your time” — can either be a plea for one to slow down so that the congregation can savor what is being offered or it could be a gentle nudge coaxing one to slow down and take corrective measures as they may indeed be heading in the wrong direction.
One part of the church service where these words are often heard is the music ministry. From the first note belted by their beloved black church soloist, parishioners can be heard heralding choruses of “that’s alright, nows” and “take your times,” reveling in the sweet spirit that the note is invoking. The phrase can also be heard when the children come forth to make a joyful noise that is sometimes as equally proportioned with noise as it is with joy. When a young soloist or instrumentalist comes to present their weekly or quarterly musical offering, their presentations are usually far from flawless. To these young pieces of artistic clay, the choruses of “that’s alright nows” and “take your times” are welcome words of encouragement.
The youngster is usually keenly aware that their offering isn’t the most polished or pristine, but after hearing those words they are encouraged to not only continue but to persevere and strive to get better. These youngsters and their accompanying church families aren’t the only ones who have benefited from these words as it relates to the ministry of music.
The Crisis in American Music
Historically, the music charts have reaped the rewards of musicians who have cut their artistic teeth in the black church. Ray Charles, Sam Cooke, Aretha Franklin, and countless others got their start singing and playing before a black congregation. As a matter of fact, a significant number of black musicians have received part if not most of their early music training in the church. The black church has traditionally been both a training and proving ground for musicians. I would go so far as to say that all American music can trace its roots to the Negro Spiritual, and as such all American music and musicians in essence owe an artistic debt to the black church.
Let’s be honest, the majority of artists that occupy the top of the R&B and hip-hop charts today are not musicians at all. Most can’t play an instrument, and in the unusual case that they can, it’s often mediocre at best. A computer program, not a human being, is producing most of the music that we hear today. Why is this?
One of the main reasons is a lack of training. I believe that the lack of music training and the resulting lack of trained musicians in the black community today can be traced back to the failures of two institutions: public schools and the black church. We are painfully aware of what has transpired in American public schools. Dwindling resources, lack of funding, and shifting priorities have all but removed music and instrumental training from many public schools, especially those located in under-resourced urban communities.
And what does the black church have to do with the lack of trained musicians in the black community today?
Aside from the obvious benefits of exposing young people to a variety of different musical styles in worship, the church also can provide young musicians with the opportunity to hone their craft on a weekly basis in a nonjudgmental environment that offers unconditional encouragement. But sadly, today’s churches are offering fewer opportunities for young people to develop their musical skills.
Look around your average black church today and count how many “musicians” are actually playing on Sunday morning? Of those musicians, how many are under the age of 18? How many are playing traditional acoustic instruments where the musician himself is instrumental in making the sound? In fact, how many of today’s churches even have an acoustic piano?
Are you getting the picture? Now contrast that to a picture of the black church of yesteryear that spawned Ray Charles and Aretha Franklin.
Technology, the changing landscape of popular music, and the scarcity of qualified musicians coupled with supply and demand are responsible as well. With the advent of digital music technology record companies and churches alike have found it economically advantageous to pare down the size and scope of “the band.” In the digital realm, one person can now do what used to take a team of people. Churches are now able to get the same sound from fewer musicians or no musicians at all through the use of digital instrumentation or digital tracks. This pervasive digital sound that permeates the R&B, hip-hop, and now the gospel music scenes can place a tremendous amount of pressure on churches to acquiesce to this standard in an attempt to stay relevant and meet budget.
Adherence to this new standard is not necessarily conducive to the development of a high level of musicianship and has resulted in fewer qualified musicians with the chops necessary to be effective in a dynamic church-music environment, which is why many of these coveted few musicians are being constantly shuffled from church to church, usually to the highest bidder.
The Church’s Responsibility
Now, let’s make it personal. Does your church provide opportunities for young soloists to share their gifts during the service at events other than the annual Christmas program?
When the black church gets back to its roots and recommits itself to sowing the seeds of training young musicians vocally and on traditional instruments, then I assure you that the church, the black community, and even the music industry will reap the benefits. No other institution can do a better job of providing children and teenagers with an opportunity to develop artistically, in an environment that gives them the foundation of encouragement needed to foster greatness.
We would all be closer to achieving greatness in whatever our particular pursuit in life may be if we had a regular opportunity to practice it and if we heard the words of folk who love us encouraging us when we mess up.
“That’s alright now, take your time!”
For the sake of today’s youth and the generations to follow, we should relish the privilege of sharing that advice every chance we get.
A REASON TO SMILE: (from left) Co-host Dorinda Clark-Cole, Kirk Franklin, and co-host Marvin Sapp rejoice and dance at the 2012 Stellar Awards. (Photo: Rick Diamond/Central City Productions & The FrontPage Firm)
Despite how battles often rage between the traditional music of hymns and choir-based anthems versus the upbeat, secular-sounding groove of contemporary worship songs, artists from all facets of gospel music declared it a truce last week as they gathered for the 27th Annual Stellar Awards.
Newcomer VaShawn Mitchell took home the most awards, including Artist, Male Vocalist, and Contemporary Male of the Year. His 2011 album, Triumphant, won for Praise and Worship CD of the Year.
“It’s a great feeling when you know it’s God who stamped his approval on your turn,” he said soon after the show’s taping. Mitchell, who has worked with several heavy hitters in the gospel industry prior to his more recent popularity, said he had come to previous Stellar Award shows as a seat filler, a person designated to sit in prominent seats that are temporarily empty. “It’s amazing to see the process from being the seat filler to winning six awards.” That’s not something a person can do by himself, Mitchell said. “Only God can do it.”
And only He gets the glory for what you accomplish, said another newcomer, Jessica Reedy. A season 2 finalist on BET’s Sunday Best, Reedy said the whole purpose of singing gospel music was God himself. “If you want self-gain and you think your talent is all that, you might not want to do this because God will humble you,” she said during the show. “And when He humbles you, it doesn’t feel good.”
In most cases, it was clear that most — though not all — of the artists exhibited humility despite their successes. Kirk Franklin, who has received 25 Stellars along with numerous other honors for his work, picked up four awards for CD of the Year, Contemporary CD of the Year, Producer of the Year, and Song of the Year. The latter award, though, he shared onstage with Darius Paulk, songwriter for the song that Mitchell made popular, “Nobody Greater.”
“Just at that moment, it just felt right because [“Nobody Greater”] had ministered to me so much,” Franklin said. “It was important to acknowledge just the great body of work that it is.”
Franklin said he was thankful to still be a part of the gospel music community and that his music, which won Song of the Year in 1993 for “Why We Sing,” has an impact today. “I’m just glad (the music is) still speaking to somebody dealing with something that somebody may be facing.”
GREAT HONOR: "Nobody Greater" singer VaShawn Mitchell receives the Artist of the Year trophy from CeCe Winans at the Stellar Awards. (Photo: Rick Diamond / Central City Productions & The FrontPage Firm)
Other winners included well-known pioneers of gospel music the Rance Allen Group, who received two Stellars for Traditional Group and Quartet of the Year. Traditional performances by Richard Smallwood and Issac Caree from Men of Standard, paying tribute to choirmaster John P. Kee, underscored the enduring popularity of choral gospel music. Smallwood, who later said he thought his gift for songwriting had dried up after his mother’s death in 2005, performed a song from his latest album, Promises.
Kee, who cried during renditions of his hit songs, including “Standing in the Need of Prayer” and “He’ll Welcome Me,” received the James Cleveland Lifetime Achievement Award for his three decades of contributions to the gospel music industry. “When we really realize what this music is about, tonight meant a whole lot,” Kee said. “It not only showed what we’ve accomplished, but that there’s more to accomplish.”
A variety of artists said they were working on new projects and music-related ventures due out this year. Among them were Mitchell, Karen Clark-Sheard, Kurt Carr, and Artist of the Year nominee Earnest Pugh. Marvin Sapp, who co-hosted the show with Dorinda Clark Cole, is working on a book entitled, I Win.
As host, Sapp said the show turned out well and he encouraged people to tune in in their respective markets. “I was very pleased with the looks of the show. Tell everybody and their mama they should watch it.”
Beginning January 21, the award show will air in more than 130 markets through February 26. The GMC network will broadcast the awards nationally on February 11. Check TheStellarAwards.com for airdates in your area.
2012 Stellar Award Winners
Artist of the Year
VaShawn Mitchell
Song of the Year
“I Smile” | Kirk Franklin
Male Vocalist of the Year
VaShawn Mitchell
Albertina Walker Female Vocalist of the Year
Kim Burrell
Group/Duo of the Year
Mary Mary
New Artist of the Year
Y’Anna Crawley
CD of the Year
Kirk Franklin | Hello Fear
Choir of the Year
Mississippi Mass Choir
Producer of the Year
Kirk Franklin for Hello Fear
Contemporary Group/Duo of the Year
Mary Mary
Traditional Group/Duo of the Year
The Rance Allen Group
Contemporary Male of the Year
VaShawn Mitchell
Traditional Male of the Year
Smokie Norful
Contemporary Female of the Year
Kim Burrell
Traditional Female of the Year
Beverly Crawford
Contemporary CD of the Year
Kirk Franklin | Hello Fear
Traditional CD of the Year
Smokie Norful | How I Got Over: Songs that Carried Us
Urban Inspirational Single or Performance of the Year
VaShawn Mitchell | “Nobody Greater”
Music Video of the Year – Short Format
VaShawn Mitchell | “Nobody Greater” (VaShawn Mitchell)
Music Video of the Year – Long Format
Deitrick Haddon | Church on the Moon
Traditional Choir of the Year
Mississippi Mass Choir
Contemporary Choir of the Year
Shekinah Glory Ministry
Instrumental Gospel CD of the Year
Moses Tyson, Jr. | Music Remastered & Sacred Organ
Special Event CD of the Year
Bishop Paul Morton | Bishop Morton Celebrates 25 Years of Music
Rap, Hip Hop Gospel CD of the Year
Lecrae | Rehab: The Overdose
Children’s Project of the Year
Teen Pure N Heart | Pure N Heart Live
Quartet of the Year
The Rance Allen Group
Recorded Music Packaging of the Year
Martha Munizzi for Make It Loud (Martha Munizzi)
Praise and Worship CD of the Year
VaShawn Mitchell | Triumphant
Spoken Word CD of the Year
Selah | Look At You Loving Me
RADIO STATIONS OF THE YEAR
Major Market
KJLH 102.3 FM – Los Angeles
Medium Market
WLOU 1350 AM – Louisville, Ken.
Large Market
WHAL 95.7 FM/1460 AM – Memphis
Small Market
KOKA 980 AM – Shreveport, La.
Internet Gospel Radio Station of the Year
GospelSynergy.com1radio.com, Chicago, IL
Gospel Announcer of the Year
John Hannah – WGRB, Inspiration 1390, Chicago, IL
As a young, educated, and professional Black woman, I stand on the shoulders of giants. I was able to graduate from the United States Naval Academy and serve as an officer in the United States Marine Corps thanks to heroes like the Tuskegee Airmen who paved the way before me. That’s why I’m thankful that the next generation will be able to experience glimpses of their story in this weekend’s opening of the movie, Red Tails.
Red Tails is inspired by the true story of the Tuskegee Airmen, who served as America’s first black aerial combat unit. This movie took nearly 23 years to complete and it’s a story that needs to be told. The reality of bringing this movie to the big screen is due in no small feat to the tenacity of producer George Lucas (Star Wars), who financed the project with $93 million of his own money.
Lucas started out consulting with 40 Tuskegee Airmen and that number has now dwindled to seven. Lucas was determined to get this project to the big screen before all of the Tuskegee Airmen died. Thanks to his work with director Anthony Hemingway, they have produced what has been labeled a World War II action movie with the most special effects of any film of this kind. The special effects in Red Tails are on par with films such as Lucas’ most recent Star Wars films and James Cameron’s Avatar, which means it doesn’t get much better.
LUCAS and LEGENDS: George Lucas (far left) stood with surviving members of the Tuskegee Airmen last fall as they were honored during a University of Southern California football game. Lucas consulted with 40 different Airmen during the making of "Red Tails." (Photo: Tony Leon/Newscom)
What do you have to look forward to? For the first time ever, this is not an action movie with one token person of color. Lucas and Hemingway have lined up an all-Black leading cast, including longtime fan favorites Terrence Howard (Col. A.J. Bullard) and Oscar-winner Cuba Gooding Jr. (Major Emanuelle Stance), with R&B singer Ne-Yo (Andrew ‘Smoky’ Salem) even taking a role. Rounding out the crew is Nate Parker (Marty ‘Easy’ Julian), whom you may remember from The Great Debaters; British actor David Oyelowo (Joe ‘Lightning’ Little); Michael B. Jordan (Maurice ‘Bumps” Wilson); and Elijah Kelley (Samuel ‘Joker’ George). Besides being talented actors, these men are also easy on the eyes, ladies.
Producing this movie was an uphill battle, as Lucas fought against the grain. Hollywood continued to reject the viability of selling a “black” action movie. But this is not just a Black movie that appeals to Black people; this is an American story about American patriots, military servants, and heroes who happen to be Black people.
Unfortunately, so many of the stories of Black history have been lost or rewritten over the years, allowing others to take credit for our work and contributions to this great country. We need to remind Hollywood, the media, politicians, and other leaders of what we have done. It’s not okay to narrow the focus of contributions of African Americas to a select few leaders who have changed the history of this country and made it what it is today. The foundation for much of America’s success as a nation was built on the backs of Black folk.
Now is an opportunity to celebrate our contributions. George Lucas’ vision for this project is to provide real heroes for young African American boys. I share his vision, and it is my hope that this movie rekindles conversations for our young boys and Black men about what they can be and do.
I hope this movie presents another opportunity to reinforce the importance of self-respect, goal setting, character building, persistence and hard work, and prioritizing education. This movie puts the names of real heroes on the lips of our children so that they go to the books and read the true stories. We have to stop the cycle of youth solely idolizing ball carriers and musical artists — some of which have spent more time in jail or tattoo parlors than they ever did in school, at home with their kids, or honoring the women in their lives. All athletes and artists aren’t bad, but we certainly need to expose our children to more engineers, doctors, entrepreneurs, and military servants (those who continuously give of themselves to make other people’s lives better).
Now is the time to show Hollywood that your money is green. Show Hollywood that great movies telling great stories that feature a predominately African American cast can explode at the box office during their opening weekends, and Tyler Perry does not have to produce them.
Red Tails opens tomorrow in theaters everywhere. Let’s get out to the theaters this weekend and show Hollywood that Black America wants more films like this! Take your friends, family, congregations, and kids. (Note: This movie has a PG-13 rating for some war violence.) See the movie once, twice, or three times, and then talk about it! Also be on the watch for Lucas’ two-hour documentary about the Tuskegee Airmen on The History Channel.
Let us know your thoughts on Hollywood’s claim that Black moviegoers will not support this type of film. Then let’s prove them wrong.
The Rev. Dr. Martin Luther King Jr. Celebration that took place at the New Jersey Performing Arts Center in Newark Thursday night was not only a celebration of the civil rights leader, but a worship service led by two dynamic gospel music stars and a highly accomplished pastor. Three extraordinary women were also honored for following in King’s footsteps and changing their communities for the better.
Richard Smallwood: ‘Anybody Can Serve’
Richard Smallwood
Gospel Music Hall of Fame artist Richard Smallwood told UrbanFaith that Dr. King was “a prime example” of someone who devoted his life to the service and blessing of others.
Noting King’s statement that “everybody can be great… because anybody can serve,” Smallwood said, “It’s not about your name in lights …or how many houses you have, how many cars you have, but who are you helping, where you are making a difference? That part of him always gets my heart.”
Smallwood grew up with at least one intimate model of selflessness, in the person of his mother. She died in 2005, but encouraged her only child to study classical music and worked overtime so he could attend Howard University.
“She really was my biggest cheerleader. So it was very difficult when she transitioned,” said Smallwood, who didn’t write music for four years after she died.
In 2004, Smallwood completed a Master of Divinity degree at Howard out of a sense of calling from God.
“People said, ‘We know you’re going to preach.’ And I’m like, ‘No, no, no, no, no, no! I don’t want to do that.’ It finally got to the point where I knew that that was a part of my calling. It was something I was going to have to do, because it was what I was born to do,” said Smallwood.
“I was nervous because I was like, ‘Okay, I’ve been in music all my life. I’m going to have to do papers, and a lot of reading, and stuff like that. It wasn’t easy, but it was a joy, because I had to do a lot of stuff in hotel rooms when I was traveling, in airports, writing papers and sending them back home to my professors. But it was a great experience,” the ordained Baptist minister explained.
Like King, who said he didn’t want to be remembered for his awards, but for his life of service, Smallwood wants to be remembered for the gifts he has bestowed on others.
“My prayer has always been that my music is what people will remember a long, long, long time after I’m gone … because I’ve seen how God can use gifts and really make a difference in people’s lives.”
Tye Tribbett: ‘Stand Up and Make a Change’
Tye Tribbett
Gospel artist Tye Tribbett grew up in Camden, New Jersey, where he said he led a “very sheltered” life as the son of strict Apostolic Pentecostal pastors. Even so, he couldn’t help but see the rougher side of life in his city.
“Some of the stereotypes that are on Camden, we have to take the blame. We caused a lot of [people] to have that perspective on us. But a lot of us now are also taking the initiative to turn that whole thing around,” said Tribbett.
“I think that’s what Martin Luther King’s birthday is all about: somebody being frustrated enough to stand up and make a change, and voice that we don’t have to stay this way. We don’t have to. I think that’s what Martin Luther King did against all odds. He stood up, not only felt it, not only thought it, but spoke it,” he added.
Six months ago, Tribbett and his wife Shante′ started The Word on the Street, a Bible study that meets at a public school in Camden. Three hundred people gather, Tribbett said, with a vision for turning the city around.
“We’re right in line with the dream that [King] had years ago,” said Tribbett.
“It’s not the normal Bible study,” he explained. “We’re taking a different approach, a fresh approach, because I believe right information creates right believing, and right believing creates right living. Or better, better information, better believing, better living.”
Tribbett knows something about the power of belief. After a particularly challenging time in his marriage that was brought on by his infidelity, he battled suicidal thoughts.
“I felt very guilty and ashamed, so when I started feeling and sensing voices, quote unquote, of suicide, it actually scared me. So I ran to the shelter of mentors,” said Tribbett.
He confessed his suicidal thoughts to them and said there were times when they didn’t leave him alone.
“A lot of young people today who are committing suicide because of bullying and all that kind of crazy stuff, I don’t think they have mentors,” said Tribbett. “I don’t think we have leadership. I don’t think we’re accountable to anybody, so we’re left to our own thoughts, and we’re left to whatever we feel. So I think it’s wise for young people, and older people, just to find somebody to be accountable to, to submit under somebody so they can bring you in when you’re way out there.”
HER OWNERSHIP: Oprah Winfrey's struggling cable network, OWN, has even her fans wondering if the Mighty O has lost her golden touch. (Photo: Mario Anzuoni/Newscom)
For those who didn’t know, the start to this article is my tribute to my favorite Sophia (portrayed by Oprah Winfrey) line in the movie The Color Purple. Here is the line in case you did not see the movie: “I loves Harpo, God knows I do. But I’ll kill him dead ‘fo I let him beat me.” And if you did not know, Oprah’s name spelled backward is Harpo and was the name of her husband in the movie and the name she chose for her company (read: empire).
So on to my topic of the day. Oprah is a skilled interviewer and a master of ingratiating herself with those she chooses to interview, two of many qualities enabling her to be queen of talk with very little competition for a quarter of a century. And undoubtedly, Oprah has earned her place in history as a girl who was born in the backwoods of Mississippi but ultimately has become the first black woman billionaire, a world-class philanthropist, and a beloved global icon. And most recently, the owner of her own cable television network — OWN (Oprah Winfrey Network).
And yet as I watched Oprah interview author and megachurch pastor Joel Osteen on her new OWN show Oprah’s Next Chapter on Sunday, I did not feel the same energy that I felt when I would watch The Oprah Winfrey Show. And I’m a member of the target audience of her new show, which debuted on Jan. 1, because I’m a woman who love all things religious and spiritual!
According to the Chicago Tribune, her new show, which will feature weekly one-hour interviews, will essentially be Oprah on a “spiritual quest” with various celebrities, politicians, religious and or spiritual gurus and more. Unlike her talk show, there is no audience, and she is interviewing her guests in their natural habitats wherever that may be.
The premiere episode featured a two-hour interview with eccentric Aerosmith rocker Steven Tyler who is now an American Idol judge. This interview took Oprah to Tyler’s home in Sunapee, New Hampshire. For part of the interview, Oprah and Tyler explored a forest which kind of felt like an answer to a Jeopardy question. Who are the two unlikeliest people you will see in the forest together? Media mogul Oprah Winfrey and aged rock star Steven Tyler. About 1.1 million viewers tuned in, which is the second highest rating of an OWN show, according to the Chicago Tribune. The highest rating goes to Oprah Behind the Scenes, which chronicled the last season of her talk show.
In her interview with Osteen, Oprah was accompanied by another Tyler — her good friend (O, to be so lucky) Tyler Perry. The pair visited the Lakewood Church, reportedly the largest church in America, before sitting down with Osteen in his home to interview him. Although everyone knows that Oprah is a spiritual person, I have not associated her with any one religion although she has spoken about Jesus Christ and often fondly recalls giving Easter speeches in church as a child. So it was kind of cool to see Oprah raising her hands giving praises and singing along during the church service/gospel concert.
Oprah began by listing Osteen’s impressive stats: His show reaches 10 million people in nearly 100 countries, he has written 20 books and six of them are New York Times bestsellers, his church has 16,000 seats (it used to be the stadium for the Houston Rockets), two 25-foot tall waterfalls, and a 450-member choir backed by a full band. She rightfully concluded that Osteen’s church is “big business.”
In spite of all of that, Oprah did not shy away from the tough questions, asking him about how he keeps his ego in check, his reputation as a prosperity gospel proponent, the shady reputation of some televangelists down through the years, and his stance on homosexuality. The only question that threw him a little was about homosexuality: “Is it a sin?” After offering a more cryptic response, he finally declared that he believes it is a sin.
“It’s a hard thing in a sense, because I’m for everybody,” Osteen said. “I’m not against anybody. I don’t think that anybody is second-class. But when I read the Scripture in good faith, I can’t see that it doesn’t show that as being a sin.”
Watch the clip below to see Oprah ask Osteen about homosexuality, sin, and whether there’s more than one path to God.
The fact that Osteen affirmed his commitment to the Bible on such a thorny issue as homosexuality was somewhat surprising since he also readily admitted that he does not use a lot of scripture in his sermons, which he has been criticized for. But you have to appreciate the guy’s honesty.
It was a good interview and demonstrates that Oprah will always be Oprah: a seeker on a journey toward truth. But as I said earlier, I didn’t feel drawn into the show. And I’m not sure why.
I watched Oprah’s Lifeclass show some months ago and wrote about how much I enjoyed it on my personal blog. One person commented that while she loved Oprah, she was “Oprahed-out” and was experiencing déjà vu as she watched the show. Maybe her comment expresses some of what I’m feeling now. I’ve been on a journey with Oprah before, from the time she was Sophia in The Color Purple until her talk show ended last May. And I’m just not sure how much further I can go. I’m not saying that she is no longer relevant, but we have seen Oprah every weekday for 25 years and it’s not clear whether her spiritual quest has landed her any closer to genuine truth. I certainly hope her circuitous path will ultimately take her there.
And as far as Oprah’s cable network is concerned, I’m just not that into it. I’ve not been a fan of Rosie O’Donnell since her mean-spirited (and mercifully short-lived) stint on The View some years ago, and the rest of the network lineup doesn’t look too exciting either. I do like Suze Orman though, and I will probably tune in to watch her show, America’s Money Class with Suze Orman, which debuted on Monday. And others seem to share my sentiments. According to an article in the International Business Times, OWN is struggling, averaging “just 136,000 viewers per day, a decline of 8 percent compared to Discovery Health, the channel it replaced.” And “Oprah’s OWN Network is apparently losing money monthly at a healthy clip. Media reports suggest Discovery has pumped in $254 million above a $189 commitment.”
Like I said, I loves Oprah, God knows I do, but Oprah has a challenge on her hands. Still, it’s not as though she hasn’t beat the odds before. If a poor black girl from the country can become a billionaire media mogul, then only God knows what the future of OWN — and Oprah — may be.
If I hear one more contemporary gospel song talk about God’s favor, I’m gonna lose it.
“Favor,” wails Karen Clark Sheard. “You will never want for anything.” “Nothing can stop the favor of The Lord,” proclaims Israel and New Breed. “It’s my time for God’s favor,” shouts Kurt Carr. “I ain’t waitin’ no more!”
Since these aren’t exactly new songs, let me offer instead an example from the world of holy hip-hop, a song called “Favor” by William “Duce” Branch, a.k.a The Ambassador (formerly of The Cross Movement), from his latest album entitled Stop the Funeral:
It wasn’t a fancy car, it wasn’t a diamond ring / it wasn’t friends or lovers at the end of the day / ‘cause we know this life’s hard, and it can bring trouble / in the midst of this trouble, no one can take it away / you need His favor, His favor, His favor, His favor
I don’t want to sound like Debbie Downer here, because the truth is, I really like each of these songs. They’re good songs. Musically and emotionally, they have been a blessing to me at various times.
But I’m concerned that by continually singing songs like these, gospel musicians might be unintentionally sending a bad message.
The truth about favor
The problem with songs like these is not that they’re not true at all, but that they contain enough truth to be dangerous. (After all, the worst lies are mixed with the truth.) So for example, I do believe that as Christians, each of us do have divine favor. We love and serve a God that is for us, and not against us. And this favor isn’t because of what we’ve done for Him, but because of what He’s done for us — specifically that He made us alive in Christ, even when we were dead in our transgressions.
But this news isn’t complete if we are not articulating more clearly and accurately the basis of God’s favor on our lives. After all, most Christians believe that God loves everyone, but I don’t think the folks who sing these songs believe such favor is universally accessible to everyone regardless of faith background or life experience. We sing these songs with the mindset that God’s favor rests exclusively on those who are … well … Christians.
In other words, God’s favor may not cost money, but it costs something. However one defines the Christian life, that’s what it supposedly costs.
The view from the outside
Unfortunately, what we on the inside see as a joyful celebration of God’s favor can appear from the outside to nonbelievers as either selfish gloating (“Favor? Why you and not me?”) or indulgent self-delusion (“Favor? Who are they kidding?”). This misunderstanding often comes because of moralistic therapeutic deism, which says, among other things, that good people go to heaven because they do good things (like going to church). So if you’re not socially accepted within your church circle, too bad. No church, no heaven, no favor.
This is clearly NOT the gospel message, but we shouldn’t be surprised when people get it twisted up. Gospel music has become so appreciated and appropriated by mainstream culture that the very term “gospel” means and connotes Black church style more than it does a message of salvation through faith in Christ.
I suppose it’s fair to say that different songs are aimed for, marketed toward, and enjoyed by different segments of people, so that a song written by and for Christians shouldn’t be evaluated by non-Christians, because that would be like an apples-to-oranges comparison.
Except that I compare apples and oranges all the time. (I like oranges better.)
And it’s also fair to say that one song should not have to serve as an overall theological representation of a particular artist, church, or organization.
But what if one song is all that gets heard?
In the marketplace of competing ideas and ideologies, we Christians can’t afford to ignore our public perception. We need to be aware of what it might look like to our nonbelieving friends on Facebook if or when the dominant themes reflected in the gospel songs we share are about a divine favor that looks and feels alien and inaccessible to those not steeped in Black church culture.
Theology from below
The truth is, God’s favor truly is open to everyone. Anyone can receive the good news and become a follower of Jesus. You don’t have to know the lyrics to “Precious Lord, Take My Hand” to get in on it. An authentic Christian life does not need to be stamped with cultural markers for divine approval.
So part of what we need is to be able to view our theology “from below” — that is, with the needs of the marginalized in mind so that we can make sure that what we’re saying actually sounds like good news to those who need it.
The bitter irony in seeing The Ambassador record a song about favor is that he operates within a cultural persona that is, in the Black church, particularly unfavorable. First, he is a hip-hop emcee, so by cultural association he is seen as loud, audacious, and overly confrontational (or borderline demonic if you ask G. Craige Lewis). Second, he has recently rebounded from an infidelity scandal that could have torpedoed his marriage and career, though thankfully both have survived.
Either way, his artistic and pastoral voice represents a growing segment of Black men who no longer feel at home in the church. So in the context of all the other songs about God’s favor that fail to address many of the social ills that afflict Black people, Amba’s song “Favor” seems like another example of a popular Black artist drinking the prosperity Kool-Aid in order to gain broader acceptance within the church.
Having listened to the rest of Stop the Funeral, I don’t really think that’s true.
But that’s how it looks.
My plea is for Christians who make music for a living to pay closer attention to the words and ideas they use, and do the best they can to be as accessible as possible to listeners of different cultural backgrounds.
Because Ambassador is right — God’s favor is a wonderful thing.
I just hope his listeners get the rest of the message.
If I hear one more contemporary gospel song talk about God’s favor, I’m gonna lose it.