A month into his presidential campaign, Newt Gingrich must regroup because his entire senior campaign team has quit. While Senator John McCain did lose his campaign manager and campaign chief strategist, the majority of his staff downsizing was a result of financial woes. Gingrich, on the other hand, has lost his campaign manager, campaign spokesman, New Hampshire based consultant, strategist, South Carolina consultant, Iowa consultant, and additional Iowa staffers due to a difference in opinion about political direction. Gingrich was already under scrutiny because of his anti-GOP comments concerning Medicare, $500,000 Tiffanyís tab and luxury cruise to Greece. His staffís lack of confidence in his political potential is just another sign that Gingrich isnít in this race for the long haul.
Americans are known throughout the world for their insensitivity to foreign cultures, and often their disinterest with learning other languages. If you’d like a tool to help boost your foreign language skills and take a step towards slightly improving our foreign reputation, visit BBC.com. They offer extensive tools in all the major languages as well as tools on a vast array of dialects. Their tools include, 12-week email courses, programs, dictionaries, guides and more!
If you’ve been thinking of buying a Kindle and joining the E-Book craze, you may want to hold off for a bit. The Kindle is rumored to be under $100 by Christmas based on the success of the product thus far. Analyst Mark Mahaney predicts that eBooks will surpass print book sales in 2-3 years. Kindle sales are already up 200% from last year. I do not currently own a Kindle, but may look into a purchase if the price drops as expected.
4 MUSIC WHY RAPPERS SHOULD REFRAIN FROM POLITICAL STATEMENTS
Ever since Kanye’s “Bush hates Black people” outburst, rappers have had a bad rep for their political correctness. It looks like they’ve done it again, this time the culprit is Lupe Fiasco. Not only did he say that “the biggest terrorist in the United States is Obama,” but he followed that up with a more intelligent reason for not voting, “It’s meaningless.” (INSERT ‘BOO’ HERE) Why Mr. Fiasco do you feel that politics is a viable platform for you? I’d prefer the next time a pop artist picked up a book, that they chose not to make their “enlightenment” public. Who do you think will be the next culprit?
Today’s youth are living in an era where there is not only a dependence on technology, but also a dependence on social media. Love it orhate it, social media has changed the way we interact and it is here to stay. As a result, L.A. based teacher, Enrique Legaspi, has incorporated the use of Twitter in his 8th-grade history class. Instead of raising theirhands, students tweet their answers. Some may find this use of technology in the classroom disturbing, but with 8-18 years old consuming ‘10 3/4 hours worth of media content everyday’ it might benefit teachers to engage youth in creative ways. Will tweeting the teacher during class become a trend? I think this will become more of a problem than a solution to student participation, but maybe teachers should consider using Twitter for afterschool homework assistance.
On Friday, the Dow dipped below 12,000 for the first time in three months. Energy stocks took the biggest hit, after Saudi Arabia reported that it would increase oil output and reduce prices to $99 per barrel. This is the 6th straight week of decline, the longest streak since 2008, and analyst are worried this might be more than the temporary glitch in a stock come-back. Frank Davis, director of sales and trading with LEK Securities, stated that “nearly all (traders are) leaning toward the bear side.”
Facebook is changing the way you tag your friends. They will now be able to scan faces in your photos and suggest friends, based on facial recognition. The new feature has people up in arms about the violation of privacy. Facebook has allowed for users to opt out of the feature in their privacy settings. Google had planned to release an application that would allow someone to “Google” them from a picture and find out their information. They later decided not to release technology in that capacity, due to privacy issues, and has used it for less invasive technologies.
Keke Palmer will play an international pop star named Kadee Worth in Rags, an upcoming film on Nickelodeon. The movie is a modern-day fairy tale that centers on Charlie Prince, an orphan played by Max Schneider, who lives with his evil stepfather and dreams of being a singer. When Kadee finds Charlie, they work through their differences to gain a new perspective on their worlds and an appreciation for each other.
9 MOVIES WILL “MR. POPPER’S PENGUINS” BE A HIT OR GET AN ICY RECEPTION?
Mr. Popper’s Penguins is a family comedy starring Jim Carey and based on the children’s book Mr. Popper’s Penguins by Richard and Florence Atwater. The movie is about the workaholic Mr. Popper and his journey to truly understanding the important things in life. While, the film sounds awfully similar to Carey’s Liar, Liar, this production is unique because Carey shares the screen with real Emperor Penguins. Mr. Popper’s Penguins opens Father’s Day weekend and appears to have humor for the whole family, so this may be the flick for dads and their kids. While the plot is sure to be predictable, the knowledge that it features real penguins gives the film bonus points in my book!
You think Tracy Morgan would have taken a hint from the “Kobe Bryant homophonic slur incident” and subsequent NBA public service announcements and just avoided saying anything about the LGBT community. But he didn’t, and now Morgan is apologizing to “the gay & lesbian community for [his] choice of words at [his] recent stand-up act in Nashville.” In his apology, the comedian and 30 Rock actor, says he is not hateful and is “an equal opportunity jokester.” While everyone is entitled to their opinion, Morgan took it a step too far. It is reported that he said if his son were gay, he’d better come home and talk to him like a man or he’ll “pull out a knife and stab that little nigger to death.” The Gay and Lesbian Alliance Against Defamation is condemning Morgan for his remarks. The alliance has asked that 30 Rock investigate and Morgan remove the remarks from his routine. If Morgan doesn’t do something drastic, his career could be in jeopardy.
Last week, controversy swirled around the release of Rihanna’s latest music video, “Man Down,” which depicts a rape victim (portrayed by Rihanna) seeking revenge against her attacker. Critics immediately questioned the video’s violent and disturbing imagery.
“Instead of telling victims they should seek help, Rihanna released a music video that gives retaliation in the form of premeditated murder the imprimatur of acceptability,” said Melissa Henson, director of communications and public education for the Parents Television Council, which led the charge in denouncing the video.
Fair or unfair, as a celebrity abuse victim, anything Rihanna says or does for the foreseeable future will be examined inside and out for insight into her current state of mind. The problem that most critics are having with Rihanna is that she often contradicts her words with her lyrics, or as one critic put it, “(Rihanna says) yes I’m mad, no I don’t want to talk about it, but yes I will sing about it, but no don’t hold it against him, but yes revenge is okay.” But what I think Rihanna does well is portray the schizophrenia that anyone who has ever been a victim of domestic violence faces. There’s no coincidence that victims of abuse often become the abuser or find themselves in a series of abusive relationships. Boys who witness domestic violence are twice as likely to abuse their own partners and children when they become adults. And, over 40% of victims of domestic violence are involved in more than one incident. No other type of crime has a rate of repeat victimization as high.
Perhaps, it is uncomfortable for us to witness the frail state of a victim, but the rawness is something that deserves to be put on screen if the artist chooses. If it is acceptable to portray abuse in its raw state in films like Precious, then it should also be acceptable for a young woman to fight the demons she wrestles with on screen as well. In the film Woman Thou Art Loosed, Michelle, played by Kimberly Elise, kills her longtime abuser in a church, yet the film was widely received by Christian audiences. Why can’t Rihanna tell her story? In the Loosed, Michelle seeks repentance. In “Man Down,” Rihanna expresses similar regret: “I didn’t mean to end his life. I know it wasn’t right. I can’t even sleep at night.”
Unfortunately, simply taking a woman out of an abusive situation is only the first step to healing. She will have moments where she is able to suppress her past and have intimate healthy relationships, but she will always be in a tug-of-war with pain and feeling worthy enough to deserve peace. This is the sort of reality they do not teach you in Sunday school. I have known far too many people that have been in abusive relationships, and I know that you can be removed from the situation but still have a battlefield in the mind.
Rihanna may be even more vulnerable than the average person. As a celebrity, her private life is subject to constant examination by the media. She’s regularly asked to relive her past over and over again through interviews, and it’s still unlikely that she’s sought professional therapy. Everyone wants Rihanna to be a spokesperson for domestic violence, but they don’t want to give her time to heal. Patriarchal societies often re-victimize its female victims, whether intentionally or subconsciously.
Meanwhile, through her music and messages to her fans, Rihanna is trying to communicate her feelings the best way that she can:
“Young girls/women all over the world…we are a lot of things! We’re strong innocent fun flirtatious vulnerable, and sometimes our innocence can cause us to be naïve! We always think it could NEVER be us, but in reality, it can happen to ANY of us! So ladies be careful and #listentoyomama! I love you and I care!” (Rihanna via Twitter).
Rihanna, perhaps this is just your way of coping with the past, but if this is how the world is going to react to your vulnerability, maybe it’s time you go talk to someone who cares. Simply put, the media is not your friend, Rihanna, and certainly not your counselor. This may be a hard pill to swallow when you are always in the limelight, but it’s something to consider the next time you decide to share your pain with the world.
REAL DEAL: Rapper Tedashii is back with fresh beats and a sweet deal for fans.
Beginning today, GroupTune.com is offering an exclusive $11.99 download bundle of hip-hop artist Tedashii‘s May 31 release Blacklight, plus his 2009 album Identity Crisis, three videos about the making of Blacklight, and six exclusive music videos from both albums.
Blacklight “is an attempt to uncover what we all often conceal, as Tedashii deeply exposes himself as an artist, Christian and human being, while infusing the common themes of hope and living with the end in mind,” wrote a reviewer at Rapzilla. “The singular message of a future hope to be realized in eternity is woven into the array of sounds, outputting songs that offer a social commentary on today’s culture and address the day-to-day struggles many face,” wrote the reviewer.
“After a brief hiatus and 2 teasingly-epic singles, Tedashii is following up his sophomore Identity Crisis with an even more diverse and mature album called Blacklight. While I worried that the Tron-like cover would make the album seem like a rip-off or even corny, rest assured the hype for this album is highly deserved,” wrote another at ChristianMusicZine.com.
Like all GroupTune offers, this one is available for one week only, said GroupTune founder Matt Shamus.
GroupTune works like GroupOn in that subscribers receive exclusive offers through email, Facebook, and Twitter, but GroupTune specializes in downloads of Christian music, books, and sermons, he said.
Some artists are not comfortable promoting themselves and their work through social media platforms, so Shamus created GroupTune (after 10 years at DiscRevolt) to help them connect with fans on their own terms and market directly to them, he said.
Summer deals will include music by Israel Houghton and Tadashii’s fellow Reach Records artists including Lecrae, said Shamus.
If you try this new service, let us know what you think.
The “Godfather of Rap,” musician and spoken-word poet Gil Scott-Heron, died May 27 at the age of 62. Although no cause of death was reported, Scott-Heron struggled with drug addiction and had contracted HIV.
The influential artist rejected the “godfather” label, according to an Associated Press report. Instead, “He referred to his signature mix of percussion, politics and performed poetry as bluesology or Third World music. But then he said it was simply ‘black music or black American music,'” the report said.
His signature composition, “The Revolution Will Not Be Televised,” appeared on his debut album, A New Black Poet: Small Talk at 125th and Lenox, which was recorded live at a Harlem nightclub at that address. In 2010, he released I’m New Here. There were many albums in between.
At The Grio, Earl Ofari Hutchinson downplayed the importance of the song and Scott-Heron’s influence on rap.
“Neither of these do justice to Heron,” Hutchinson wrote.
“In fact, by the time ‘Revolution’ hit the airwaves in the early 1970s, black singers, jazz musicians, and spoken word poets had been pouring out incendiary black radical lyrics, sounds, and poetry for several years. The rap cadences were pronounced in many of their works. In the decades before the 1960s, legions of black jazz, bee bop, and blues singers ‘rapped,’ scatted, and hooped in their songs,” he explained.
Hutchinson prefers Scott-Heron’s Winter in America album, which he described as “a grim, bitter look at racial and political oppression in America and optimistic call for the forces of hope and change to renew the struggle against it,” and From South Africa to South Carolina, which he said “forcefully and brilliantly linked the struggles of Africans and African-Americans.”
“To Heron, the struggles were one and the same,” he wrote.
Scott Heron was no fan of the rap music he was given credit for. He criticized some artists’ “resort to shock, demeaning, and degrading lyrics” and their “lust for the bling and opulence, at the expense of socially grounded and edgy lyrics that blasted oppression and injustice,” Hutchinson wrote.
“You know why Gil never had much love for that ill-conceived Godfather of Rap tag. If you’re already your own genre, you don’t need the weak currency offered by another. If you’re a one-off, why would you want to bask in the reflected glory of knock-offs? If you’re already Odin, being proclaimed the decrepit sire of Thor and Loki just ain’t gonna rock your world. Gil knew he wasn’t bigger than hip-hop—he knew he was just better,” Tate wrote.
He had much to say about Scott-Heron’s social activism, but this part provides speculative context for the evolution of the man and his work.
“Many cats of Gil’s generation became burnt-out anachronisms from trying to wage ’60s battles on ’70s battlegrounds; some are still at it today. Gil knew The Struggle was a work-in-progress—a scorecard event of win-some-lose-some, lick your wounds, live to fight another day. Keep your eyes on the prize—a more Democratic union—but also on the ever-changing same. Keep it progressive but keep it moving too. Not so difficult if you’re the type of self-medicating brother who gets lonely if he doesn’t hear the yap of hellhounds on his trail,” Tate wrote.
“In the summer of 1991, when I interviewed him between sets at the Blue Note in New York City, Scott-Heron’s complexity was apparent. He surprised me twice, once by defending Clarence Thomas on the grounds that ‘self-determination means that everyone gets to choose who they want to be rather than be who other people want them to be.’ He also noted that he was no fan of rap music. He shrugged it off as a generational thing. ‘My parents didn’t like my music, even though I felt it was in the tradition of what they listened to. I feel the same way about rap.’ During the interview, he chain-smoked marijuana,” Johnson wrote.
In his redemptive conclusion, Johnson reminds us that Scott Heron’s work transcended his human frailty.
“There have been scores of artists whose careers were marred by drug abuse, but no one who could write poetry and songs with so much social awareness and political bite as Scott-Heron. And no one could sing them with such depth and passion. His artistic legacy is far too great for the sordid details of his final decades to ruin,” he wrote.
What none of the reports I read mentioned is Scott-Heron’s religious upbringing or identity. With a body of work as large as it, one assumes his faith or lack thereof is there to be found, but I don’t know Scott-Heron’s work well enough to assess the roots of his activism. Perhaps you do. If so, please share your thoughts.
CHANGING PERSONAS: Tonéx in his earlier, more conservative look; Tonéx more recently as "B. Slade."
Part 1 of this series examined the coming out of Tonéx, viewed against a broad history of Christian music in general. Part 2 of the series examined the cultural definition of gospel music, and saw Tonéx as its first reality star.
Here in Part 3, we must dig deeper, ask harder questions, and more importantly, find solid answers. Extensive as it has been, this series was designed not as an exhaustive resource of definitive answers, but a series of solid ideas from which some of these questions can be answered.
If we’re honest and observant, we see the truth found in Scripture illuminated by what we see around us.
Not About Salvation, but Definition
Here is an important caveat.
Liberal theologians, gospel music fans, and critical readers might be tempted to attack this series as being overly judgmental. Some might feel that asking these kinds of questions is tantamount to questioning Tonéx‘s salvation. This accusation seems especially galling considering his church heritage.
But the issue is not eternal salvation. Hebrews 9:27 assures us that eternal judgment happens after a person dies, and it’s not our job to be the arbiter of such salvation. That is a matter between a person and the Almighty. And according to Romans 10:9, if a person confesses and believes, then they are saved. Based on that basic rubric, it seems Tonéx is a Christian.
But that doesn’t help us answer the question of whether his past, present or future musical offerings can or should be classified as Christian music.
See, in the most literal sense, there is no such thing as Christian music, and there never has been.
It impossible for an inanimate, intangible article of intellectual property to come to a saving relationship with Christ Jesus. A song can be no more Christian than a radio, a Frisbee, or a lawnmower.
So when we talk about Christian music, it’s important to have a clear definition of what we mean. Many of the common cultural clashes regarding music written and recorded by and for Christian people stem mostly from misunderstood terms and mismatched expectations.
In 1998, the Gospel Music Association issued a fourfold definition to address the issue of lyrics in songs to be nominated for their annual awards show. In order to be eligible, songs had to be:
• Substantially based upon historically orthodox Christian truth contained in or derived from the Holy Bible • An expression of worship of God or praise for His works; and /or • Testimony of relationship with God through Christ; and/or • Obviously prompted and informed by a Christian world view
Based on this criteria, a lot of the music that has been marketed as Christian would be excluded, which is why the GMA eventually rescinded this definition in favor of something less restrictive.
Nevertheless, when most people refer to “Christian music,” they are talking about music with lyrics that, regardless of style, meet one or several of these benchmarks.
Yet, these criteria are still subject to interpretation. Denominations and faith movements have been established, split, and evolved across generations over the particulars of what orthodox Christian truth is, or which ideas can safely be said to be prompted and informed by a Christian worldview.
And even if we agreed on all the particulars, how can we verify all of this in the context of a four-minute song?
Without Repentance
In order to satisfy the requirements of nervous parents, youth pastors, and other evangelical gatekeepers, record labels always included biographical information in the press packets and liner notes of the artists they promoted. The idea was, if the lyrics of the songs didn’t convince you that the music was truly Christian, than details of their story could help nudge you off the fence.
But the problem with that approach is found in Romans 11:29, often cited as part of the doctrine of immutability, that God doesn’t change. In particular, this verse asserts that when God gives a gift, he gives it without possibility of being revoked. If He says it, He gives it, then it will come to fruition. Like the popular Tonéx lyric, it means that when it comes to His promises, “God Has Not 4Got.”
So if God has given someone an anointing to play an instrument skillfully, that anointing doesn’t necessarily leave just because the person is being disobedient in the particulars of how and when that instrument should be played. The King James Version renders that verse as saying that the gifts and callings are given “without repentance.”
We see this clearly as we survey the life of Old Testament patriarch David. The Bible refers to him as a man after God’s own heart, despite many documented examples of David’s disobedience. And the fact that the lineage of Jesus runs through the house of David shows that God kept his promises to David, despite the fact that David wasn’t always faithful to Him.
As it was then, so it is today.
The implications of this idea help explain why some evangelical figures start off ministering in prominence, but end up veering off the path of theological credibility. You can be anointed or gifted in a particular area, say, singing or preaching, and people might continue to respond well to that singing or preaching, regardless of what your actual message is. Though there are always consequences for sin, it’s possible for anointing or gifting to stay in effect despite errant belief or habitual patterns of sin.
This is a sobering thought, and though it shouldn’t result in a witch hunt, so to speak, it should give us pause to examine the messages in the so-called Christian music that many of us ingest, day after day.
With that in mind, consider some of the lyrics to a popular Tonéx slow-jam called “That’s When” from his O2 album (also available in Auto-Tuned, remixed, R&B form here):
All alone, sittin’ thinkin’ here by myself / contemplatin’ bout my life, chewin’ on my nails / Can’t afford to break down, gotta be a man / ain’t the richest guy around, but I do what I can / how it’s gonna go down, homie don’t ask me / I just pray to the Lord up above, in search of reciprocity / that’s when, that’s when you bless me / that’s when, that’s when you rescue / me from, the pain and the heartache / that’s when, that’s when
For a long time, this was one of my favorite Tonéx songs. The words, and the manner in which they’re sung, indicate a mature believer struggling under the weight of financial responsibility, holding out hope that God will provide.
Yet, if you look closely, there are signs of faith that are sincere, yet not quite Biblical. Consider the last line of the verse, “I just pray to the Lord up above, in search of reciprocity.”
Reciprocity is a relationship of mutual dependence or action or influence, or a mutual exchange of commercial or other privileges. You scratch my back, I’ll scratch yours. The use of this word right before the chorus implies that Tonéx expects, or at least desires, a reciprocal relationship from God. When he prays, the song suggests, God will answer with a blessing.
Yet, that’s not the typical relationship with God that we see on display throughout the breadth of the Scriptures.
So compared to most of the music that you hear on urban radio stations today, “That’s When” is wonderful. There is no crass innuendo, and it even mentions prayer. Yet, examined against the light of the Scripture, the song still fails to communicate the truth as completely as possible.
Fact is, it’s hard to derive a full and comprehensive Christian worldview from just one song, and one song shouldn’t have to represent the entirety of what an artist stands for. But this one song has many of the same characteristics as a lot of contemporary gospel music – vapid, churchy, positive-thinking clichés, formatted with catchy hooks and solid production value.
Which leaves the song, and a lot of songs like it, in a place of doctrinal limbo. It’s still probably better than listening to most contemporary R&B, but it falls short of communicating the truth of the gospel in an accurate and meaningful way.
Still More Questions
Measured against the fourfold (temporary) GMA definition of gospel music, some Tonéx songs are unabashedly gospel. Others, not so much. Much of his catalog, dare I say, most… is somewhere in the middle. And how we respond to his music depends a lot on our expectations and what we’re looking for.
So the questions remain:
What should those expectations be? How can we tell which songs are worth listening to for the purpose of edification, and which ones aren’t?
More importantly, how should listeners evaluate which songs and artists are worth listening to or investing in?
Stay tuned for the final installment of the Gospel Identity Crisis series.
