A TALE OF 2 DIVAS: The notoriously private Beyonce (right) only shares things designed to enhance her brand; Solange exults in her flaws and has no problem speaking her mind.
We spend most of our adolescent life, mimicking people we admire and then we enter the real world and find out that all along being “us” is actually what we do best. Unfortunately, shortly after that, we find out that our careers demand us to not fully be ourselves. Even the wild career path of celebrity requires an art-directed image. I’m fascinated by the choices that celebrities make to craft their image, not only because their decisions influence the world, but also because their image makes a profound statement on what they (and their fans) think “living” really means.
I consider myself a student of the sociology of fame and I see two very distinct life choices in two celebrity sisters — Beyonce and Solange Knowles — that is reflected in every group of girlfriends I know. They both pack a healthy dose of raunchiness, and I would hesitate suggesting that young girls adopt them as role models. However, their comfort in their own skin as young African American women is worth discussing.
Beyonce’s brand is infallible. This woman does not make mistakes; everything you see from her supports what she wants you to believe. The downside to this is that you rarely, if ever, witness a “human” moment from her; she’s notoriously private about her personal life. Most people that aren’t fans of hers dislike her for this reason. They want a flawed celebrity, not a robot. But that doesn’t stop Bey from tearing down the house every time she hits the stage. Nobody can question her talent; they just want her to be more “real.”
Below, Beyonce talks about opening up after accomplishing her life goals.
I’d like to consider myself to be poised; an individual whose flaws are carefully concealed and behaviors consistently managed but then I’d be Beyonce, and that’s simply not who I am. Like Solange, I am the proud owner of a personality that is out-spoken, confident, and at times, inescapably rough around the edges.
Below, Solange sets herself apart from Beyonce and discusses her mother’s concern for her blunt interviews.
Solange didn’t have an opportunity to create such a carefully crafted image. She was destined to be in the shadows of her mega-star big sister from the start. And after getting pregnant at only 17, married at 18, and divorced at 19, there was no way she’d ever be a “Beyonce.” But I love Solange. She perhaps exudes self-confidence at a more profound level because she lets the world interpret her flaws and all. She believes living means being true to you at whatever cost and learning from the journey.
The evidence of Beyonce and Solange’s differences is not just in their public persona, it’s also in their music. Beyonce’s soulful voice is often masked by the latest pop sound and, as a result, she tops the mainstream charts.
Watch Beyonce’s ‘Girls Run the World’ video below!
Solange’s gumbo albums include soulful melodies that are obviously challenging for her voice and retro tracks that are equally challenging for album sales. She openly admits that she is not concerned with industry expectations; “everything from my artwork to my video to the music itself has to have a message and not because it’s hot or it looks sexy.”
Watch Solange’s 60’s inspired hit single, ‘I Decided’ below!
I admire Beyonce’s approach. As a businesswoman, she is more focused on the “ends” than the “means.” Whatever it takes for her to accomplish her goals is what she’ll do without divulging too much of her private life. Even Kelly Rowland, the fellow ex-Destiny’s Child member who calls Beyonce a sister, envies Beyonce’s determination. Rowland admitted that her first album flopped because she wasn’t well-prepared and told Stylist Magazine that “(Beyonce) plans everything.”
On the contrary, Solange told an interviewer, “I stopped trying to prove and undo misconceptions a while ago. I’m unexplainable. Most humans are.” In another interview she went deeper; “ I think confidence is one of the best qualities to have. I’m not making apologies or begging for people to like me. I’m very optimistic that God has plans for me. When you truly find peace with yourself and who you are becoming it’s a beautiful moment.”
I respect both of these approaches to life, but the latter is more “me.” Beyonce is a master at poise and machinelike professionalism, but that’s a hard role to play for a lifetime. Solange may suffer due to her honesty, but I’d argue that her triumphs are more satisfying. What do you think?
There was a girl named Alicia who said her dad had abandoned her and her siblings years ago, but he showed up for her brother’s wedding. When there was a break in the festivities, she and her sister took him to see Courageous. They were sitting in the theater watching the film and her dad began to cry. During the film’s climatic church scene, where men are urged to declare their commitment to become better husbands, fathers, and leaders, Alicia’s dad stood up alone in front of the whole theater in response to the film’s virtual altar call. Soon, other men stood up in front of their seats. Alicia and her sister began to cry. That moment, she said, was the beginning of a needed healing process for her entire family.
In Panama, 700 police officers gathered from across their nation to watch Courageous because they had heard so much about it. When they left the theater, they couldn’t stop talking about how they could follow the film’s call to action and sign a resolution to be men of honor. They said they could change Panama if government servants like them would operate in integrity.
There was a soldier who had served in Afghanistan. He’d gotten hooked on a pain medication that caused him and his family to fall quickly into a downward spiral. He watched Courageous then called his wife and said, “I have to do the courageous thing to save my family, so I’m checking myself into rehab. I now have hope.”
A man had blocked out of his mind that he had fathered a child out of wedlock when he was in college. Now decades later, after seeing Courageous, he realized he needed to reconnect with that child. “God wants to turn the hearts of children back to their fathers and fathers back to their children,” he said.
These are four of the over 320,000 Facebook posts written as a result of people, especially fathers, seeing the film Courageous and sharing their life-changing stories. After a successful four-month run in theaters last fall, Courageous was released on DVD and Blu-ray Disc last week.
SENDING HOLLYWOOD A MESSAGE: 'Courageous' producer and Sherwood Pictures co-founder Stephen Kendrick.
Stephen Kendrick and his brother Alex, both ministers at Sherwood Baptist Church in Albany, Georgia, are the filmmakers behind Courageous; the brothers co-wrote the script, Stephen produced, and Alex directed and starred in the film as police officer Adam Mitchell. The Kendricks, whose film company Sherwood Pictures previously produced such features as Facing the Giants and Fireproof, have become the Tyler Perrys of evangelical Christian movies, creating immensely popular films on a relatively small budget.
Courageous, in fact, was more successful than Fireproof in its first weekend, grossing $9 million ($2.2 million more than Fireproof), making it the No. 4 movie the week of its debut, and No. 1 if you take into account that the film opened against movies with three times as many screens as Courageous and budgets 20 times more than its $2 million production cost. The film went on to gross $34.5 million at the box office.
God Opening Doors
Stephen Kendrick can’t help but be pleased with the success of Courageous, but contrary to what some might think, he did not go on a wild spending frenzy or flaunt his success as a sign of his arrival in the big time. Instead, with each success he’s become more humble. Kendrick is quick to assign the credit for Sherwood Pictures’ good fortune to God’s answer to fervent prayer. From their first movie, Flywheel (2003), which was produced with $20,000 and ran successfully for six weeks at a single location in Albany; to 2006’s Facing the Giants, which was made for $100,000 and grossed $10 million; to 2008’s Fireproof — $500,000 budget, $33 million gross; and now Courageous, Stephen says it has been God who has opened doors.
Starting with the backing of their church of the movie ministry, and later the backing of Provident Films and TriStar Pictures, success still means giving back to God through supporting their church, their families, and others, with the aim of bringing attention to God’s message of hope.
Kendrick says their goal is to keep improving, and to a large degree they have made much headway in their efforts to do so. However, the stinging reviews of critics such as Rotten Tomatoes, the L.A. Times, and New York’s Village Voice hangs in the air. Stephen, in his customary humility, addresses the critics of Courageous this way: “People don’t need to be afraid of critics and criticism, because sometimes they are your best friends to help you realize how you can grow and how you can do better. When we have read reviews, whether on Rotten Tomatoes or Christian websites, and have seen consistent trends where different people are noticing the same things, then we know that we have to address those issues.”
At the same time, says Kendrick, some of the reviews were clearly anti-Christian anything, good or bad, or so far in leftfield that they did not bear much thought. However, one of the recurring criticisms of the film, from both secular and Christian reviewers, was that it was overly preachy. Kendrick doesn’t back away from that critique.
AS FOR ME AND MY HOUSE: In 'Courageous,' Ken Bevel portrays Nathan Hayes, a dedicated police officer trying to avoid the mistakes his absentee father made.
“Every movie preaches,” he says. “The religion of the world is externalized in their art, you look at James Cameron’s movie Avatar; he’s preaching a message about environmentalism and saving the earth. In our situation, when people know that we are Christians, they automatically are super hypersensitive for any kind of [religious] messages to be in the movie, especially when we have been didactic or use dialogue more than imagery to convey the message.”
The charge that the movie “unabashedly preaches to the choir” is right on target, Kendrick says.
“We do want to preach first to the choir, because the church doesn’t need to tell the world to get their marriages together if we don’t have our marriages together. We don’t apologize for it because we believe that God has led us in that direction. Our number one audience is the church. If you look at the way Jesus taught, he taught parables to the masses and the messages were embedded or hidden in the storyline, and then he taught by preaching, like the Sermon on the Mount, up front and overt to his audience. Our movies have been more like the latter. We’re not against doing the symbolic parable type movies, and if the Lord leads us that way, we’ll do it.”
Aiming for Eternal Fruit
Criticisms notwithstanding, overall audiences viewed Courageous as a life-changing film — not simply one that will prompt an emotional buzz and a superficial tear, but one that truly gives viewers, and especially men, something to think about in their personal lives.
And although Kendrick would love to see Hollywood take note of Sherwood Pictures’ success and begin producing more positive fare, his primary aim is to transform souls.
“Eternal fruit is our ultimate goal,” he says. “We pray for fruit that remains. Movies will come and go. Sending a message to Hollywood, or seeing Hollywood make more redemptive movies, those are nice secondary benefits. But our hope is that people will find a relationship with God through Jesus Christ.”
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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.”
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