From the headline of this blog post, you probably assumed I’d be saying that the Gospel Music Association (GMA) needs to do a better job of representing “our” gospel music industry at the Dove Awards and throughout its organization.  And, in part, that’s true– the GMA is perpetually faced with the challenge of effectively representing all facets of Gospel/Christian music.

But I do not believe that the responsibility for such a task rests solely on the GMA.  I think we also have a responsibility to ensure that we are represented by participating in the GMA.

I often hear questions about why the Dove Awards don’t do a better job of including “us.”  To that, I’d ask why “we” haven’t joined the organization to make a difference.

Since relocating from NYC to Nashville, I’ve had the opportunity to witness, first-hand, how intentional the GMA often is about inclusion– of all genres under the Gospel/Christian umbrella.  And, I’ve witnessed how disinterested we, as a community, are in return… until nominations come around each year and we scream “who’s deciding this, anyway?!”  Not you– and that’s the problem.

But there’s hope.  EMI Gospel VP/General Manager Larry Blackwell is the Chair of the GMA Membership Committee.  He’s drafted an awesome OPEN LETTER TO THE GOSPEL COMMUNITY, explaining the GMA’s efforts, why it’s important to join, and how easy it is to do so.  Click here to read it!!!

And make sure you visit the GMA’s membership page to learn more, and to join.  You do not have to be a professional recording artist to do so, and there are even student memberships.

Who’s already a member?  Who plans to join?  Who will NOT join, and why?

Talk to me!

At the BMI Trailblazers awards, Marvin Winans shared a bunch of stories about his early experiences with Andraé Crouch.  They didn’t televise all of that, but it was one of the highlights of the afternoon for me.

I love hearing stories about this industry.  Not for the blog or to dazzle my friends– just to know and enjoy ‘em.

The other day, I thought to myself “I wanna just go to lunch with someone and get some good gospel stories.”   But I can’t figure out whose stories I wanna hear.

A big part of me wants to say Kirk Franklin.  Another part wants to say Donald Lawrence.  And yet another part wants to say Shirley Caesar… all three would have incredible stuff to share… I dunno.

Outta curiousity– whose stories do you wanna hear?

Which gospel artists would you wanna have lunch with???

This morning, I BLASTED the new album from Karen Clark Sheard and Ted Winn’s Balance CD.  Such great projects!  And I was about to go to Kierra’s This Is Me project (an all-time fave), until I realized that I actually didn’t feel like hearing gospel music at that moment.

We’re being real, right?  A big part of my job focuses on listening to, and making commentary on, gospel music.  And I love it.  But uhh… I take breaks.  Often.

It’s not that I don’t wanna hear about God or anything.  I just don’t want to hear the music sometimes– the progressions, the syntax.  Want to experience Him a bit more… implicitly.

Now, I know some of you still are not “allowed” to listen to anything else, but for those of you who have a varied music collection and don’t cover your ears to avoid the radio when you go shopping (hehehehee), do you ever have those moments?

Today, I listened to Radiohead and Maroon 5.  And, other times, I find myself jammin’ to Brandy, Luther Vandross, Faith Evans or Anita Baker.

Just curious– in those moments, who do you listen to?

Who cares about gospel music videos these days?  I don’t mean that flippantly, I actually want an internet “show of hands” if you care.

I don’t think I do.  Not much, at least.  But then, I don’t care much for music videos in general anymore…

It was one thing when Michael Jackson’s “Thriller” video came out… a music video MEANT something.  And for a decade or so to follow, people were creative and imaginative, making visual experiences out of something that was, at one time, purely auditory.  For a time, we loved to watch music videos over and over again, to see cool shots, maybe even learn choreography.  But now, seen it once, you’ve seen it enough.

These days, people treat music videos like another checklist item on the record label “to do” list.  Even music television stations like MTV, VH1 and BET show more original programming than music videos.  And if they do show a music video, you tend to only get a snippet of it, not the full thing.  And that’s in mainstream music.

Glance over at the smaller niche genres, like gospel, and I really have to scratch my head at artists and labels who are so quick to make (and PAY FOR) a music video.

I think many gospel artists think that a music video means you’ve “made” it.  But where, in the current state of our industry, do you think you’re making it to?  It doesn’t necessarily translate to a wider audience or an increase in sales.  And to the artist who says “I’m not doing it for those reasons… I just want someone to be blessed by the video footage,” I say “QUIT IT.”  It’s a tool and it’s okay to view it as such.  And given that it is one, it might do us well to assess whether it’s a wise tool in which to invest.

And once you have it, to whom are you showing it?  The reality is that, for most gospel fans, the only time we CAN see a gospel music video on television is on Sunday mornings, between 10am and 12 noon.  And guess where most gospel fans will be during that time?  Church.  So, artists and labels spend time and money to create a product that can generally only be experienced at a time when their core audience can’t actually experience it!  Not wise.

And for those of you who’d say “but, what about getting it featured on gmc.com or posting it to YouTube?”  Maybe.  But I’m someone who sits in front of a computer all day.  In fact, I make my living that way.  And I’m not watching a music video.  I might do it once, but I definitely won’t do it a second time.

I’m not writing this to gripe.  Really I’m not.  I honestly am serious and quite curious– who cares about gospel music videos these days???

I saw an ad for a new gospel songbook yesterday– you know, the sheet music for some of our favorite gospel songs… and I thought to myself “are people even buying these?”

Back when I was a young lad pursuing my undergraduate degree, I took classical piano lessons as one of my electives.  The instructor– whose name now escapes me and I dare not try to remember, lest I be called a racist– told me to buy music that I wanted to learn.

So, I said “well, shoot… lemme learn some Kirk Franklin, some Yolanda Adams, some Fred Hammond…”  And I bought songbooks of their music.

Sidebar:  It occurs to me that you guys don’t know that I’ve played piano since I was 2 or 3 years old, so you’re probably like “WHAT?!”  For the sake of brevity in this post–  I know how to play the piano, but I don’t do it much at all anymore.  Moving on…

The problem I encountered was that my playing became so technical that it stripped the feeling out of what I was doing.  Ultimately, I ended up scrapping what was written and just playing by ear, which was precisely what I was trying to avoid doing by taking lessons in the first place.  I just didn’t prefer the sheet music.

It is an incredibly unfortunate reality that many church musicians I’ve encountered cannot read music (and you can forget about music theory), so the songbooks are kinda lost on them, too.  And of the folks who can read music, I’m betting that their experiences would be similar to mine– you get so caught up reading that you forget to spend any time feeling.

So, I’m just curious– who buys gospel songbooks?  Do any of you own some?  Which ones?  Talk to me!

Last week, I was fortunate enough to attend the Gospel Heritage Foundation’s Praise & Worship Conference in Jacksonville, FL, which is the vision of Gospel Today’s Dr. Teresa Hairston.

I was a featured speaker on two panels for the youth and college division along with Carla Williams (General Manager of Kirk Franklin’s Fo Yo Soul Entertainment), Monica Coates (author/speaker/industry vet), Asaph Ward (super producer), Grant Jenkins (artist manager/artist development consultant, the point5ive agency) and Myron Butler (artist/songwriter/producer).

On the first panel, we talked about the “new” music industry and how the current industry differs from what it used to be.  And we talked about what it means for people, in both the short-run and long-term.  After a quick break, the second panel featured us sharing more about our unconventional careers in this “new” music industry.  Of course, we had lots of time for Q&A, which is generally my favorite part of any panel discussion.

I can’t recap all the nuggets of wisdom that each of the panelists gave– you shoulda been there. In short, we really tried to equip and challenge people to be better, not just to do “business as usual.”  And the audience was of a perfect age to take it and run with it (cuz some of you “seasoned” saints get so set in your ways!).

I’ve been thinking about the panel discussion since then, and I wanted to share some concepts from it with the general readership of GospelPundit.com.  One thing I wanna stress is that it is not enough to look the part– you actually have to be competent.

The “do-it-yourself” theme of the industry is both a good thing and a bad thing.  It’s good because the playing field is being leveled– anyone can promote, market and further their careers from a home computer.  Trust me, I love it.  However, the unfortunate reality is that, of those who do it themselves, only a handful are actually artists or executives of substance.

Don’t be fooled by the current music industry’s resources, now replete with social networking and opportunities galore… you STILL have to do the work, lest you be found severely lacking when the spotlight is on you.  And don’t think that a bunch of views on your YouTube video automatically translates to album sales, ministry bookings, OR (most importantly) impacted lives.  Remember– your shortcut doesn’t speak for you.  You’ll still have to be a person of substance once your arrive at the destination.

That goes for everyone.  It’s not enough to just “look like one,” whatever the “one” is.  Songwriters need to dig deeper; artists, musicians and producers need to be more creative; executives need to actually be educated in what they’re doing.

This is an age of information– but anyone laboring in the gospel industry needs to be more than just informative, they must be transformative.

So, as you’re carving out your niche in this industry, do the gospel community a favor– be a person of substance and refined professionalism, not just someone who grabbed an opportunity and fooled people into buying your hype.  Do your work, beforehand and during, so that you’re actually contributing to, not just taking from, the Kingdom of God.

Cool?

Over the past week, as BET has broadcast episodes of The Mo’Nique Show featuring various gospel artists, discussions have been swirling around the web about Mo’Nique’s incessant use of profanity and the reactions (or lack thereof) from gospel artists.

Apparently, in recent interviews with both Marvin Sapp and Kirk Franklin, Mo’Nique didn’t hold back from using casual profanity and, sometimes, crude humor.  I’m grateful that neither of them went to slingin’ oil and rebuking her, despite the fact that (to me) they appeared be a bit uncomfortable with it.  Anyway, some of you thought they should’ve been more outspoken against it.

Personally, I thought “who the heck cares,” because I won’t declare myself the arbiter of how artists should act when they get a national platform.  It ain’t easy to do and I don’t know how I’d handle a personality as strong as Mo’Nique’s in that moment, with the cameras rollin’, before a live studio audience… I just can’t say.  Plus, I tend to enjoy her show– she’s hilarious and she features great interviews with great people in the African-American community.  In any case, I definitely wasn’t gonna enter the discussion.

BUT last night, when Mo’Nique featured gospel duo BeBe & CeCe Winans, she didn’t curse.  Not once.  I was prepared to just say “oh, well whatever” until SHE said, from her own mouth, that her words were twisted because, as it relates to “God’s angels,” God told her “Mo’Nique, don’t you FOOL with BeBe & CeCe, now.”

Now, whether God spoke to her or not, there is clearly something about BeBe & CeCe that Mo’Nique respected differently as compared to Kirk Franklin and Marvin Sapp (I won’t even say “respected more”).  She perceived that she had to treat them differently.

And so I wondered– what do BeBe & CeCe have, exhibit, carry and/or represent to Mo’Nique that Kirk Franklin and Marvin Sapp might not?

I know a BUNCH of y’all are gonna talk about the anointing, but to be clear– I think Kirk Franklin and Marvin Sapp are super duper anointed for what God has called them to do.  I love them and adore their ministries.  What else might it be?

I thought maybe it’s gender… maybe it wasn’t as much about BeBe as it was an issue about CeCe.  Maybe it’s a respect for women, because I don’t recall Mo’Nique using profanity with Yolanda Adams a few months ago either.

Maybe it’s… I dunno.  I just know that it happened.  And maybe it’s not even worth discussing.  But maybe it is…

I’m merely curious and felt like getting a chat goin’…

What’s your favorite Yolanda Adams album?

PERSONALLY, my fave is her Through The Storm album.  In my opinion, it featured some of the greatest vocal performances she’s ever done, including the title track, ”The Only Way,” “Just A Prayer Away,” “Let Thy Will Be Done”… all of it!

I guess a close second would be her Mountain High… Valley Low album… and don’t even get me started on the work she did with the Southeast Inspirational Choir– who remembers her lead vocal on “My Liberty” from waaaaaay back???

Just for your convenience, I’ve placed a nifty little widget here, linking to Amazon.com in case you wanna listen to any of her songs.  It’s not an exhaustive list, but it’s a bunch of Yolanda’s projects.  And, if you don’t have any of ‘em, you may wanna consider buying them now– some are as low as $7!

Okay, talk to me!  Tell me your favorites!

Most of you know me as a gospel music fan and blogger.  And that’s me.  But by trade, some know me as an attorney.  And that’s me, too.

So, for a moment, I’m swapping my blogger hat for my attorney hat to simply caution all of you would-be Sunday Best auditioners… be VERY CAREFUL of anything you sign as you go to audition for the hit gospel talent competition.

DISCLAIMER:  Legal information is distinct from legal advice.  The commentary that follows is not intended, in any way, to serve as legal advice.  If you desire legal counsel and assurance, you are advised to consult a competent attorney.

First, please know that what I’m about to say is in NO WAY intended to slight BET or the Sunday Best program.  Their legal requirements are generally similar to other televised talent competitions and many of the things that viewers and auditioners might consider “unfair,” are merely protections that the network and the program’s producers need, and deserve, to have in place.

With that said, I’m going to speak GENERALLY about how some of the agreements at televised talent competitions, such as Sunday Best, American Idol and Gospel Dream, operate.  This info is not necessarily applicable to each televised talent contest.

Here we go:

1.  You’ll HAVE TO sign it.  Please understand that when you audition for a show, you will be required to sign a binding legal agreement.  I’m not talking about just before the finals– I’m talking about while you’re standing in line with thousands of folks.  If you don’t sign something, you’re not auditioning.  Period.

2.  When you sign, you’ll be giving your CONSENT to a lot of stuff.  Most folks don’t care about this.  At the preliminary stage, you’ll just be consenting to have your image, likeness, singing voice, etc. on TV.  How else is America supposed to laugh at you or applaud you if you make it to the judges?  Basically, you’re consenting to be on the show WITHOUT PAY.  And the show can edit, manipulate and use the images and sounds that they get from you in any way they choose (even if it makes you look like a heathen).  Further, the show owns, and can use, this footage any way it wants, FOREVER.

3.  You might not be able to sing, dress or act like you want to.  How many times have we heard “wrong song choice” from the judges?  Or how many times have you sat at home and said “why is she singing THAT?!”  Well, sometimes, it’s not really up to the contestants.  Remember when I interviewed a bunch of the Sunday Best finalists last year?  Several of them mentioned that they didn’t get to pick their songs at all.  And let’s not forget about the mandatory makeovers.  A good one can be anybody’s friend, but don’t start fussin’ about “holiness” if they color your hair and dress you like a lounge singer.  This is what you wanted.

4.  You might get a MANAGER that you don’t want.  Some shows, within that early agreement, make contestants agree that they can be managed by a manager of the show’s choosing.  This is particularly rough if you’re already working as an aspiring artist and you’ve already got a manager– you might have to drop him/her and end up having your career guided by a total stranger.

5. Some shows bind you to a RECORD DEAL.  Many of you have asked me why Jessica Reedy doesn’t have a record deal yet.  Here’s why… BET may have temporarily taken away her right to do so.  Take a look at the Sunday Best release from this year’s auditions in Nigeria (click here) as an example… there’s a clause that says “if my appearance, name, likeness, voice, singing voice… are used in connection with the Program, I may be required… to enter into… an agreement for my exclusive recording services which may include an agreement for my exclusive songwriting services…”  OUCH!

In effect, it says “in order to appear on the show, I may be required to sign a record deal.”  So, you ask me “but, with what label?”  Here’s the kicker– with BET’s “record label.”

Now, you and I both know that they don’t really have a gospel label, but look at the beauty of this clause for them.  If a contestant is good, and has a huge fan following from the show, BET gets the FIRST opportunity to sign that artist to a label that it has, or will create.  For how long? Let’s just say that I have spoken personally to a former contestant from last season who is STILL not allowed to sign a record deal.  But we’re already getting ready to tape a new season!

Actually, I should amend that… BET will allow you to sign with another label, but only if they can split the profits with that label.  Or maybe the new label will have to pay to buy you out.  How much? Dunno exactly, but I can guarantee it’ll be too much for ANY gospel label to pay and still make a profit from your record sales.  So, you might just have to wait it out and hope that people still remember you, or care about you, once the contract is up…

6.  Some shows bind you to a SONGWRITING DEAL, too.  This is where it can really hurt financially.  In the same Sunday Best release I referenced above, did you notice the language that says “which may include an agreement for my exclusive songwriting services”?  When you sign an agreement for your songwriting services, it generally means you’re gonna lose some, or all, of your publishing rights.  Publishing rights refer to song OWNERSHIP, so you can count on losing some, or all, of the money from songs you may write after signing this agreement, IF you are signed to a songwriting agreement.

Note, also, the buzz-word “exclusive.”  That’s right, buddies… exclusive means you can’t do a similar contract with ANYONE else.  If you’re a writer, that means you can’t write for anyone else without BET taking a percentage of that songwriting money, because they’re part owners of any song that you write while under that exclusive songwriting contract.  In the gospel industry, where so many artists write their own material, this could have a significant effect on your career and the money that you bring in from it.

7.  You may be sharing your income for a while.  In addition to recording and songwriting deals, some shows may take bites of every apple you can get your hands on, for years to come.  From merchandising (like, a T-shirt with your picture on it) to touring revenue (if you’re so fortunate), the contract you sign MAY require you split the profits from any money-making opportunities you get as a result of your appearance on the show… and how are you REALLY gonna prove that your future success isn’t linked to your appearance on their national television program?

8.  You might have to be where they want you, when they want you.  Your cousin is gettin’ married the same weekend of an American Idol tour date?  Sorry, you’ll have to miss your cousin’s wedding.  Your goddaughter is getting baptized next Saturday?  Yeah, well, that’s the taping of Celebration Of Gospel and we’re gonna need you in the audience for camera shots, soo… yeah.  Catch my drift?  The network doesn’t just get access to you for its show– it needs you to promote all things related to the show.  If you’re trying to be an artist, that may be great for you.  But don’t complain… this is what you wanted!

9.  And don’t go using their name or logo, either.  Funny how one-sided things can be– they can use your picture and name to promote their stuff, but don’t think for a MINUTE that you can use their logo or title to promote yours.  To do that, you’ve gotta get consent from the network.  It makes sense, I guess– they want to control how their brand is being used and discussed.  What that means, though, is that it’s harder for you to book yourself for gigs or promote your independent record (you can’t necessarily say “from Sunday Best” or “from American Idol“).  Unless you were incredibly memorable, most consumers need a reminder of who you are and why they should care.  You may not get permission to GIVE that reminder, though.

10.  You have only a moment to decide.  This is, perhaps, the hardest part of the contract– you must commit, and commit QUICKLY.  Eventually, the only thing standing between you and the judges’ table will be a wordy document that you don’t really understand.  No one’s really waiting while you find an attorney and fax him your contract to review… either sign it, or leave.  You won’t really be missed.  Plus, this is your big shot.  The shows are prepared to dress you up and put you on national TV to sing!  But, decide now– what are you prepared to do in exchange???

Sooooo, I hope this helps to explain what some of the language you might see actually means.  Again, NOTHING I HAVE SAID IS INTENDED TO SERVE AS LEGAL ADVICE.  I ENCOURAGE YOU TO SEEK PROFESSIONAL LEGAL COUNSEL WITH REGARDS TO ANYTHING YOU MIGHT SIGN.  And that goes DOUBLE for anyone who makes it from the massive audition line to the televised stage.

Now, having said all of that, who’s auditioning???

Earlier today on Twitter, I did a quick survey asking people to tell me their favorite Hezekiah Walker album and their favorite song from that album…

The responses varied, of course, from Focus On Glory to Family Affair to Souled Out, and everything in between…

I wanted to give you folks the opportunity to weigh in, too.  In fact, I didn’t even tell the Twitterverse about my favorite…

It’s a hard one, for sure, cuz I think Love Fellowship is my favorite choir ever.  But I think my absolute FAVORITE album from Hezekiah Walker is Live In New York and I’m gonna have to cheat for the favorite song, cuz I have several.

I love “Second Chance” most, I think… but also “Sweeter As The Days Go By,” “I’ll Fly Away,” and… well, the whole project!

Okay, talk to me… TRY to narrow it down, but if you have to name a few albums, or a dozen songs, I won’t mind. LOL