The happiest people are those who do the most for others. The most miserable are those who do the least.
Booker T. Washington, Up from Slavery
Booker T. Washington, Up from Slavery
Warren Wiersbe (via littlethingsaboutgod)
(Source: passion-not-perfection, via littlethingsaboutgod)
I couldn’t have told you what the word “irony” meant, but I knew I’d been cheated by Christian rock. This was crack, and I’d been wasting my time sniffing glue.
It’s 1994, and Michael Stipe recently lost his religion. It’s before Bieber and bling, before ordering a latte required six qualifying adjectives. In coffeehouses across the country, bored teens slouch on thrift-store couches nodding along to the Cranberries’ “Zombie.” Weezer breaks into the alt-rock scene with the Blue Album; Green Day tops the charts with the first punk rock song to whine about a lousy therapist. In April, hordes of fans gather in Seattle Park to mourn the death of Kurt Cobain. A few months later, 350,000 people make the pilgrimage to Saugerties, New York for the twenty-fifth anniversary of Woodstock.
The same summer, in Peoria, Illinois, the gospel artist known simply as Carman takes the stage at a sold-out stadium concert. Dressed in a hooded sweatshirt, high-top sneakers, and neon Ray-Bans, he calls out to a crowd of cheering young people: “Who’s in the House?”
If you’re not familiar with the 1990s contemporary Christian music scene, Carman was kind of a big deal. Born Dominic Licciardello in Trenton, New Jersey, Carman began his career as a Las Vegas lounge singer, then got saved and spent much of the ’70s and ’80s dominating the Christian adult contemporary market. At this concert, he opened with the hit single from his 1993 album The Standard, a project designed to court a younger audience.
This was the golden era of MTV, and Christian leaders, perhaps sensing they were up against a larger beast, opted for a more positive approach by promoting sanctioned (and sanctified) alternatives.
“Who’s in the House” is a hip-hop track about the presence of the Lord. Through megaphone distortion, Carman rapped a few lines: “You take him high / you take him low / you take JC wherever you go,” then led into a call and response hook reminiscent of ’80s-era De La Soul. “Tell me who’s in the house? JC!”
(Source: spiritualinspiration, via littlethingsaboutgod)
(Source: spiritualinspiration, via littlethingsaboutgod)