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
Song of the Year
“I Smile” | Kirk Franklin
Male Vocalist of the Year
Albertina Walker Female Vocalist of the Year
Group/Duo of the Year
New Artist of the Year
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
Traditional Group/Duo of the Year
The Rance Allen Group
Contemporary Male of the Year
Traditional Male of the Year
Contemporary Female of the Year
Traditional Female of the Year
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
KJLH 102.3 FM – Los Angeles
WLOU 1350 AM – Louisville, Ken.
WHAL 95.7 FM/1460 AM – Memphis
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
IN RADICAL COMPANY: Tonéx with gospel artist Fred Hammond at the 2008 BET Celebration of Gospel in L.A.
If you’ve made it this far, you know what this series is about. In the first three parts, we took a look at Christian music as a whole, the cultural definition of gospel music, and the identity of the artist formerly known as Tonéx in light of all of this.
Next up, some conclusions. (But first, an illustration.)
In the critically acclaimed series Sports Night, sports anchor Casey McCall (Peter Krause) has the following exchange with his co-host and best friend Dan Rydell (Josh Charles):
“How can I be cool again? I’m a newly divorced man, I’m young, I used to be cool, I need to be cool again. Help me… be cool again.”
“Well, first I would need to disabuse you of the notion that you were ever cool before.”
Christian music: same as it never was
If we’re really going to understand the extent to which Christian music in general, and gospel music specifically, has ceased to be particularly “Christian” or full of the gospel message, we’ve got to come to grips with the fact that, on a large scale, much of it never was in the first place.
Not that there has never been any music written or created by Christians used by God to proclaim His glory and fulfill His purposes. On the contrary, God has been using people for that purpose since the days of Asaph and the sons of Korah.
The issue, rather, is that the arbitrary manner that evangelicals in the ’80s and ’90s were taught to discern which music is good, legitimate, and holy and which music is bad, wrong, and sinful was flawed at best and hypocritical at worst.
It’s time to stop the charade.
We must get away from using terms like secular and Christian to differentiate the music recorded by and/or marketed to Christian people.
Those terms didn’t work before, and they don’t work now.
Some songs by some artists do a great job at communicating truth, and others by others do a poor job. Some artists glorify God by creating great art that stimulates the senses and appeals to our sense of beauty and awe. Others glorify God more explicitly by calling our attention to His mighty acts and wondrous ways. And some just know how to set a great hook to a good beat so they can put food on the table.
In the grand scheme of things, there should be plenty of room in the marketplace for artists across the spectrum of aesthetic achievement and spiritual significance.
But if we can’t tell which is which, then the problem is not with the artist or the song; the problem is with us as listeners. And since listeners are the customers in this commercial model, then listeners must be the ones to start changing if we’re going to change the system.
We’ve got to be smarter. We must learn to understand the difference between the gift of music, the vessels who carry the gift, and the Giver who created them both.
And we must learn to appreciate, support, and promote music from musicians who do their best to honor God and make a difference with their music, regardless of whether they are being promoted by a “Christian” record label, a “secular” record label, or are completely independent, especially since some of the best musicians out there started with the former but are now doing the latter.
Don’t call it gospel, either
Language matters, y’all.
If we’re going to bring about change in the gospel music industry, we’ve got to find another word to describe the music. Dawkins and Dawkins called it “rhythm and praise,” awhile back. Maybe that will work, maybe not.
But we need something else.
It’s not that the word gospel is bad, just culturally loaded. The meaning has gotten so diluted that it’s no longer useful. The priorities of today’s contemporary gospel listener are so far out of whack that we tend to care more about whether the beats are hot than the message being transmitted.
That’s why pastors like my man Cole Brown of Emmaus Church (author of Lies My Pastor Told Me) tends to opt for phrases like “gospel-centered” to describe the kind of music that he wants his flock to listen to.
Gospel music might have started being only about the message of Christ, but after a while, we consumers have learned to blindly trust the reputations of the artists themselves and the industry machinery that marketed their wholesome imagery to our willing eyes and ears.
And it’s made us lazy.
Many of us have fallen prey to the prosperity gospel and other distortions of Christ’s message because we’ve learned to turn off our brains anytime the beat is bangin’ and the track has “Jesus” in the hook.
Bad for us, bad for them
And while more and more esteemed Christian recording artists have been scandalized by divorce, infidelity, or other forms of impropriety, most Christians shrugged and kept listening. Consumers of American church culture, we’ve learned to just move on to the next wave of talent instead of trying to bring substantial reform to an industry that leaves so many anointed musicians personally shipwrecked and morally adrift.
Because that’s what’s really insidious about this whole thing.
The arbitrary division between sacred and secular is not only bad for the listeners, but it’s bad for the artists, too. Too many people assume that just because a person is anointed by God to minister with music, it means that person has their life together.
We put our artists up on pedestals without giving them a way down.
And artists don’t live or work in a vacuum. But when these folks go through the trials of life, either we’re too busy to notice, or we find ourselves offering excuses without taking the time to look closely.
In many cases, the people who are close enough and involved enough to make a difference in the lives of our best artists are too scared to risk angering their friends and losing access to influence and revenue in the process. So they refuse to ask tough questions of our artists that can hold them accountable.
As Marvin Winans coldly lamented, they just don’t want to know.
Though I don’t know him personally enough to know for sure, I’m fairly certain this is what happened to Tonéx, and it happened so consistently for so long that after a while he felt like he couldn’t reconcile who he felt he was to the person everyone expected him to be.
Though he is still ultimately responsible for his choices and will stand before God to account for them just like all of us, I understand a little more about how Anthony C. Williams went from singing as Tonéx to singing as Brian Slade. His was not only an individual failing, but a failing of the system as a whole.
And I’m saying … if we want the system to change, we have to change what we look for in our music, and what we use to describe it.
Lose the baggage, keep the flavor
This issue is the biggest reason why so many rappers like to refer to themselves as Christians-who-rap rather than Christian rappers. They’re trying to sidestep all of that baggage.
I used to think that was dishonest of them, especially compared to the bold stand displayed by members of The Cross Movement and the 116 Clique / Reach Records crew. Now, in retrospect, it seems pretty smart.
So that’s my advice to up-and-coming artists today.
Lose the baggage, and keep the flavor.
Stop selling your material in the Christian discount bin, and take the bold step of getting yourself out in the marketplace, where your music can be experienced, appreciated, and critiqued like everybody elses.
If you’re good, people will notice. If you’re a Christian and you want your music to bless other Christians, people will notice that, too. Christians use iTunes and eMusic just like everyone else.
And if you’re not as good as you thought you were, or if you don’t meet the expectations that others might have had of you … so what? Maybe you’re just supposed to be obedient. Or maybe your music will open a door and lead you into the next phase of ministry you’re supposed to be in.
And note, there’s nothing wrong with having a music ministry that is aimed primarily at Christians or churchgoing people. (That’s the sweet spot for my own hip-hop crew.) But if you’re going to do that, be honest about who you are, and resist the urge to live up to other people’s expectations if they’re not biblical.
More importantly, if you’re going to minister in that fashion, make sure you have people in your corner who knew you as a person before they knew you as an artist. As an artist, you need people in your ear who care more about pleasing God than making you feel good. You need folks who can challenge you to walk in a manner worthy of your gift and calling.
But what about Tonéx?
The good news is that, as I said before, if Tonéx is a believer in Christ (which it seems he is), then his name is written in the Lamb’s Book of Life, and that is a very good thing. That is worth rejoicing over.
And the extent to which songs in his catalog reflect that reality, those songs should be listened to, celebrated and promoted. I’m thinking, for example, of a song like “To Know You, Lord” from Out The Box. It’s a very nice, relaxed, smooth, jazzy worship tune.
Yet, we cannot afford to lose our vigilance in engaging the lyrics. We need to be asking ourselves things like, “What does it really mean to know the Lord? How do we know if we do or not?” As we listen to our music, we must be like the Bereans, who checked the things they heard against the Scriptures.
This vigilance is especially important in light of the role that music plays in modern and postmodern culture. In American society, artists are the prophets. So we must use discernment in the way that we engage with art, whether “Christian” or not — otherwise, we could be led astray by another gospel.
On the flipside, we must not have a judgmental attitude as we do this. Not that we shouldn’t use our judgment, but we can’t act like just because an artist has struggles in an area, nothing they have to say is worth hearing. If God can use a donkey to speak, he can use an imperfect person, even if that person is a nonbeliever.
And if you want to buy any Tonéx recordings or attend any of his live shows — including the ones he’s been doing as “B. Slade,” just approach it like you would any other concert. If you enjoy the music and you think you’ll have a good time, and you can conduct yourself in a manner that represents the Lord while you’re out in public, then go. If not, or if you think it might be a stumbling block to the people around you, then don’t.
The end of Christian music
The truth is, the end is near. We are in the last days of Christian music. As the years continue to turn, we will see more and more signs of the end of Christian music as we know it.
And this, for the many reasons I’ve covered, is, generally speaking, a good thing.
But there’s another end we need to consider.
If we as Christian consumers are to be discerning about the media that we consume, then we need to consider this other end. And if we as Christian musicians are going to be successful in creating, marketing, and sustaining our musical vocation, then we definitely need to be aware of the other end.
We need to understand the end of Christian music … the goal. The Aristotelian virtue of it. What is the point of listening to, evaluating, and creating this music, or any music?
It’s the same as anything else.
Man’s chief end, according to catechism, is to glorify God and enjoy Him forever.
If our music, despite the exterior labels, despite the cultural connotations, despite the raft of expectations riding on each release … if our music can do those two things — help us to glorify God and enjoy Him in some way — then we’re doing something right.
And regardless of how uncomfortable it may feel, this is, I believe, the direction that God is calling us toward.
When we are pleasing God, we don’t have to care what others think. We don’t have to care what our sales numbers look like. We don’t even have to care whether we live or die, because as Paul says, to be absent from the body is to be present with the Lord.
And in that state, we’re free to live out the ethos of the great theologian Michael Stipe — yes, that Michael Stipe, of R.E.M. — who once penned the following lyrics:
“It’s the end of the world as we know it, and I feel fine.”
Let the church say “amen.”