by Jelani Greenidge, Urban Faith Contributing Writer | Jul 20, 2012 | Feature, Jelani Greenidge |
Gerardo Marti’s Worship Across the Racial Divide: Religious Music and the Multiracial Congregation is a sociological exploration of worship music ministry in multiethnic churches, and as such, its timing is critically important. There’s, of course, no shortage of resources that point to multicultural worship music as a panacea to cure what ails struggling churches, something that will help to usher in a glorious new dawn of cross-racial unity. What sets this work apart is its approach.
Worship Across the Racial Divide aims to be more descriptive than prescriptive. Through thousands of interviews of pastors, worship leaders, and congregants from a variety of multiethnic churches across the diverse state of California, Marti, a sociology professor at Davidson College, uncovers a series of principles and patterns gleaned from actual multicultural worship ministries. Rather than speculate on what should be, the book tells us a lot about what is.
And when it comes to multicultural worship music, what is — that is, the way things are being done — is sometimes at odds with what or how we expect things to be.
Philosophical Differences
With the rise of diversity as a cultural value in churches, there has been a noticeable creative spike regarding worship musicians diversifying their sound. The prominence of Israel Houghton, especially, has opened doors for a host of other artists (Freddy Rodriguez, William McDowell, Tye Tribbett, etc.) who have in some measure adopted a similar, dynamic, multicultural sound, what some might call the sound of the new breed.
Yet, when it comes to the ways in which multiethnic churches are approaching their music, that Israel-and-New-Breed sound is far from the norm. There are many reasons for this, but one of the most important is the differences in philosophies regarding musical styles. According to Marti, there are four main philosophical models of music selection at play in multicultural or multiethnic (for the most part, those words are used interchangeably) churches:
a.) The Professionalist – where the style of music doesn’t matter as much, so long as whatever music that’s performed is done with excellence (high musical variety, low racial awareness).
b.) The Traditionalist – where the style of music performed is whatever the worship leader or the church leadership is most comfortable with (low musical variety, low racial awareness)
c.) The Assimilationist – where the chosen style is deemed to be “universal” and can connect with most or all kinds of people (low musical variety, high racial awareness)
d.) The Pluralist – where a variety of styles are deliberately chosen to connect with various ethnic groups (high musical variety, high racial awareness).
Most leaders who deal in worship music may find themselves somewhere in these philosophical models, maybe even incorporating more than one approach depending on context. But the key is to remember, not only is there no magic bullet for achieving multiethnic worship music, but among practitioners of multicultural worship ministry, there seems to be no consensus as to how to define it.
And while the Pluralist approach seems to be the most explicitly racialized, it’s also most susceptible to racial stereotyping.
Less Rhythm, More Relationship
Perhaps the biggest surprise in the book is how little it has to do with music, per se.
It’s become a common refrain that worship is more than music. What did surprise me was the extent to which not even the music itself is about music. Contrary to popular assumption, Marti’s research shows tha the success of multicultural church music ministry lies less in the adoption or mastery of a particular style of music, and more in the use of music ministry programs to form lasting cross-cultural connections in the congregation. In other words, it’s less about the rhythm, more about the relationship.
That’s because worship music is defined less by a particular sound and more by the activity that encompasses it. Worship music is inherently participatory, and it’s in this participation that lasting bonds are forged. It’s true monoculturally, and it’s even more true cross-culturally. Especially because worship ministries are by definition high profile, it’s often common for racial diversity to show up first or in greater proportions with the worship ministry compared to the congregation at large, a phenomenon Marti refers to as “ritualized racial inclusion.” The more people of color are conspicuously recruited and displayed on the platform, the more welcoming an atmosphere is projected, and the more likely people of various races will want to call that church home. Which isn’t to say that the style or the sound doesn’t matter at all — it just means that it’s not necessarily the key element that guarantees success. People might come through the door because of how the choir or the band sounds, but what will keep them coming back will be the relationships.
Cautions and Warnings
Worship Across the Racial Divide is not an easy book to read. It gets bogged down in sociological jargon in places, and because of its reliance on interviews, sometimes after five or six quotes supporting the same idea it feels redundant. Also, it should be stated that, despite Marti’s intent to reach a cross-section of diverse churches, they were all still in California. I’m sure there are plenty of cultural differences that come into play when you factor in regional geography.
Nevertheless, this work is a landmark achievement that lends plenty of insight into how multicultural worship is being done today, and how it might be done in the future.
by Aja M. Carr | Feb 21, 2012 | Feature |
“For where two or three are gathered together in my name, there am I in the midst of them.” Matthew 18:20, KJV
Every week, millions of people all over the world attend some form of church service — whether it be at a historic inner-city building, a sparkling suburban structure, or a secret underground location. For many Christians, Sunday morning marks a time of reflection and acknowledgment of Jesus Christ as Lord. It’s also a time to enjoy the fellowship and camaraderie of other believers. Among many African Americans in the inner city, “remembering the sabbath day” (Exodus 20:8) is a prerequisite to starting the week off correctly.
It’s true that many of us attend church out of tradition or a sense of obligation. However, anything worth practicing — and anything valued enough to perform repetitively — is worth understanding. Which leads me to a question that may seem unnecessary on the surface but that is fraught with meaning for the living of our faith: Why do we attend church?
For many, the question is superfluous — the Bible commands we go to church, so we do it. Hebrews 10:25 admonishes us to “not [forsake] the assembling of ourselves together,” meaning that we should often afford ourselves the opportunity to join with other Christian men and women. Some Christians agree with that notion and some do not; however, it is relatively easy to conclude that many of us attend church because it is a part of our family upbringing or because of what the church represents to our society and our communities.
Our Heritage of Faith
I believe the truth about our theology as churchgoers is deeply rooted in our upbringing. It is apart of our cultural matrix.
We attend church because our parents attended or because our families have been members of a particular church for years. It represents a place where we all come together in fellowship and worship. One could survey any given church and interview countless parishioners capable of testifying about the positive experiences afforded to their families because of their commitment to attending service.
Ultimately we can, throughout history, point to the church as a place that has allowed all of God’s children to be a family. Even during slavery, the church represented the one place where the slave family might be allowed to go together. Slaves attended the church of their masters, and as long as the family worked on the same plantation, they could generally be assured that Sundays represented a small space in time where they could be with their families and be encouraged through the singing of spirituals and the presentation of God’s Word, and particularly what it had to say about true freedom and justice.
Middle-Class Flight and Return
In the book Preaching to the African American Middle Class, pastor and homiletics professor Marvin McMickle writes: “What better way is there to view the ministry of churches in inner-city areas than as agents that both prolong life and help to avoid decay in communities where almost every other business and institution has abandoned the area?”
McMickle goes on to observe how in the wake of middle-class flight from cities, churches survive as some of the few institutions left in blighted communities, often next to barbershops, beauty salons, currency exchange centers, and liquor stores. “Almost everything that inner city residents need in order to have a meaningful life is located outside of their community,” he continues, “ranging from medical care to adequate shopping facilities to employment beyond minimum wage jobs at fast-food restaurants.”
But, for the most part, the church remains.
In cities like Chicago, Detroit, Baltimore, and St. Louis the African American church is often the only legacy institution that has not uprooted itself from the inner city. While the quality of life for many of the parishioners has increased — allowing them to relocate to suburban areas — the church has not relocated. I believe many African Americans continue to attend churches in our cities for that reason. The church has always been there as a part of the community, and it is viewed as an entity that will remain. It is a prototype of the nature of Christ in the community; its presence will remain steadfast and unmovable.
As we have changed and grown, so have our churches. The emergence of the African American middle class brought with it the emergence of the African American megachurch. Chicago, for instance, is home to several megachurches located in predominately African American urban neighborhoods. Congregations like Rev. James Meeks’ Salem Baptist Church of Chicago, which boasts some 15,000 members, sits in the heart of the Roseland community (largely African American and partially Latino). The Apostolic Church of God, pastored by Dr. Byron Brazier, and the Trinity United Church of Christ, pastored by Rev. Otis Moss III, are both situated on the Southside and are predominantly African American.
Many scholars committed to the study of church growth and trends would argue that the birth of the American megachurch came as the result of suburban sprawl, social disconnectedness, and a rejection of traditional Protestant denominations and church models. However, I would argue that in the African American community the expansion of the middle-class and its members’ ability to participate as valuable consumers in society (meaning that we could now shop at the megamalls) also gave Black people the resources to support and become a part of larger church ministries.
We continue to attend church because it has managed to adapt to a changing culture, becoming more contemporary in its worship and diverse in its membership to reflect the surrounding society. But we also attend church to be rescued emotionally and spiritually from that very same society.
Jesus Is the Answer
Any number of sociological arguments about the church’s role in society can be made. Certainly the economic incline of the parishioners and the rise of mega-entities have caused the church to change, and we can relate to the fluctuation. But because these arguments are easily debated, they do not carry as much weight as this argument: We attend church because of our love for Jesus Christ.
Countless scholars have harvested mounds of information regarding church membership, trends in church growth, and the theology of churchgoers, but none can easily refute the idea that many Christians simply love the Lord and desire to experience His Spirit in the presence of other faithful and desirous believers.
Church represents the one place in society where we can worship and praise God in our own way and with few inhibitions. While we might acknowledge the role of our families in our relationship with God, and might identify with the consistent and conversely changing roles of the church, it is beyond debate that Jesus is the number one reason that Christians continue to gather on Sunday morning (or Saturday night) to demonstrate our need for spiritual renewal and our commitment to God’s Word as the guidebook for our daily lives.
This article originally appeared in Precepts for Living, UMI’s annual Bible commentary.
by Andre Kimo Stone Guess | Jan 24, 2012 | Entertainment, Feature |
“That’s alright now, take your time …”
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.
by DeVona Alleyne | Jan 20, 2012 | Entertainment, Feature |
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
by Jelani Greenidge, Urban Faith Contributing Writer | Nov 22, 2011 | Entertainment, Feature, Jelani Greenidge |
BLUES SINGERS: Until their departure last night, Howard University's Afro-Blue turned heads with their tight, melodic sounds on NBC's "The Sing-Off."
“In everything give thanks for this is the will of God in Christ Jesus concerning you.”
1 Thessalonians 5:18 (KJV)
In everything.
Really.
Everything.
As I reflect on this Thanksgiving holiday, I can’t avoid thinking about many of the difficult things I’ve endured in the last 12 months.
Five months ago, I lost a part-time job in church ministry, a job in which I learned a lot, grew a lot, made a lot of great relationships, and felt a such a keen sense of calling and belonging that it became a core part of my identity.
Less than a week ago, I lost another part-time job in public speaking, a job in which I learned a lot, grew a lot, made a lot of great relationships, and felt such a keen sense of calling and belonging that it became a core part of my identity.
In both cases, I was immediately aware of some of the logistical benefits of freeing that time up to pursue other things, but that knowledge did nothing to blunt the sting of loss.
Losing those jobs hurt, and hurt bad.
Times like these, I have a hard time giving thanks.
Until, that is, I remember that many of the things I’m currently thankful for now — areas of success or blessing or peaceful satisfaction … these things have all been intimately intertwined with events and seasons of crushing pain and humbling defeat.
Struggles embattled give way to humility embraced, which leads to victory empowered.
Because this is beginning to sound a bit too much like a motivational poster, let me give you an example.
While I was on staff at my last church, I developed a technique to leading worship music that helped to compensate for a lack of a consistent band. It involved creating and replaying accompaniment tracks in the form of patterns, which helped me with all of my multitasking (leading vocals, leading the band, directing the singers, et cetera). I got pretty good at it, and when I realized that there were no existing resources to help others do the same thing, I decided to start one.
This was a pivotal decision for me, because it represented a strategic convergence of so many of my interests. Beginning this work, I felt as though I’d finally identified my calling from God. I was excited, motivated, and full of vision.
The irony of the situation, however, was that despite the fact that the genesis of my idea flowed out of my passion for multicultural corporate worship music, the logistical and emotional demands of my church job were such that I was unable to make much headway on my idea. So being asked to resign was, while difficult and painful, quite beneficial to the long-term success of my entrepreneurial ministry venture. It was, in many ways, the best-case scenario — despite the fact that it felt like my world was coming to an end.
Struggles embattled, humility embraced, victory empowered.
This is a lesson that all successful people have to embrace at some point, whether it’s Conan O’Brien getting kicked off The Tonight Show, or Afro-Blue being booted off The Sing Off.
And believe me, I was among the legion of fans shocked and offended by that last outcome, reading Ben Folds‘ explanation did little to assuage my anger. That Conan thing was sad and ridiculous, but this Afro-Blue thing feels like a travesty.
Yet, as I look back on that whole Tonight Show brouhaha, I can tell that Conan has become better for it. Conan himself was able to articulate this painful-yet-positive dynamic when he said the following:
There are few things more liberating in this life than having your worst fear realized.… it’s not easy, but if you accept your misfortune and handle it right, your perceived failure can become a catalyst for profound reinvention.
My man Coco said these words last June during his commencement speech at Dartmouth College, an ironic note since Afro-Blue was eliminated from The Sing-Off in favor of The Dartmouth Aires, the Ivy League show choir from Hanover. And I have no doubt that the men and women of Afro-Blue, the pride of Howard University and DC’s finest, will continue to exhibit the poise, heart and talent that propelled them to their fourth-place showing on the megahit NBC a cappella singing competition.
I’m hopeful, of course, and not just for the obvious reason that all of the singers in Afro-Blue still have a tremendous future in music ahead of them (especially lead vocalist Danielle Withers).
I’m hopeful because, in the grand scheme of things, God can and does use all things to take his children and mold them into the people that He wants and calls them to be. And the extent to which we become more like Him is the extent to which we submit to His will, which sometimes requires profound heartbreak.
So in the meantime, I will have to resign myself to replaying Afro-Blue’s cover of “Put Your Records On” over and over, because … wow, that is my jam right now.
And for this, as for so many other things in life, good and bad, I will do what Paul charged the church in Thessalonica to do.
I will give thanks.
