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Print May 22, 2006 This week we have many (and I mean many) letters on last week’s State of Apostolic Music cover that are worth reading, contemplating and then responding to! (And because so many letters were impassioned and thoughtful on this topic, we lifted the “350-word Rule per Letter” for this week.) If any of our non-North American readers care to share their local experience with Apostolic music, we sure would love to hear it! Or an artist that would like to share their recording story, to give us greater insight. Don’t forget to check out all three blogs this week as we’re told there will be continued commentary on Apostolic Music from them this week! Also, we’re not surprised at the huge interest in our two Azusa Street Celebration articles. That is our spiritual re-birthplace, so it’s only natural to see what happened and how God blessed. If you missed either one, take a moment to catch up. ------- I frequently ask one very pointed question when I’m shopping at a PPH display. My question is, “What do you have that’s good quality?” I always tell them that I don’t care what the music style is (since I like most of it), but that I do care about the quality of the recording. Unfortunately, even with all of the talent we have, recordings are often low budget, and, consequently, low quality. If we could find a way to provide quality live music, professional producing, mixing and mastering for Apostolic artists without the huge price tag, our music may have more appeal. Unfortunately, most groups cannot afford the $50K price tag that goes along with a quality recording because their music is a ministry, not a job. When I buy a recording that isn’t good quality, it sits on the shelf. I never listen to it, because it compares so unfavorably to my non-Apostolic Christian music collection. Krystal Gibson, Colorado
Re: “Apostolic Music - How bad is it?” I try to buy Apostolic Music every chance I get, for I value the Jesus touch I receive when I listen to anointed music. Having said that, I am sometimes dismally disappointed when I play a new CD to find that the “canned” sounds coming out of the speakers are nothing like what I hear live from these artists. Maybe the Jesus element cannot be captured via the recording studio. That would explain why we say that Apostolics have the greatest music but we don’t want to buy their “projects.” Ellie Neumann, Latvia
Here’s an experiment for you to do: We have talented artists, musicians, singers and such. But to
succeed in any measure the arts must be sellable and to be sellable they must
conform to expectations of the narrow market. If the artist ventures outside the
expectations of the market they are in they are labeled in ways that soon quench
the trailblazer spirit or push them outside of our ranks. Then the labeling
continues.
Re: “Apostolic Music” Having read the exchange of ideas in your article and emails regarding Apostolic music and its lack of luster, I had to comment. Much of what you say is true regarding the fact that to succeed in Nashville, our Apostolic singers must sacrifice that which distinguishes them as Apostolic. However, I think Apostolics must define success appropriately. Is success for an Apostolic being “signed” on a Nashville label, or ministering to their audience? There is a huge difference in marketability and ministry. Nashville is full of marketables, but few true ministers. Today’s Apostolic singers need to look at what it is that makes any talent marketable—and that’s originality! If all you can do is carry an armload of soundtracks into a studio and re-sing the lyrics to someone else’s songs, you are no original. You are not an artist. You are a would-be artist that has no originality. Be original. Write your own material! Further, if more Apostolic singers sought anointing as hard as they sought success, they would discover a freshness of the Spirit that would arrest their audience and pull them into their music. People do not go to church hungry for bee-bop or hip-hop music. People go to discos for such. People go to church to experience the presence of God—not smoke and strobe lights (nor do we take our children to church for anything less than a true demonstration of the Spirit). God doesn’t need smoke and strobe lights to minister to this generation any more than He needed it 25 years ago. He needs anointed and humble vessels, consecrated to Him. The 20something crowd needs to realize that musical taste may vary from one age group to the next, but godly principles do not. Don’t get up and wiggle in your skimpy dress that’s too tight or too short and expect those who are true Apostolics to worship with you. Our message—whether in sermon or song—is about redemption from sin. If your singing and body movements draw attention to you more than to the Savior, something is dreadfully wrong. David, by some estimates, only entertained Saul with his music. David’s music brought no lasting deliverance to Saul, only temporary relief. What is it that our Apostolic singers and musicians wish to bring to their audiences? Deliverance, or temporary enjoyment (entertainment)? If they wish to minister, they must pray, consecrate, and seek to serve God only—and not some fleeting carnal ambition that may lead to Nashville. Sadly, that road has led many, many Apostolics away from God altogether. Their names are on a label, but are they still on the Lamb’s Book of Life? Who are you singing for, Nashville or Jesus? What is your motive for doing what you do? Success? Signing on a label? Ministry? If it’s ministry, quit looking to Nashville and look to God in the prayer rooms. Baptize your ego in the holiness of God’s Spirit. Baptize your spirit in His great love for souls. Immerse your mind in Apostolic doctrine and sing from a heart that is committed to the truth. It is these things that will bring you success of the right kind! Tim Whistine, Louisiana
Re: “Apostolic Music” I know of a great band, Down To Earth. They sing worship songs during youth service each week, and then at concerts or special services, they will do more performance-style songs, many written by the lead singer, Ryan Johns. I think they may be up to the standards of secular music. Jana Floyd, Georgia
Re: “State of Apostolic Music” I think that there are two issues with many of our Apostolic artists. One is that the quality of many of the recordings are of poorer quality than that of other Christian artists. Second is that many artist cannot relate to many of our youth and what they are experiencing in the real world. Isaac Johnson, New Jersey
Re: “The State of Apostolic Music—How Bad Is it?” It’s refreshing to see some discourse on this subject. Personally, I feel that there is little opportunity for Apostolic artists who do not fit the traditional black gospel, gospel, ensemble, etc., mold. I don’t think that this is because Apostolics do not want diversity, but rather that there are few opportunities for exposure of various Apostolic styles. This could be attributed to tradition or, more practically, the misconceptions of those who promote Apostolic music. As producers they may feel that the Apostolic consumer is not interested in something that does not fit the traditional mold. But I think that our Apostolic students and 20somethings are starving for anointed music that represents their musical tastes. There is a great need for Apostolic producers to promote diverse Apostolic styles in the Body of Christ. My wife and I are currently working on a project with our worship band—“Beyond the Noise.” I guess we could be categorized as modern worship, similar to the David Crowder Band, Tree 63, and the like. Although we haven’t played out as much as we would like, we have had the opportunity to play at the South Texas Holiday Youth Convention and at a few other churches in our district. It is interesting to note that we have been well received everywhere that we have played here in the South Texas UPCI District even though we have a very different style than what is normally heard in our churches. As a musician and minister I feel like we have an incredible opportunity and responsibility to use our talents to reach our generation. As Apostolic recording artists we can either throw our hands up in the air and surrender to the overwhelming odds that are against us or we can trust God to open doors of opportunity. We are trusting God, and we are excited about what the future holds for Apostolic artists of all kinds. I truly believe that the future is bright for Apostolic recording artists. Thanks again for opening up discussion about this area of ministry. Seth Simmons, Texas
Re: “A Modern Day Zacchaeus Tale Reprint” This article is a challenging one for me to read, partly because the very first line uses the word Fagtown. I realize that the homosexual community has embraced the word “fag” to describe themselves, but that doesn’t change its derogatory history. Most Apostolics wouldn’t acquiesce to use the word “nigger” to describe a black person, despite the fact that some black people refer to themselves or others using that historically defamatory term. Why then should we use the more offensive term for the Chicago district known as being predominantly gay? I think what makes the reprint of this article most disheartening is that it’s clear the 90&9 editorial staff was uncomfortable printing the term “Fagtown” on the home page, as they changed the word to “Gaytown” when they printed the lead sentence under the title link. If the word is unacceptable to print on the home page, it should be unacceptable on subsequent pages. I’m not trying to be politically correct here. As the author of this piece pointed out, Apostolics have a responsibility to represent the love of Jesus and His teachings to everyone. With this in mind, we should resist using derogatory terms against any group of people, even if our society insists it’s acceptable. Melissa Fross, Illinois
Re: “The State of Apostolic Music—How Bad Is it?” The biggest problem is 98 percent of Apostolic music sounds the same. If you attempt to do things different people accuse you of being a sell-out. David & the Giants didn’t sell out. They were shoved out the door. The upper 2 percent, like Roland Baker III and Frontline, are lost in the shuffle by wannabe copycats. The biggest dud in Apostolic music is choir music. The last choir project I bought was the Stockton Youth Choir project in the early 90’s. I would rather listen to shows like Mountain Stage or Austin City Limits than listen to what is passed off as Apostolic Music today. Troy E. Victory, Ohio
Re: “Apostolic Music” This article made me look twice, because this is something that’s been on my heart for a while now. I have been pondering starting an independent label for the sole purpose of finding, developing, and promoting unique Apostolic artists to the Apostolic community. In my opinion the biggest issue with Apostolic music is that it is either southern gospel, black gospel (poorly done), or Bible college music. I have never heard a good Apostolic rock band, modern worship band, hip-hop artist, whatever. I know a lot of the problem is it would be tough for these artists to find support in most Apostolic circles, because to be honest, churches wouldn’t know what to do with them. So, these people either give up on their true passion, homogenize it to fit in to what churches will accept, or go somewhere else where they can work on their craft. One of the main things I would like to do if I follow through with my plans, or would like to see someone else do, is partner with churches, youth pastors, youth presidents, etc. to provide a venue for these artists to use their gifts. It may not always be styles that we like, but if we don’t support Apostolics, who will? I have to believe their is a market there—look at my iPod (look at most anyone’s iPod), we are listening to that type of music, we’ve just got to somehow connect the artists with the Apostolic community. I’m sure there would be a lot of churches/pastors/people who would be outraged that anything that doesn’t sound like a JCM CD, or a McGruders CD would ever be accepted, but it’s time for our movement to realize it’s 2006. Jason Biggs, Texas
Re: “Apostolic Music” Although an independent Apostolic ministry, I do attend UPC churches whenever possible. I have noticed a trend towards more “contemporary” music that is more experience based and often loud and repetitious and projected on a screen or wall rather than in traditional hymn books. There definitely is a place for most of the ones I hear now being sung at The Rock UPC in Kailua [HI] and at New Life UPC in Honolulu, but I feel that too often, we are forgetting those great worship hymns “Alas, and Did My Savior Bleed?”, “How Great Thou Art,” “Love Lifted Me,” “The Old Rugged Cross,” “The Love of God,” “Do You Know My Jesus?” and while I realize that we do not want to use the Trinitarian version of “Holy, Holy, Holy,” I have rewritten that with basically the same music but Apostolic substitutions. I fear that in the new songs, we tend to forget the real worship and that it is He we need to be worshiping and praising. Rev. Samuel M. Smith, Hawaii
Re: “The State of Apostolic Music” Our Apostolic music does not capture the attention of young people. I would guess that the most-bought Apostolic CDs by our young people are Bible college CDs because of the excitement and energy in them. I personally rarely buy Apostolic CDs because I have had bad experiences with them. CDs I have bought did not come close to the quality of my other Christian CDs. The sound quality was terrible. And the producing in no way captured the talent of the artist. Lots of Apostolic CDs are like an altar call. I am not saying there is anything wrong with that. I am saying young people are not attracted to that. They just want a fun sound to listen to while they are riding in their car or hanging out at a youth group functions. I am working with an Apostolic artist right now trying to get a sound young people can enjoy with a message that older people can appreciate. Byron Dennis, Missouri
Re: “Apostolic Music” It occurs to me that if God has given a person the talent, then that talent belongs to God and is to be used for His glory, not the person’s glory to whom it is given. Why must they focus on getting known in the secular world? That would be for their glory, not God’s! It has never failed when a person or group does get recognized by the secular world, that it is the beginning of the end to their consecration and dedication to God. What is wrong with just using it for God in our own ranks and meetings? It is to glorify and edify God, is it not? Cherry Wyant, Kentucky
Re: “The State of Apostolic Music” I think the problem with Apostolic Music is the sound. The kind of music that is sung in church is not the same music I listen to in my car or at home 90 percent of the time. Every once in a while I’ll plug in a JCM choir CD or some Israel Houghton. Overall, if I’m listening to Christian music it’s more Mercy Me, Kutless, Casting Crowns-type of music. I’m sure I would be correct in saying that all genres of music (CDs, downloads) are purchased most by teenagers and 20somethings. Apostolic music mostly caters to southern gospel/choir crowds that are for older adults. If we want to sell more Apostolic music, we have to cater to the ones that are buying the music. Kimberly Rigney, Mississippi
Re: “Apostolic Music” I enjoyed reading the exchange between Courtney and Kent—sparked my thinking! Mine would probably be the last-sought opinion, but here it is! I had the privilege of attending our premier Apostolic Bible college of the day when it comes to Apostolic music. Lanny Wolfe changed the face of our music and influenced an entire movement, but things have drastically changed since then; several paradigm shifts later, now we are faced with a diversity of musical styles that would challenge the most renaissance-minded of our elders! I feel that the biggest challenge of music in this neo-Apostolic age is our reluctance to embrace diversity. Traditionally we are traditionalists and while that is “safe” it also tends to be rather exclusive. This translates into a rejection of diversity and a narrowing of acceptable choices. There is no way for instance, that a contemporary Christian band is going to be asked to perform at one of our venues, we are going to play it safe, let the influence of change come from without and then we will incrementally follow. We inherently reject what we are uncomfortable with and that causes us to be last in line for change. Without a platform or promotional program within our fellowship circle that mainstreams Apostolic praise and worship music into our conservative culture we will continue to buy that which is most widely promoted and played after. Oh, and isn’t music for entertainment purposes viewed as a little “carnal”? Sigh, another mountain to climb! Bottom line? Not until we embrace the realization that although we may not like every style still we support our own artists. Some have disappointed us choosing their art over their relationship with God but let us not withhold support from the rest for the irresponsibility of a few! Most importantly, let’s not risk cultural obsolescence in an area that has such great potential to unify, uplift, and evangelize! C. Tharp, Tennessee
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