PARADIGM SHIFT: Jason Nelson and company during the live recording of 'Shifting the Atmosphere.'
In an endless sea of new music, sometimes it’s easy to put your ears on autopilot and just allow one song to blend into another, one artist into the next. That would be a mistake with the music of pastor and worship leader Jason Nelson. Nelson’s new CD, Shifting the Atmosphere, recorded live in Baltimore, Maryland, is a 12-track gift of praise and worship that you don’t want to consign to that “generic music” category.
A Baltimore native, Nelson understands his music ministry as a “complement to his pastoral assignment” at the Greater Bethlehem Temple Church in Randallstown, Maryland. Particularly noteworthy is the fact that he participates within the worship moment he facilitates for others. At unpredictable moments, he slips into an intimate interval of thanksgiving or a vulnerable profession of love for God. The earnestness of such moments gives credibility to Nelson’s project. Witnessing his “shift” from the posture of worship leader to worshiper invites the listener to undergo a similar internal transition.
The new album has a taut feel — there are no throwaway tracks. Nelson comments on this dynamic, stating that he “worked hard to put together a CD with no fillers.” Each song advances the theme of shifting the atmosphere. “Don’t Count Me Out” is a hopeful affirmation, rooting positive expectation in the conviction that because God doesn’t count us out, neither should we count ourselves out. “No Words” merits special mention. The song elegantly captures an enduring paradox of faith: no concepts adequately describe God’s grandeur, yet we must speak to give voice to the hope of glory that lies within us. “Dominion” is another standout. It acknowledges that external conditions impact our lives, but denies that such circumstances exhaustively determine our lives. Finally, I must note that midway through the project, the listener is treated to a resplendent rendition of the hymn “Love Lifted Me.”
Months ago, I heard Mr. Nelson perform “Jubilee,” one of the album’s opening songs, at Allen Cathedral. He introduced the song by explaining the biblical tradition of Jubilee. Nelson mentioned that Jubilee represents a communal announcement of liberation: forgiving debts, returning land to its original holders, and setting the captives free. Next, he transitioned into a personal — and soul-stirring — appropriation of that tradition with a song of empowerment in the midst of impediments to fulfilling God’s purposes for our lives.
Calling his family his “greatest accomplishment,” Nelson speaks proudly of his wife Tonya and their children, Jaelyn and Jason Christopher. A skilled singer-songwriter, he composed the majority of the songs on Shifting the Atmosphere. Shifting is an engaging, well-executed, and uplifting album. The Verity Records project was released earlier this week. I wholeheartedly recommend the album to music lovers everywhere, particularly those who appreciate contemporary gospel music.
Check out a recent interview with Pastor Nelson below:
Reformed theologian and pastor John Piper’s latest book, Bloodlines: Race, Cross, and the Christian, can be viewed one of two ways depending on one’s perception. Some might write it off as another paternalistic White Christian trying to sanitize issues of race and justice for the church, give them a White spin that engenders a false sense of Christian unity. On the other hand, some might approach it as a sincere message from a White leader who cares about the church in all its diversity and wants to challenge it to embrace a biblical understanding of racial reconciliation. In the spirit of reconciliation, I’m willing to go with the latter option and give Piper the benefit of the doubt. In fact, while I don’t sign on to everything he says, I believe his book is significant enough to be required reading for laypeople and church leaders alike.
Bloodlines is a combination of biblical exegesis, cultural analysis, and historical retrospective. In it, Piper methodically builds a case for a set of basic premises with revolutionary implications — that (I’m paraphrasing here) what God has done through Christ on the cross should supersede racial divisions in America, and the fact we’re not united is evidence that Christians in America have yet to fully embrace the gospel in its fullness.
He does so by taking a broad look at American history (including his own racist upbringing), by citing various pundits and intellectuals in the pursuit of societal solutions, and most importantly, walking through the Scriptures in order to demonstrate how the person and work of Christ has the power to unite us all into a singular, holy bloodline.
A 'RIGHT NOW' MESSAGE: John Piper's biblical exegesis and cultural analysis of race in the church is filled with urgency.
Like most solid biblical teaching, these ideas are not new, nor did many, if any, originate within Piper himself. Indeed, one of Piper’s smartest moves happens toward the end of the book, where he included the text of a previous speech that amply quotes, and subsequently comments on, the writing of African American theologian Carl Ellis in his seminal work, Free At Last: The Gospel in the African American Experience.
Though systematic in tone and delivery, Piper’s writing in Bloodlines has a sense of urgency, not as someone who wishes to address this matter once and for all, but as someone trying to lovingly prod and shake the uninvolved and ignorant off the fence and out of their stupor. Which is to say that, for the most part, Bloodlines is written for White people.
Not that only White people should read it, of course. Like most of Piper’s work, it’s aimed at as wide an audience as possible. But I suspect that plenty of Blacks and other people of color might find it less than satisfactory, for a variety of reasons.
Pastor and theologian Efrem Smith, for example, offered plenty of respect in his blog to the ministry of Dr. Piper, as they both have a history of cross-cultural ministry in the Twin Cities. But Smith took Piper to task for relying exclusively on a reformed, Calvinist theological framework, saying its Eurocentric bias undercuts his premise of racial reconciliation. He also criticized Dr. Piper for espousing only politically conservative solutions to the problems of entrenched racialized inequity that he tries to address.
Criticisms like these, while certainly valid, on some level miss the point.
As far as I can tell, Bloodlines is not designed to be a definitive guide for how to most effectively address and eradicate several centuries’ worth of racialized societal inequity in America. I’m not sure such a book could possibly be written at all (much less by a White person) without looking hopelessly naive, blatantly arrogant, or some combination of both. As such, the exploration of proposed societal remedies, particularly in the discussion of addressing individual prejudice versus institutional racism (highlighted by the dichotomy of approach by Dr. William H. Cosby and Dr. Michael Eric Dyson) is less of a showdown of competing ideas and more of a demonstration that there are diverse schools of thought regarding solutions. In other words, regarding solutions, Bloodlines is more of an overview, less a conclusion.
And as such an overview, it’s guilty of bias, as is any such work. A person can only speak from his or her perspective, and Dr. Piper doesn’t apologize for his, theological, philosophical, or otherwise. Nevertheless, he accomplishes several important things in Bloodlines, and they’re significant enough to be mandatory reading for ministers of all stripes.
1. He breaks down Scripture.
First and foremost, Bloodlines is a biblical apologetic that explains how the Gospel of Jesus Christ bears ultimate relevancy in the way we understand and approach racial issues as Christians. And this presupposes that Christians are, in fact, supposed to engage in racial issues — an idea that many evangelicals resist (more on that later).
But Piper does this by going systematically through various biblical passages that deal with racial discord and disunity, to show that he’s not engaging in proof-texting (manipulating Scripture in order to get it to line up with his point of view) but rather to show that choosing and promoting racial reconciliation is, and should be, a reasonable, logical response to the Gospel of Jesus Christ. In doing so, he starts with what’s most important — the message and life of Jesus as recorded and revealed in the Holy Scriptures.
This sounds really basic, but in an age of biblical illiteracy, this is huge. Televangelists, pundits, and politicians regularly get away with saying, “the Bible says [such & such]” without actually showing where in the Bible these things are being said. It’s a way to assume the appearance of a Christian worldview without actually demonstrating it. In Bloodlines, Dr. Piper appeals to the Bereans among us, those who, like the believers in Acts 17, don’t just take preaching and teaching for face value, but diligently search the Scriptures to see if what is being taught lines up to the truth of God’s Word.
2. He provides a biblical basis for diversity and racial reconciliation in the church.
Using Scriptures like Luke 4:16-30, Matthew 8:9-15, and many, many more, Piper demonstrates the heart of God for the ethnic outsider, and traces the evolution of God’s favor as residing as a result of faith in Jesus, as opposed to Jewish ethnic identity.
Having a biblical foundation for diversity and racial reconciliation is critical, especially for church leaders, because it’s easy for these issues to be framed as purely sociopolitical, demographic, or pragmatic issues. Especially since diversity continues to be a huge buzzword in corporate and academic circles, a lot of the conversation surrounding diversity in the church is about how churches can grow and adapt in diverse settings, as if it’s a foregone conclusion that the church must incorporate all of the latest models to survive.
In contrast, Piper calls believers toward doing the right thing for the right reason. We don’t pursue diversity just because it’s popular or expedient, he’s saying, we do it because it’s central to the heart of God, and because Christ’s love compels us.
That compulsion leads to a third, even more important thing Dr. Piper does in this work:
3. He doesn’t let anyone off the hook.
One of the many truths of White privilege is the idea that White people have a choice about how and when they choose to deal with race issues, because most of the societal institutions that people lean on for support or authority have, historically speaking, been dominated and controlled by White people. And if this is true for American society, it’s especially true of the American church.
There have been many factions of the American church, particularly among conservative evangelicals and their counterparts in the political establishment, who have consistently sought to minimize, distort, or even deny outright the culpability that White people bear for centuries of racism in America. These folks may contribute to hilarious segments on The Colbert Report, but the egregiousness of their claims often overshadow a bigger problem — the inertia that their half-truths create.
To be fair, the same faction of the religious left helped create the problem by aligning themselves with people who are all about social justice but don’t take God or the Bible very seriously. (These are some of the same people who eschew religion and instead embrace Jesus-flavored spirituality.)
But no matter how it happened, eventually a false dichotomy emerged, whereby the (mostly Black) Christians who kept bringing up the racial issues were viewed by (mostly White) defenders of the status quo as secularized radical troublemakers. According to their ilk, real Christians would never associate with such extremism. And so we have a whole generation of predominantly White churches and church leaders, content to attend an annual MLK community event, recite a few well-worn Black History Month facts or poems once in awhile, and call it enough.
It is into this thick cloud of inertia that John Piper forcefully asserts the truth — no, it is not enough.
He doesn’t use incendiary language, but in terms of clarity, Piper’s reformed tautology is as about as subtle as a Molotov cocktail. All of us are guilty, all of us need forgiveness, and we’re mistaken if we think we can use the excuses of others to get ourselves off the hook.
Consider this final plea from his concluding chapter:
No lesson in the pursuit of racial and ethnic diversity and harmony has been more forceful than the lesson that it is easy to get so wounded and so tired that you decide to quit. This is true of every race and every ethnicity in whatever struggle they face. The most hopeless temptation is to give up—to say that there are other important things to work on (which is true), and I will let someone else worry about racial issues.
The main reason for the temptation to quit pursuing is that whatever strategy you try, you will be criticized by somebody. You didn’t say the right thing, or you didn’t say it in the right way, or you should have said it a long time ago, or you shouldn’t say anything but get off your backside and do something, or, or, or. Just when you think you have made your best effort to do something healing, someone will point out the flaw in it. And when you try to talk about doing better, there are few things more maddening than to be told, “You just don’t get it.” Oh, how our back gets up, and we feel the power of self-pity rising in our hearts and want to say, “Okay, I’ve tried. I’ve done my best. See you later.” And there ends our foray into racial harmony.
My plea is: never quit. Change. Step back. Get another strategy. Start over. But never quit.
Here Dr. Piper is clearly and unmistakably talking, with gravitas and candor, to White people. And yet, by appropriating so much of Carl Ellis’ Free At Last at the end, he doesn’t let Black people off the hook either:
Black is truly beautiful, but it is not beautiful as a god. As a god it is too small. Afrocentrism is truly magnificent, but it is not magnificent as an absolute. As an absolute, it will infect us with the kind of bigotry we’ve struggled against in others for centuries. . . . Whenever we seek to understand our situation without [the] transcendent reference point [of the Word of God] we fail to find the answer to our crisis.
No, Bloodlines is not a perfect book. It’s understandable, though a bit regrettable, that so much if it is devoted only to the Black/White dynamic, when we know that America is much more complex, racially and culturally. Dr. Piper does acknowledge this, and explains his reasoning.
But the good news is that the main point of the book is something that people of all races, cultures, and ethnicities can embrace. More than simple political compromise (an oxymoron for sure), Christians are called to a deep, gut-level commitment to live out the gospel by tenaciously pursuing cross-cultural relationships and initiatives. That is what the church and the world need so desperately.
I don’t always live up to this idea, but no doubt … I get it.
And now it’s fair to say that when it comes to the race problem in America, John Piper gets it too.
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
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.