Music

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Nashville's Christian hip hop music scene is now under The Tennessean's microscope

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Hip-hop and its cousin, rap, is stuff I won’t let my kid listen to on the car radio because I never know what weird thing is going to come out of the speakers. Which is why I was interested to see the Tennessean announce that Christian hip hop has arrived.

When it comes to this kind of music, I’m beyond clueless. But I do know that Nashville is as close as you can get to not only being the go-to place for country music but is also the national capital for contemporary Christian music. There’s a reason why CCM Magazine is based there.

So I appreciate it when a secular publication tries to explain the genre to us great unwashed in the peanut gallery.  Here's what ran Tuesday:

The audacious Christian hip-hop movement, which to this point has been spearheaded mostly by independent artists and record labels, has made its way to Music Row with Word Music’s launch of a hip-hop imprint called 4 Against 5.
The new imprint is headed by Joseph Prielozny, the producer and artist development executive who helped guide the career of Christian hip-hop’s flag bearer, Lecrae.
Prielozny likens the rising popularity, word-of-mouth marketing and do-it-yourself ethos of the Christian hip-hop movement to rap music’s emergence into the mainstream in the 1990s. Obviously, the message of Christian rappers like Lecrae is different than Easy E, but the ethos is the same. Something fresh, something resonating is happening with Christian hip-hop and now Word, the genre’s oldest label, is buying in.

I kept wondering what 4 Against 5 meant, but the article never said. Thank goodness for online searches and YouTube. The story continues:


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A classic Paul Simon song for scribes to hum when covering religious freedom issues

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A classic Paul Simon song for scribes to hum when covering religious freedom issues

"Still a man hears what he wants to hear, and disregards the rest."  

Paul Simon included that line in his emotionally moving song, "The Boxer." The words have long rung true for me.

These days, I find them particularly relevant when thinking about religious freedom issues -- both domestic and international -- and much of what journalists write about them.

Which is to say that too often, respect for religious freedom comes down to whose ox is being gored.

On the domestic front, Simon's words spring to mind when reading many of the stories written about the successful -- for the moment, at least -- Standing Rock Sioux protest against the Dakota Access oil pipeline.

His words also seem blindingly appropriate when considering these two international stories, one from Indonesia and one from China's ethnic Tibetan region, both published by The New York Times.

Please read both stories to better understand this post and to keep me from having to stuff this column with critical but wordy explanatory background -- as might have been necessary in the long-ago world of pre-links journalism. It's a new world. Make use of the links. The photos accompanying both stories alone are worth your time.

Click here for the Indonesia story. And click here for the China story.

Notice how sympathetic both stories are toward the religious and social views of the indigenous tribe, in the Indonesian case, and toward Tibetan Buddhism, in the China story.


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Better late than never: New York Times gets around to running a Cliff Barrows obituary

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Through the decades, I have been assigned many different tasks as a journalist -- but I have never had to write a full-scale obituary. Thus, I admit that I don't know how long it takes to write one of those features.

Oh, I've written plenty of columns about religious leaders who have died, columns that served as features or sidebars adding (I hoped) interesting details to the coverage that newsrooms were providing in traditional obits. But I have never written one of those long, detailed obituaries that attempts to provide an overview of a public figure's life.

Of course, the more important the public figure -- at least in the eyes of journalists -- the earlier editors will assign an obit specialist or feature writer to put some basic material on file, "just in case." I am sure that elite American newsrooms already have large packages of features ready on Caitlyn Jenner and the Kardashian crew.

So what does it mean when a newspaper of record -- that would be The New York Times -- produces its own obituary about someone's life almost two weeks after the person died and obits ran in other publications? In other words, what is the statute of limitations on an obituary? Better late than never?

Quite a ways back -- Nov. 16, to be precise -- I ran a post focusing on the obituaries for the Rev. Cliff Barrows, the musical director for the Billy Graham Evangelistic Association who was also one of the famous evangelist's closest friends and advisors. The local paper on this story, The Charlotte Observer, tried to show the behind-the-scenes role that Barrows played in Graham's life and work. In other words, there was much more to this story than a man directing giant choirs at evangelistic crusades. The Associated Press obit? No need to go there.

I noticed, at the time, that The New York Times ran the AP story on its website. This did not surprise me. I would imagine that the life and work this Graham associate was not on the radar of many editors in that newsroom.

Later -- as in Nov. 25 later -- the Times ran its own Barrows obit. Why the delay? Did someone simply forget to do one? Did it take that long to get an in-depth feature done?


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Memory eternal, Cliff Barrows: A strategic voice inside the Billy Graham team

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Back in the mid 1980s, people were already starting to talk about the Rev. Billy Graham doing his "final crusades." Thus, when the Graham team came to town for the Rocky Mountain Crusade in 1987, that event was hailed as the great evangelist's last major event in Denver and the press handled it that way.

I was at the Rocky Mountain News (RIP) at the time and flew back to Charlotte, where I had worked for the Charlotte News and the Charlotte Observer, and then drove up into the mountains to spend most of a day interviewing Graham. I was planning on writing a magazine piece on Graham's marriage to the brilliant, and very independent, Ruth Bell Graham -- so we talked quite a bit about issues linked to marriage and family.

In that context, Graham made an interesting comment about the core team that built the Billy Graham Evangelistic Association and made the strategic decisions that set its course.

For some reason, he said, writers keep underestimating the role played by music director Cliff Barrows. The youngest member of the team was much more than the man who directed stadium-sized choirs and served as emcee for Graham events of all kinds. What they didn't understand was how important his voice was in private, offering counsel and advice at strategic moments, stressed Graham.

Now Barrows is gone, at age 93. Sure enough, the Associated Press obituary for Barrows -- at least the one I am seeing online -- is 126 words long and it seems even shorter than that. The basics are there, barely.

CHARLOTTE, N.C. (AP) -- Cliff Barrows, the long-time music and program director for the Billy Graham Evangelistic Association, has died after a brief illness. He was 93. ...
The two men met in 1945 while Barrows was on his honeymoon, and together they went on to form the association. Barrows traveled the world with Graham since his first crusade in Grand Rapids, Michigan, in 1947. Barrows also hosted the weekly Hour of Decision radio program for more than 60 years.

As you would expect, the tribute in The Charlotte Observer is much, much longer and captures more of this man's role in the Graham organization, even if key links are not made explicit.


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Larger story behind the headlines: Why people keep fighting about Amy Grant's music

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Larger story behind the headlines: Why people keep fighting about Amy Grant's music

So why do people, decade after decade, keep arguing about the music and life of Amy Grant?

To understand these news stories, it really helps to connect them to other headlines linked to religious believers whose talents allow them to work in mainstream culture. Think about all those debates about the lives of Christian football players, such as Tim Tebow and Russell Wilson. Think about what happens when religious believers, left and right, produce bestselling novels. Think about all those news stories about what is and what is not a "Christian" film. Do the Christians who work at Pixar (and they are part of the mix) make "Christian" movies?

But if you really want to understand this week's Crossroads podcast (click here to tune that in), then I'd like you to take part in a little exercise that I have used for more than a decade in lectures on faith and popular culture.

Step 1: Watch the video at the top of this post, which is Faith Hill's stunning performance of "There Will Come A Day" during the "Tribute to Heroes" special a week after 9/11, a fundraising effort that was carried on just about every single television channel in existence.

Step 2: Now read the lyrics to this song, especially the triumphant final verse and chorus:

There's a better place, Where our Father waits, and every tear, He'll wipe away
The darkness will be gone, the weak shall be strong
Hold on to your faith, there will come a day ...

Song will ring out, down those golden streets
The voices of earth, the angels will sing
Every knee will bow, sin will have no trace
In the glory of His amazing grace ...
There will come a day ... I know there's coming a day

Step 3: Now ask yourself this question: Is this a "Christian" song, in terms of the marketplace of American music? That leads to another question: Is Faith Hill a "Christian" artist, in terms of the marketplace of American music?


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Latest Amy Grant controversy: This tale has a new chapter that some have missed

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Baby, baby, how long have I been writing about controversies involving Amy Grant and fights about what is and what is not Christian music?

Well, so long that I cannot link to the "On Religion" column I wrote about the topic a quarter of a century ago. You see, the World Wide Web didn't really exist at the time for normal people -- so that column isn't stored anywhere online, at least not where I can get to it.

But back in 1991, people started worrying about whether Grant's "Heart in Motion" album (containing "Baby, Baby," which led to that controversial music video) was "too secular" and part of the "crossover" trend that would undercut Grant's public witness, etc., etc.

Well, now Grant is back in the news and, alas, it appears that some people have not noticed that lots of water has gone under the bridge and there are new issues in play. This brings us to the top of the story in the singer's local paper, The Tennessean:

LifeWay Christian Resources will not be selling Amy Grant's new Christmas album this year, and the manager for the Nashville-based singer says it's because it's not Christian enough for the Southern Baptist retailer.
Manager Jennifer Cooke said in an opinion piece for the Washington Post that LifeWay's decision not to carry "Tennessee Christmas" reignites a debate about how Christian a product needs to be in order for Christian retailers to sell it.
"'Is it Christian enough for Christian retail to support?' LifeWay Christian Resources, the large Southern Baptist retailer, decided it was not. It’s their choice, and it’s okay," said Cooke, in the column posted Tuesday.
LifeWay, the publishing arm of the Southern Baptist Convention, confirmed its retail stores are not carrying the album, but would not comment on the reasons for the decision.

Of course, the Southern Baptist Vatican, as the locals call it, is in Nashville, so this is a local story on every possible level.


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Why don't men like church? Sometimes a story is hard to see because it's just too common

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Why don't men like church? Sometimes a story is hard to see because it's just too common

This week's "Crossroads" podcast is rather different from the norm. Please allow me to explain why.

You see, this podcast is not about a story that is in the news. It's a discussion of a larger trend that I am convinced is helping shape some major trends -- in culture, in the church and, yes, often in the news.

Like what? Well, it is relevant to the rise of the "nones," especially the departure of young men from pews. It's also, I have long been convinced, linked to several hot-button debates about the Catholic priesthood. You could make a case that this trend -- centuries old, actually -- is helping fuel the decline of liberal Protestantism in the West, while also causing problems (to a lesser degree, statistically) in evangelical and Pentecostal sanctuaries.

Oh, and then there is that whole "Jesus is my boyfriend" issue in modern church music, in megachurch Protestantism and even in some liturgical circles.

We are talking about the fact that lots and lots of men just don't want to go to church. Go to most churches -- especially struggling churches -- and look around. What is the ratio of women to men?

I wrote a pair of columns about this and, frankly, I have been getting some interesting feedback from readers. People are not neutral on this subject, for sure. They either think this problem is real or they think that people who want to discuss the issue are (a) way too liberal, (b) way too conservative, (c) anti-women, (d) anti-Catholic tradition or some combination of the above (and I could have added lots of other factors that folks put in that mix.)

The columns were based on a series of lectures by the conservative Catholic writer Leon Podles, author of the controversial 1999 book "The Church Impotent: The Feminization of Christianity," that were delivered recently at Mount Calvary Catholic Church in downtown Baltimore. In a way, Podles -- a former federal investigator with a doctorate in English -- was updating the work in that book.


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Testaments Old and New? Bob Dylan's story is baptized in all of that, chapter and verse

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Want to watch a really interesting fight?

Put a bunch of Bob Dylan fans -- true believers -- in a room with a really good sound system. Make sure the flock includes old-guard Rolling Stone subscribers, a couple of academics with doctorates in literature, some born-again Christians and some Jews -- cultural Jews and Jews who practice the faith.

Ask this question: Is Bob Dylan (a) a Jew, (b) a Christian, (c) some other brand of believer, (d) a mystic who has faith in faith, period, or (e) all of the above.

Each person gets to play three songs to help make his or her case. Let the arguing commence. Yes, the arguments will only get louder after Dylan the poet receives his Nobel Prize.

I'll state my prejudice right up front. I have never interviewed Dylan, but I have talked to people close to him (including a family member) and here is what I think: I see no evidence has Dylan has lost faith in God. I see no evidence, in this public remarks, that he has lost faith in Jesus. I see lots of evidence that he has lost faith in Bob Dylan.

How do you write about Dylan without exploring the religious themes in his work? Beats me, but here is a New York Times super-short summary of his art, in a hard-news story about the Nobel Prize announcement:

Within a few years, Mr. Dylan was confounding the very notion of folk music, with ever more complex songs and moves toward a more rock ’n’ roll sound. In 1965, he played with an electric rock band at the Newport Folk Festival, provoking a backlash from fans who accused him of selling out.
After reports of a motorcycle accident in 1966 near his home in Woodstock, N.Y., Mr. Dylan withdrew further from public life but remained intensely fertile as a songwriter. ...
His 1975 album “Blood on the Tracks” was interpreted as a supremely powerful account of the breakdown of a relationship, but just four years later the Christian themes of “Slow Train Coming” divided critics. His most recent two albums were chestnuts of traditional pop that had been associated with Frank Sinatra.

Christian themes? That's it? What about the Jewish roots of much of his art?


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A fairytale wedding, the New York Times and a couple that just might be Catholic

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The New York Times has this wonderful “weddings” feature where a staff reporter writes up the backstory of one of the couples featured on their wedding announcement page. At least, I think that's how the Times finds these stories. In the case of a story that ran last week, the groom was the great-grandson of Maria and Georg von Trapp of “The Sound of Music” fame.

The tale of how he met and wooed his bride is such a romantic story, not the least because the two were graduate theology students at Boston College. Yes, that word was "theology."

Thus, the groom comes up with quotes like, “We are people who enjoy lots of books and investigating particular questions having to do with the human existence, or God, or the nature of beauty.”

The chance of the Times ever finding, much less writing about such a couple, got me interested in reading more. We learn:

The two had met briefly during the summer of 2012 at a mutual friend’s wedding and he remembered her as quiet and thoughtful. ”There was an introverted loveliness about her,” he said. (By contrast, Jon Petkun, a friend, said Mr. Peters possessed an “ear-piercing loveliness.”)
That fall, Ms. Sloan and Mr. Peters got to know each other better. She wore Warby Parker eyeglasses that were almost identical to his. She appreciated both liturgical music and Ella Fitzgerald, as he did.
Growing up in Carmel, Ind., she was a bookworm with an early curiosity about God. “When she was small, she’d say things like, ‘This summer, I’m going to read the Bible,’” said her father, Dan Sloan.


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