Amazing Disgrace: The New Apostolic Reformation's Plot to Corrupt the Gospel's Message via 7MM

The intent is to foster understanding and encourage critical thinking about the evolving role of Gospel music in our society.

“How Great is Our God?”

The widely cherished worship song “How Great Is Our God” has unexpectedly emerged as a rallying cry for Christian Nationalist movements in recent times. The Contemporary Christian music scene, exemplified by artists like Chris Tomlin who penned this popular hymn, presents a stark contrast between professed gratitude and worldly success. While these artists sing about giving thanks with humble hearts, their performance fees often range from $40,000 to $75,000 per appearance. This dichotomy reflects a broader issue within certain Christian circles, where proclamations of strength by the vulnerable are celebrated, yet true liberty and freedom seem increasingly reserved for a privileged few. The co-opting of such spiritual anthems by political movements raises questions about the intersection of faith, commerce, and ideology in modern American Christianity.

For decades, the burgeoning white Gospel music scene, rebranded as Contemporary Christian Music (CCM), dominated Christian television broadcasts, effectively sidelining Black Gospel artists. This exclusion wasn't due to a lack of interest from Black performers, but rather a systemic denial of opportunities. The landscape began to shift when siblings BeBe and CeCe Winans made their groundbreaking appearance on the Praise the Lord (PTL) network, a widely syndicated Christian broadcast station. Their debut marked a significant milestone, as they were among the first Black Gospel artists to gain visibility on mainstream Christian television.

This watershed moment highlighted the long-standing racial divide within the Christian music industry. The Winans' appearance on PTL opened doors that had previously been closed to Black Gospel performers, challenging the status quo and paving the way for greater diversity in Christian media. Their breakthrough underscored the artificial nature of the racial barriers that had been maintained in Christian broadcasting, proving that the absence of Black artists was not due to lack of talent or appeal, but rather limited access to these influential platforms.

The emergence of Black Gospel artists on mainstream Christian television, particularly the debut of BeBe and CeCe Winans on the PTL network, sparked widespread celebration within the Black community, especially among charismatic and Pentecostal circles. This enthusiasm was rooted in a complex socio-economic context that persisted despite the achievements of the Civil Rights movement.

In the 1980s, Black Americans continued to grapple with the repercussions of systemic inequality, including:

• - The enduring effects of generational wealth disparities

• - Discriminatory housing practices

• - The devastating impact of the crack cocaine epidemic

• - Widespread "white flight" from urban centers

• - Limited access to quality education

Against this backdrop of persistent challenges, the prosperity gospel found fertile ground among many Black Americans who felt marginalized and desperate for hope. The message of material blessings through faith resonated strongly with communities facing economic hardship and social barriers.

However, it's crucial to note that the appeal of prosperity theology and the allure of fame and wealth were not uniform across all segments of the Black community. More established Black congregations, particularly those with members representing:

• - The upper socioeconomic class

• - Higher education institutions

• - Political spheres

• These communities were generally less susceptible to the promises of prosperity gospel. Their relative stability and access to resources often provided a buffer against the desperation that made others vulnerable to such teachings.

This dichotomy highlights the complex interplay between socioeconomic status, religious beliefs, and the pursuit of upward mobility within the Black community during this period. The celebration of Black artists breaking into mainstream Christian media was thus multifaceted, representing both a triumph over racial barriers and, for some, a potential pathway to the prosperity they had long been denied.

Evolution of Gospel Music

The evolution of Gospel music in recent decades has taken a concerning turn. Modern worship songs often feature simplistic, repetitive melodies that, while catchy, lack the depth and social consciousness of their predecessors. This musical simplification serves to create a hypnotic effect, potentially dulling the listener's critical thinking and activism - a stark contrast to the powerful, change-driving anthems used by civil rights leaders like Fannie Lou Hamer and the Student Nonviolent Coordinating Committee (SNCC) singing groups.

Many contemporary Black Gospel artists, lured by financial success, have found themselves propagating a musical style that is both sonically and theologically at odds with the genre's roots. This shift has transformed Gospel music from a medium that once offered hope and encouraged self-reflection into a tool that often reinforces a narrow, power-centric interpretation of Christianity.

The genre's trajectory mirrors a larger trend where Gospel music and worship songs are increasingly co-opted by movements such as the New Apostolic Reformation (NAR). This appropriation has led to a distortion of Gospel music's original spiritual mission, replacing messages of love, justice, and community empowerment with themes of dominion and retribution.

This transformation represents a significant departure from Gospel music's historical role as a voice for the marginalized and a force for social change. Instead of providing a window into realms of hope or serving as a mirror for introspection, much of today's Gospel music risks becoming a prism that refracts Christianity through a lens of power and control, potentially undermining its capacity to address contemporary social issues and spiritual needs.

The New Apostolic Reformation

The New Apostolic Reformation (NAR) represents a controversial fusion of Pentecostal and evangelical ideologies, advocating for Christian dominion across all societal spheres. Central to their doctrine is the 7 Mountain Mandate (7MM), a strategy within dominionist conservative Christianity that aims to establish Christian control over media, family, religion, education, arts and entertainment, business, and government.

The roots of this movement can be traced back to the early colonial period of the United States. The Puritans, led by figures like John Cotton and Richard Mather, who saw themselves as "more pure" than the Church of England, laid the groundwork for conservative Christian influence in governance. This ideology, coupled with race theory used to justify the enslavement of Africans, shaped the foundational principles of the nation in ways that align closely with today's 7 Mountain Mandate concept.

In its modern incarnation, the NAR is mobilizing its Christian Nationalist agenda through initiatives like the Courage Tour, which targets 19 key counties they believe will "determine the future of America." This strategy for political and cultural overhaul emphasizes taking control of the seven societal "mountains" mentioned earlier.

Organizations aligning with this ideology include prominent congregations such as Bethel, Hillsong, Assemblies of God, Elevation, Summit, and Word of Faith Ministries. Influential leaders in this movement include Greg Laurie, Brian Houston, Jesse Duplantis, Kenneth Hagin, and Paula White, among others.

A key tool in attracting followers to this ideology is music. Bethel Church and Maverick City are at the forefront of producing a "new sound" of Gospel that is penetrating black congregations and drawing black artists with promises of success and global tours. However, opportunities are limited, leading many artists to conform to a style of music that, as one observer noted, has people "singing themselves to death."

This musical shift reflects a broader co-opting of Gospel music by the NAR and similar groups, potentially distorting the genre's original spiritual mission and its historical role in promoting social justice. The result is a complex interplay of theology, politics, and culture that is reshaping both the sound and the message of contemporary Christian music.

NAR is rock solid….

The New Apostolic Reformation (NAR) has indeed solidified its influence, particularly since 2016. Scholars have characterized it as "inherently political" and potentially threatening to democratic principles. While the NAR, like the broader Christian Nationalist movement, lacks a single identified leader, its consistent message has proven effective in advancing its agenda.

This agenda often comes at the expense of women, marginalized communities, and environmental conservation, masked under the guise of making America "the greatest nation." It echoes the rhetoric of the "Moral Majority, Inc." and leaders like Jerry Falwell, who preached restrictive roles for women, asserting their only rights were in marriage to a "Godly man."

Kristin Kobes Du Mez's book "Jesus and John Wayne" provides crucial context, arguing that white evangelical support for Donald Trump in 2016 was not an anomaly but the culmination of decades-long trends in evangelical culture, centered more on cultural and political issues than theology.

Contrary to popular belief, the roots of Christian nationalism are not primarily theological but political, tracing back to conservative Republican reactions to events like the Brown v. Board decision to desegregate public schools. The movement gained momentum following IRS decisions to revoke tax-exempt status from institutions like Bob Jones University and Goldsboro Christian Schools for racist policies, including bans on interracial dating and non-white students.

In contrast, Black Gospel artistry has historically represented a different ethos. It's not confined to trends in musicality or branding but is rooted in representing Christian values aligned with biblical teachings, often manifesting as activism in song for marginalized communities. Throughout its history, Black Gospel music has consistently embodied themes of hope amidst systemic oppression.

The evolution of Black Gospel music closely mirrors the African American experience in the United States. As PBS traces, from the 1400s-1800s West and West Central African roots to Contemporary Gospel Music, each era of Gospel reflects the socio-political status of African Americans. The Church of God in Christ, in particular, has made significant contributions to this musical and cultural legacy.

This historical context underscores the stark contrast between the NAR's political agenda and the traditional role of Black Gospel music as a voice for social justice and spiritual resilience in the face of adversity.

In Conclusion

My unique perspective as a scholar of theology, ethics, and religion, combined with deep familial roots in Gospel music, provides a rich and nuanced understanding of the genre's evolution and significance.

Specifically, my upbringing in the Church of God in Christ in East Oakland, at the vibrant corner of the “inner city”, immersed me in a world where music was not just heard, but felt and lived. This environment laid the foundation for my comprehensive understanding of Gospel music's role in community and spirituality.

My father, Charles Renard Webb (1950-2010), though often described as an "unsung" contributor to Gospel music, was clearly a pivotal figure in the genre. His collaborations with renowned artists like Tramaine Hawkins, the Clark Sisters, Pastor Andrae Crouch, Bishop Carlton Pearson, and Darryl Coley, as well as his work with secular artists like Al Green, demonstrate the breadth of his musical influence. His appearances on platforms like the Merv Griffin Show further underscore his significance in the broader music landscape, as well.

What's particularly noteworthy is my father's strategic approach to Gospel music. His vision of incorporating messages of hope while pushing the boundaries of traditional Gospel sound reflects a deep understanding of music's power to inspire and transform. By daring to incorporate "worldly" sounds into Gospel, he exemplified the genre's capacity for innovation and relevance without compromise of the tenants of the black church.

My extended musical family, including my stepfather, Godbrother, cousins (members of Tony Toni Tone), and figures like Bishop Rance Allen, further enriches my perspective. This network of musical influences provides me with a unique vantage point from which to observe and analyze the evolution of Gospel music from within/outside as an academic/practitioner.

This personal history, combined with my academic expertise, positions me uniquely to comment on the current state of Gospel music and its relationship to movements like the NAR. I am intentional about observing both the historical continuity and the departures in contemporary Gospel, understanding its potential for social commentary and spiritual uplift, as well as the risks of its co-option by political movements.

My mission here is to remind us that Gospel music, at its core, has always been about more than just sound—it's a powerful vehicle for hope, community, and social change, deeply rooted in the African American experience yet capable of speaking to universal human experiences.

IT IS CRUCIAL…….

In conclusion, it's crucial to emphasize that the purpose of this work is not to expose or shame individuals who are unaware of this information or those who may be benefiting financially from associations with Christian Nationalist agendas like the New Apostolic Reformation (NAR). Rather, this analysis aims to shed light on the complex interplay between Gospel music, politics, and faith in contemporary America.

The intent is to foster understanding and encourage critical thinking about the evolving role of Gospel music in our society. By examining the historical roots and current trends in Gospel music, we can better appreciate its power as a medium for spiritual expression, social commentary, and community building. At the same time, we can become more aware of how this powerful art form can be influenced or co-opted by various ideological movements.

This exploration, I hope, invites readers to consider the broader implications of these trends on faith, culture, and social justice. It's an opportunity for reflection, not judgment - a chance to examine how our musical and spiritual traditions interact with the political and social realities of our time.

Ultimately, the goal is to inspire a deeper appreciation for the rich legacy of Gospel music and to encourage thoughtful engagement with its present and future directions. By understanding these dynamics, we can all play a part in preserving the authentic spirit and mission of Gospel music as a force for hope, unity, and positive change in our communities and beyond.