Coordinates

37°46′45.48″N122°25′9.12″N

Bgcolor

sienna |colorwhite |nameGospel music |stylistic_originsChristian hymnsNegro spirituals |cultural_originsFirst quarter of 20th century: USA |instrumentsVocals, piano, Hammond organ, guitar, horns, drums, and bass guitar |popularity1900s - Present, mostly among Christians |derivativesCountry, Rhythm and Blues, Soul |subgenrelist |subgenresUrban contemporary gospel,Southern gospel |fusiongenresChristian country music |regional_scenes |other_topics }}

Gospel music is music that is written to express either personal, spiritual or a communal belief regarding Christian life, as well as (in terms of the varying music styles) to give a Christian alternative to mainstream secular music.

Like other forms of Christian music, the creation, performance, significance, and even the definition of gospel music varies according to culture and social context. Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, and as an entertainment product for the marketplace. However, a theme of gospel music is praise, worship or thanks to God, Christ, or the Holy Spirit.

Style

Gospel music in general is characterized by dominant vocals (often with strong use of harmony) referencing lyrics of a religious nature, particularly Christian. Subgenres include contemporary gospel, urban contemporary gospel (sometimes referred to as "black gospel"), Southern gospel, and modern gospel music (now more commonly known as praise and worship music or contemporary Christian music). Several forms of gospel music utilize choirs, use piano and/or Hammond organ, drums, bass guitar and, increasingly, electric guitar. In comparison with hymns, which are generally of a statelier measure, the ''gospel song'' is expected to have a refrain and often a more syncopated rhythm.

Many attempts have been made to describe the style of late 19th and early 20th century gospel songs in general. Christ-Janer, et al. said "the music was tuneful and easy to grasp . . . rudimentary harmonies . . . use of the chorus . . . varied metric schemes . . . motor rhythms were characteristic. . . . The device of letting the lower parts echo rhythmically a motive announced by the sopranos became a mannerism . . ." Patrick and Sydnor emphasize the notion that gospel music is "sentimental", quoting Sankey as saying, "Before I sing I must feel", and they call attention to the comparison of the original version of Rowley’s "I Will Sing the Wondrous Story" with Sankey's version. Gold said, "Essentially the gospel songs are songs of testimony, persuasion, religious exhortation, or warning. Usually the chorus or refrain technique is found."

History

One can pursue the roots of gospel music through the academic discipline of ethno-musicology (going back to Europe and Africa), through a study of the 2,000-year history of church music, and through a study of rural folk music traditions, but for practical purposes, gospel music as we know it can be traced to the 18th century. Coming out of an oral tradition, gospel music typically utilizes a great deal of repetition. This is a carryover from the time when many post-Reconstruction blacks were unable to read. The repetition of the words allowed those who could not read the opportunity to participate in worship. During the time, hymns were lined and repeated in a call and response fashion and the Negro spirituals and work songs emerged. Due to the enslaved Africans attended their masters’ worship services, the seventeenth-century influences on Negro spirituals and work songs were traditional hymns the enslaved Africans heard in worship services. Worship services served several purposes; not only were they a means by which the Africans could be monitored, but they also served as a reinforcement of the slavery indoctrination. Quite often readings were from St. Paul, and outlined being good servants and loving, obeying, and trusting one’s master. At this time it was also illegal for more than a handful of blacks to congregate without supervision. This meant that the blacks were not free to worship on their own they had to attend worship services with their master. At these services they would grow closer in their understanding of Christian doctrine and role that music played in that experience. The worship music (hymns) of the whites masters became the backdrop for the music the enslaved Africans would use at their eventual worship meetings.

Most of the churches didn’t have musical instruments to use. There would be guitars and tambourines to use every now and then but not frequently. There weren’t regular church choirs that existed at this time and they didn’t use the piano that often either. Most of the music that was performed was done a cappella.

Gospel also lends some of its more modern roots to the mass revival movement (starting with Dwight L. Moody, whose musician was Ira D. Sankey) and the Holiness-Pentecostal movement. Prior to the meeting of Moody and Sankey in 1870, there was an American rural/frontier history of revival and camp meeting songs, but the gospel hymn was of a different character, and it served the needs of mass revivals in the great cities.

The revival movement employed popular singers and song leaders (starting with Ira Sankey) who used songs by writers such as George F. Root, P. P. Bliss, Charles H. Gabriel, William Howard Doane, and Fanny Crosby. The first published use of the term “gospel” to describe this kind of music was apparently in the 1870s. In 1874, P. P. Bliss edited a collection titled ''Gospel Songs'', and in 1875 P. P. Bliss and Ira Sankey issued ''Gospel Hymns, no’s. 1 to 6'', an extension of the 1874 ''Gospel Songs.'' Sankey and Bliss’s collection can be found in many libraries today.

The popularity of revival singers and the openness of rural churches to this type of music (in spite of its initial use in city revivals) led to the late 19th and early 20th century establishment of gospel music publishing houses such as those of Homer Rodeheaver, E. O. Excell, Charlie Tillman, and Charles Tindley. These publishers were in the market for large quantities of new music, providing an outlet for the creative work of many songwriters and composers

The holiness-Pentecostal movement, or sanctified movement, appealed to people who were not attuned to sophisticated church music, and holiness worship has used any type of instrumentation that congregation members might bring in, from tambourines to electric guitars. Pentecostal churches readily adopted and contributed to the gospel music publications of the early 20th century. Late 20th century musicians such as Elvis Presley, Jerry Lee Lewis, Mahalia Jackson, Andrae Crouch, and the Blackwood Brothers either were raised in a Pentecostal environment, or have acknowledged the influence of that tradition.

The advent of radio in the 1920s greatly increased the audience for gospel music, and James D. Vaughan used radio as an integral part of his business model, which also included traveling quartets to publicize the gospel music books he published several times a year. Virgil O. Stamps and Jesse R. Baxter studied Vaughan’s business model and by the late 1920s were running a heavy competition for Vaughan. The 1920s also saw the marketing of gospel records by groups such as the Carter Family.

The first person to introduce the ragtime influence to gospel accompaniment as well as to play the piano on a gospel recording was Ms. Arizona Dranes.

In African-American music, gospel quartets developed an a cappella style following the earlier success of the Fisk Jubilee Singers. The 1930s saw the Fairfield Four, the Dixie Hummingbirds, the Five Blind Boys, the Swan Silvertones, the Charioteers, and the Golden Gate Quartet. Racism divided the nation, and these groups were best known in the African-American community, but some in the white community began to follow them. In addition to these high profile quartets, there were many black gospel musicians performing in the 1920s and 30s.

In the 1930s, in Chicago, Thomas A. Dorsey (best known as author of the song, "Precious Lord, Take My Hand"), who had spent the 1920s writing secular music, turned full time to gospel music, established a publishing house, and invented the black gospel style of piano music. He had many trials in his life that he overcame concerning his health and his wife died. He dedicated all of his musical talent to the service of the LORD. Thomas gained knowledge of his religion from his father who was a Baptist minister and took up on piano from his mother who was his teacher. He started working with lack blues pianist when they moved to Atlanta. It has been said that 1930 was the year when modern gospel music began, because the National Baptist Convention first publicly endorsed the music at its 1930 meeting. Dorsey was responsible for developing the musical careers of many African-American artists, such as Mahalia Jackson.

Meanwhile, the radio continued to develop an audience for gospel music, a fact that was commemorated in Albert E. Brumley's 1937 song, "Turn Your Radio On" (which is still being published in gospel song books). In 1972, a recording of "Turn Your Radio On" by the Lewis Family was nominated for "Gospel Song of the Year" in the Gospel Music Association's Dove Awards.

Following the Second World War, gospel music moved into major auditoriums, and gospel music concerts became quite elaborate. In 1950, black gospel was featured at Carnegie Hall when Joe Bostic produced the Negro Gospel and Religious Music Festival. He repeated it the next year with an expanded list of performing artists, and in 1959 moved to Madison Square Garden. Today, black gospel and white gospel are distinct genres, with distinct audiences. In white gospel, there is a large Gospel Music Association and a Gospel Music Hall of Fame, which includes a few black artists, such as Mahalia Jackson, but which ignores most black artists. In the black community, James Cleveland established the Gospel Music Workshop of America in 1969.

Gospel music genres and subgenres

Urban contemporary gospel

Urban contemporary gospel (sometimes still marketed as "Black gospel" to help distinguish it from other forms of Christian music) is a subgenre of contemporary gospel music.

Gospel blues

Gospel blues is a blues-based form of gospel music (a combination of blues guitar and evangelistic lyrics).

Southern gospel

Southern gospel, is sometimes called "quartet music" by fans due to the original all male, tenor-lead-baritone-bass quartet make-up. This type of music deals with the everyday problems of life and how God answers those problems. Southern gospel depends on strong harmonies, often with extremely wide ranges (i.e. extremely low bass, falsetto tenor.) Flavors in Southern gospel range from ultra-traditional early quartet music (i.e. the Statesmen Quartet, circa 1940-50) to very cutting edge sounds (i.e. current Signature Sound quartet discography).

Progressive Southern gospel

Progressive Southern gospel is an American music genre that has grown out of Southern gospel over the past couple of decades.

Christian country music

Christian country music, sometimes referred to as country gospel music, is a subgenre of gospel music with a country flair, is also known as inspirational country. Christian country over the years has progressed into a mainstream country sound with inspirational or positive country lyrics. In the middle 1990s, Christian country hit its highest popularity. So much so that mainstream artists like Larry Gatlin, Charlie Daniels and Barbara Mandrell, just to name a few, began recording music that had this positive Christian country flair. These mainstream artists have now become award winners in this genre.

Bluegrass gospel

Bluegrass gospel music is rooted in American mountain music.

Celtic gospel

Celtic gospel music infuses gospel music with a Celtic flair, and is quite popular in countries such as Ireland; the Dublin Gospel Choir has had over 10 years' success with Celtic gospel music.

Controversies

Some proponents of "standard" hymns generally dislike gospel music of the late 19th and early 20th centuries. For example, Patrick and Syndor complain that commercial success led to a proliferation of such music, and "deterioration, even in a standard which to begin with was not high, resulted." They went on to say, "there is no doubt that a deterioration in taste follows the use of this type of hymn and tune; it fosters an attachment to the trivial and sensational which dulls and often destroys sense of the dignity and beauty which best befit the song that is used in the service of God."

Gold reviewed the issue in 1958, and collected a number of quotations similar to the complaints of Patrick and Syndor. However, he also provided this quotation: "Gospel hymnody has the distinction of being America's most typical contribution to Christian song. As such, it is valid in its inspiration and in its employment." (Robert Stevenson, ''Religion in Life'', Winter, 1950-51.)

Today, with historical distance, there is a greater acceptance of such gospel songs into official denominational hymnals. For example, the United Methodist Church made this acceptance explicit in ''The Faith We Sing'', a supplement to the official denominational hymnal. In the preface, the editors say, "Experience has shown that some older treasures were missed when the current hymnals were compiled," a diplomatic way of saying, "It's all right to sing these songs in church."

Further reading

{|align=right | A selection of gospel music collectedby the Library of Congress in 1943 |}

Blackwell, Lois. ''The Wings of a Dove: The Story of Gospel Music in America.'' Norfolk: Donning, 1978.

Boyer, Horace Clarence, ''How Sweet the Sound: The Golden Age of Gospel'' Elliott and Clark, 1995, ISBN 0-252-06877-7.

Broughton, Viv, ''Too Close To Heaven - The Illustrated History Of Gospel Music'', Midnight Books, 1996, ISBN 1-900516-00-4

Albert E Brumley & Sons, ''The Best of Albert E Brumley,'' Gospel Songs, 1966, ISBN na-paperback Amazing Grace

Cleall, Charles. ''Sixty Songs From Sankey''. London: Marshall, Morgan and Scott, Ltd., 1960.

Darden, Robert, ''People Get Ready: A New History of Black Gospel Music'' Continuum International Publishing Group, 2005, ISBN 0-8264-1752-3.

Downey, James C. ''The Gospel Hymn 1875-1930''. University of Southern Mississippi, MA, 1963.

Eskew, Harry. “Gospel Music, I” in ''The New Grove Dictionary of Music and Musicians'' (1980), VII, 549-554.

Goff, James R. “The Rise of Southern Gospel Music,” ''Church History'', v. 67, no. 4, Dec. 1998, pp. 722ff.

Hanson, Kenneth, ''The Hymnody and Hymnals of the Restoration Movement''. Butler University, BD, 1951.

Heilbut, Tony, ''The Gospel Sound: Good News and Bad Times'' Limelight Editions, 1997, ISBN 0-87910-034-6.

McNeil, W. K., Ed. ''Encyclopedia of American Gospel Music.'' Routledge, 2005. ISBN 0415941792.

Stevenson, Arthur L. ''The Story of Southern Hymnology.'' Roanoke, VA: Stone Printing and Manufacturing, 1931.

Zolten, Jerry, ''Great God A' Mighty!:The Dixie Hummingbirds - Celebrating The Rise Of Soul Gospel Music,'' Oxford University Press, 2003, ISBN 0-19-515272-7.

Professional organizations

: Firebird Arts Alliance - Encourages all races and religions to join : Gospel Music Association - Acknowledges all forms of Gospel Music : Gospel News Today - Primarily Gospel News : Gospel Viu - Gospel Without Borders : Gospel Wire - Primarily urban contemporary gospel : Pacific Gospel Music Association - Known for Southern Gospel : Southern Gospel Music Association - Known for Southern Gospel

Media outlets

: Black Family Channel : Bobby Jones Gospel : Gospel Music Channel : The Inspirational Network : Christian Broadcasting Network : Trinity Broadcasting Network

See also

Gospel Music Hall of Fame

Gospel music WikiProject

List of gospel musicians

Museum of African American Music

Soul music

Stellar Awards

References

Category:Religious music Category:Christian music genres Category:African American music

ar:غوسبل zh-min-nan:Hok-im im-ga̍k bg:Госпъл ca:Gospel cs:Gospel da:Gospel de:Gospelmusik el:Γκόσπελ es:Góspel eo:Gospelo eu:Gospel musika fr:Gospel gl:Gospel ko:복음성가 hr:Gospel id:Musik gospel it:Gospel he:גוספל ka:გოსპელი lb:Gospel lt:Gospelo muzika hu:Gospel nl:Gospelmuziek ja:ゴスペル (音楽) no:Gospelmusikk nn:Gospel pl:Gospel pt:Música gospel ro:Muzică gospel ru:Госпел simple:Gospel music sk:Gospel sr:Госпел sh:Gospel fi:Gospel sv:Gospel th:กอสเปล tr:Gospel müziği uk:Ґоспел vi:Nhạc Phúc âm zh:福音音乐

Juanita Bynum (born January 16, 1959) is an American Pentecostal televangelist, author, actress and gospel singer.

Coordinates	37°46′45.48″N122°25′9.12″N
name	Juanita Bynum-Weeks
pseudonym	Juanita Bynum
birth name	Juanita Bynum
birth date	January 16, 1959
birth place	Chicago USA
occupation	Author, televangelist, gospel singer
spouse	Thomas Wesley Weeks III (2002-2008)
website	http://www.juanitabynum.com }}

Early life

Juanita Bynum is one of 5 children, from the marriage of Elder Thomas Bynum Sr. and Katherine Bynum. She grew up in Chicago, and received a starring role in Perry Middle School's annual play, ''My Fair Lady''. Bynum attended Saints' Academy Church of God in Christ (COGIC) High School (a boarding school) in Lexington, Mississippi. Bynum was raised as an attendee at St. Luke Church of God in Christ, in Chicago, a Pentecostal church.

Personal life

After Bynum graduated from high school, she started preaching in nearby churches and at revivals. Gaining some notoriety at this point, she began a series of what she calls "Lessons in Submission".

In 1996 Bishop T.D. Jakes invited Bynum to attend one of his singles' conferences, where she rose from attendee to speaker in 2 years. In 1997, she released her ''No More Sheets'' video and audiotape series about her change of lifestyle out of sexual promiscuity. In July 1999, Bynum re-preached "No More Sheets" at Jakes' 52,000 attendee ''Woman, Thou Art Loosed!'' Conference in Atlanta. She began appearing regularly on the Trinity Broadcasting Network as an anointed prophetess.

In 2000, Bynum taught a class on the subjects of character, submission and time management at New Greater Bethel Ministries in Jamaica, New York, attended by a class of approximately 70 women. While teaching, her ''Women's Weapons of Power Conference'' was organized. The Weapons of Power conference was held annually through 2006.

Marriage

Bynum was first married in the early 1980s, but the marriage ended in divorce. In 2007, Bynum claimed that she suffered domestic abuse in that marriage, but that she had "made a vow that I would not talk about that situation because it was over 20 years ago."

Bynum married Thomas Wesley Weeks, III in 2002.

Early on August 22, 2007, Bynum was beaten by her husband, who eventually pled guilty to aggravated assault charges. Weeks was given 3 years probation, 200 hours of non-church related community service, and ordered to attend anger management counseling. In June 2008 Bynum and Weeks were divorced.

Discography

''Morning Glory'' (Shekinah, 1999)

''Morning Glory, Volume 2: Behind The Veil'' (Shekinah, 2000)

''A Piece of My Passion'' (Flow, 2005)

''Gospel Goes Classical'' (featuring Jonathan Butler) (Flow, 2006)

''Christmas at Home with Juanita'' (Flow, 2006)

''Pour My Love On You'' (Flow, 2008)

''More Passion'' (Flow, 2010)

''The Diary of Juanita Bynum'' (Son Flower / Spirit Rising / Music World Entertainment, 2010)

References

External links

Official website

Category:1959 births Category:Living people Category:People from Chicago, Illinois Category:American Pentecostals Category:Members of the Church of God in Christ Category:American evangelists

Coordinates	37°46′45.48″N122°25′9.12″N
name	BeBe Winans
background	solo_singer
birth name	Benjamin Winans
alias	BeBe
born
origin	Detroit, Michigan, U.S.
instrument	voice
genre	Gospel, R&B;, Adult contemporary, Soul
occupation	Singer, Songwriter, Producer, Actor
years active	1984–present
label	PTL Records (1984-1987)Sparrow/Capitol (1987-1998) Atlantic Records (1997-1998) Motown Records (1999-2003) Still Waters/Hidden Beach (2004-2006) The Movement Group (2004-present)
associated acts	CeCe Winans Winans family
website	BeBeWinans.net
notable instruments	}}

Benjamin "BeBe" Winans (born 17 September 1962) is a gospel and R&B; singer. He is a member of the noted Winans family, most members of which are also gospel artists.

The PTL Club

He released several albums, first with his sister CeCe Winans, and later as a solo artist. Jim Bakker's television show "The PTL Club" took interest in BeBe and his sister CeCe as background vocalists for the show. After going to North Carolina to audition they were accepted. BeBe and CeCe moved to the PTL campus in North Carolina, and were on the show for about five years.

During their time on PTL, BeBe and CeCe recorded "Lord Lift Us Up" on PTL's label after popular demand on the show. Eventually the success warranted another effort: a full length album. The album did well on the charts. BeBe and CeCe left PTL to pursue their singing career and recorded five albums together including self titled ''BeBe & CeCe Winans'', ''Heaven'', ''Different Lifestyles'', ''First Christmas'' and ''Relationships''. In 1995, BeBe and CeCe split up to pursue solo careers. But in 2009 they did the album "Still" together. On it was the song "Close to You," which won a Dove award in 2010 in the category of Urban Recorded Song (in a tie).

Solo career

In 1989, BeBe won His First Grammy for Best Soul Gospel Performance, Male for his contribution to "Abundant Life", a track on his brother Ronald's Family & Friends Choir.

BeBe signed with Atlantic records and delivered a self-titled solo debut in 1997. The album featured the singles "In Harms' Way", "Thank You", and the international crossover hit "I Wanna Be the Only One" featuring British soul trio Eternal.

The next album released was the fruit of a new deal with Motown Records. ''Love & Freedom'' was released in 2000 and featured production from Warryn Campbell, Brian McKnight, Masters At Work and others. The lead single "Coming Back Home" was a slow swinging ballad featuring R&B; luminaries Brian McKnight and Joe. Another single was BeBe's remake of the Stevie Wonder classic "Jesus Children of America" featuring his older brother Marvin (The Winans, Winans family) and Stevie Wonder himself.

Two years later, a live album ''Live & Up Close'' followed. The album was recorded live at BET studios and featured guests such as his sister Debra Winans-Lowe and Stephanie Mills. The set was released on both CD & DVD. The CD included the studio version of "Do You Know Him?" which served as the album's first single.

By 2003, BeBe had started his own record label, The Movement Group, and partnered with Still Waters, an inspirational and gospel imprint of Hidden Beach Recordings. The first album under this deal was 2004's largely orchestral holiday album entitled ''My Christmas Prayer'' which first appeared exclusively for sale at Starbucks coffee shops nationwide. Between releases, BeBe made his film debut with a small role in the 2004 remake (featuring Denzel Washington) of ''The Manchurian Candidate''.

Early the next year, BeBe released his third proper solo album ''Dream'' featuring the single "I Have A Dream". The song featured samples of the historic speech by Martin Luther King, and was released to several radio stations to coincide with King's birthday celebrations. The cover of the album features a hand painted portrait of BeBe standing in front of a Martin Luther King Jr Blvd. street sign. Also "Miracle Of Love," a duet with Angie Stone included on the album, also appeared on a soundtrack of songs inspired by the film ''The Passion Of The Christ''.

Winans performed a duet with Eden Espinosa on the 2008 Alma Awards which was broadcast on ABC on September 12. 2008. WInans and Espinosa sang "I Don't Know Much" as a tribute to honoree Linda Ronstadt. Bebe performed "Born for This" on the Obama/Biden Inauguration tribute Change is Now CD+DVD set. BeBe & CeCe Winans have confirmed a reunion album scheduled for early 2009.

He currently hosts his own nationally syndicated radio program, ''The BeBe Winans Radio Show''. BeBe Winans is currently starring in Broadway's ''The Color Purple'' as Harpo as of January 9, 2008. He is starring alongside Chaka Khan who is playing his wife, Sofia.

BeBe is currently one of the judges for a Gospel music competition show on BET called, "Sunday Best" along with gospel duo Mary Mary. He was invited to participate in the remake of We Are The World to benefit Haiti after the earthquake. Bebe Winans together with Cece Winans and Mary Mary featuring the West Angeles Choir performed on The Tonight Show With Jay Leno

Legal issues

In November 2007, BeBe Winans filed suit in Davidson County (Tenn.) Circuit Court against his former business manager, Eric Peterson. His claims included breach of a managerial contract and of fiduciary duties, as well as fraud. Peterson managed Winans from early 2002 until early 2007. In the lawsuit, a copy of which is available through this link, Winans asserted that Peterson stole from him and took advantage of his trust. An example given by Winans was that in February 2002, "Mr. Peterson induced Mr. Winans to execute a power of attorney, representing that it was required to permit Mr. Peterson to perform his services. In fact, on December 31, 2004, Mr. Peterson used the power of attorney to execute a promissory note purporting to obligate Mr. Winans to pay Mr. Peterson himself the sum of $150,000."

BeBe Winans was arrested March 11, 2009 on charges of domestic assault for allegedly pushing his ex-wife to the ground in front of their children during an argument. According to a court filing, Winans and his former spouse got into a "verbal altercation" on February 13 about "custody issues dealing with their children."

On December 4, 2009, the domestic assault criminal charges against Bebe Winans were dismissed. An AP news report indicates the court action resulted from a pre-trial diversion deal offered by the prosecution, calling for Winans to attend domestic violence counseling in exchange for dismissal of the charges.

Discography

Solo albums

1997: ''BeBe Winans'' (Sparrow/Atlantic)

2000: ''Love & Freedom'' (Motown)

2002: ''Live and Up Close'' (Motown)

2004: ''My Christmas Prayer'' (The Movement Group/Still Waters/Hidden Beach)

2005: ''Dream'' (The Movement Group/Still Waters/Hidden Beach)

2007: ''Cherch'' (The Movement Group)

As BeBe & CeCe Winans

1984: ''Lord Lift Us Up'' (PTL)

1987: ''BeBe & CeCe Winans'' (Sparrow/Capitol)

1988: ''Heaven'' (Sparrow/Capitol)

1991: ''Different Lifestyles'' (Sparrow/Capitol)

1993: ''First Christmas'' (Sparrow/Capitol)

1994: ''Relationships'' (Sparrow/Capitol)

1996: ''Greatest Hits'' (Sparrow/EMI)

2006: ''The Best Of BeBe And CeCe'' (Sparrow)

2009: ''Still'' (B&C;/ Malaco)

Singles

1996: "All Of Me" (Myrrh)

1997: "In Harm's Way" (Atlantic)

1997: "Thank You" (Atlantic)

1997: "Stay" (Atlantic)

2000: "Coming Back Home" (Motown)

2000: "Jesus Children Of America" (Motown)

2000: "Tonight Tonight" (Motown)

2002: "Do You Know Him" (Motown)

2005: "I Have A Dream" (TMG/Still Waters)

2005: "Safe From Harm" (TMG/Still Waters)

2005: "Love Me Anyway" (TMG/Still Waters)

Other appearances

1984: "Give Him Thanks" from ''Face To Face'' (Light) with The Winans

1984: "Golden Opportunity" from ''Tomorrow'' (Light) with The Winans

1984: ''Jesus Commands Us to Go!'', Keith Green (background)

1986: "Its Only Natural" and "Arms Of Love" ''Kaleidoscope'' (Dayspring) with Keith Thomas

1987: "Abundant Life" from ''Ron Winans Family & Friends Choir Vol. I'' (Selah)

1987: "Love Is You" from ''Daniel Winans & Second Half'' (A&M;) duet with Marvin Winans

1988: ''Live: Radically Saved'', Carman (background)

1989: "Do You Feel Their Pain?" from ''Justice'' (Sparrow) duet with Steve Camp

1991: "A Song Of Consecration" from ''Ron Winans Family & Friends Choir Vol. III'' (Selah)

1992: "I'm Going Up" from ''White Men Can't Jump'' (soundtrack) (EMI) with CeeCee

1992: "Still Called Today" from ''The Great Adventure'' (Sparrow) with Steven Curtis Chapman

1993: "For Unto Us a Child Is Born" from ''The New Young Messiah'' (Sparrow) with CeeCee

1994: "He's On Your Side" duet with Monique Walker on the Hezekiah Walker & The Love Fellowship Choir album, ''Live in Atlanta'' (Benson)

1995: "You've Got a Friend" from ''Tapestry Revisited: A Tribute to Carole King'' (Atlantic) with CeeCee and Aretha Franklin

1996: "All Of Me" from ''My Utmost For His Highest: The Covenant'' (Myrrh)

1996: "But God" from ''Ron Winans Family & Friends Choir Vol. IV'' (Selah)

1997: "I Wanna Be The Only One" with Eternal from ''Before the Rain'' (Atlantic/EMI)

1998: "He's Coming Soon" from ''The Apocalypse'' (soundtrack) (Straightway)

1998: "River Jordan" from ''Civil War: The Nashville Sessions'' (Atlantic)

1998: "Stay with Me" from ''The Prince of Egypt: Inspirational'' (Dreamworks)

1999: "He Watches Over You" duet with Sandi Patty from ''Songs From The Book'' (Word)

1999: "I Will Follow Christ" trio with Bob Carlisle and Clay Crosse

2001: "Jesus Children of America" with Marvin Winans and Stevie Wonder from ''Boycott'' (HBO Film soundtrack)

2006: "Broken Bridges" (CMT film) with Willie Nelson and Toby Keith

2007: "I Don't Want To Be Wrong Today" from ''We Are Family 2007: Artists & Friends for Hurricane Relief'' (Point of Light Foundation)

2010: "We Are the World 25 for Haiti"

See also

BeBe Winans albums

BeBe and CeCe Winans albums

The Winans Family

References

External links

www.bebewinans.net - The official BeBe Winans Internet site

www.beberadio.com The official BeBe Winans Radio Show Internet site

Category:American gospel singers Category:American male singers Category:American radio personalities Category:Gospel artists from Detroit, Michigan Category:Grammy Award winners Category:Motown artists Category:Musicians from Michigan Category:Urban contemporary gospel musicians Category:1962 births Category:Living people

de:BeBe Winans

Coordinates	37°46′45.48″N122°25′9.12″N
name	Vickie Winans
background	solo_singer
birth name	Vickie Bowman
alias	Vickie Winans,Vickie Richardson, Vickie McLemore
born	October 18, 1953
instrument	Mezzo-Soprano
genre	Gospel
occupation	CEO, Singer-songwriter, music producer
years active	1985–present
label	Light, MCA, CGI/Intersound, Tommy Boy Gospel, Verity, Destiny Joy Records
associated acts	Micheal Richardson, Sr. Mario Winans Winans family
website	www.VickieWinans.com }}

Vickie Winans (born Viviane Bowman on October 18, 1953) is an American Gospel recording artist.

Biography

The seventh of twelve children, Vickie was born in Detroit, Michigan to Mattie A. Bowman, a housewife, and Aaron Bowman, a father who worked at various times as a laborer, contractor, carpenter and mason. She began singing in church – the International Gospel Center – at the age of eight, and as a teenager she sang with a group known as the International Sounds of Deliverance. Some of her siblings include Beverly Bouldes, Sandi Tyler, Irma Crockett, Annette Tharpe, Aaron Bowman, Jr. (deceased), Carleen Riley, Cathy Williams, Tim Bowman, Mary Sturdivant, Bryan,and Lorne Bowman.

After high school, she married Bishop Ronald Brown of Faith Tabernacle Deliverance Temple in Orangeburg, South Carolina. Together they had a son, Mario Brown, now known as Mario Winans. In June 1978, she married Marvin Winans of the popular gospel group, The Winans. With Marvin she had a son, Marvin Jr. (Coconut). At the end of 2003, Vickie married businessman, Joe McLemore. Vickie lost her mother, Evangelist Mattie Bowman, on December 12, 2006.

Divorce

In 1995 Vickie and Marvin Sr. divorced after almost 17 years of marriage. The stress of the divorce caused her to develop ulcers on her oesophagus, diabetes and to gain weight. "I was sick from the stress of the divorce." Eventually, Vickie regained her health and re-energized her career.

Career

It was her marriage to Marvin that led Vickie to consider a career in music. She was asked to, and joined, Winans Part II, a group that included then in-laws BeBe and CeCe Winans and brother Daniel Winans. However, the group never took off as BeBe and CeCe left to join the PTL Singers of the long-running Christian television show, ''The PTL Club''.

Light Records: 1985–1990

''The Winans'' became the best selling act on their record label, Light Records, and this enabled husband Marvin to secure her a recording contract. Her solo album, ''Be Encouraged'' was released in 1987 and became a major gospel hit. The LP included a cover of Dottie Rambo's, "We Shall Behold Him", as well as "First Trumpet Sound," a gospelized remake of Gladys Knight & The Pips' "Midnight Train To Georgia." ''Be Encouraged'' netted a Grammy nomination for Best Contemporary Soul Gospel Album, a Stellar Award for Album of the Year, and an Excellence Award for Best Female Contemporary Artist.

Her followup album, ''Total Victory'' was markedly less successful, due in part to the financial floundering of ''Light Records'' after its flagship group, The Winans, left to join Quincy Jones' Qwest Records.

MCA Records: 1990–1991

In 1990, Vickie signed, not to a gospel recording company but to Geffen Records. Unfortunately, Geffen was bought by Universal Records and Vickie's contract was shifted to sister label MCA Records. Dealing with a company that hadn't signed her, she found herself being subtly pushed to tone down the Christian message in her music. "They don't tell you, but you get the vibe," she said in 1999. "''I don't ever, ever, ever want to be in that predicament again. It's one thing when you just sing a song where you don't use the actual name of Jesus, but it's a whole 'nother thing when you TRY not to use the name. For me, the name of Jesus will never be distasteful in my mouth. He's always the answer''".

Her 1991 MCA release was ''The Lady'' which included production by R. Kelly, husband Marvin Winans, and her son Mario. The nine-song album was missing the name ''Jesus'' and controversially contained a rendition of ''West Side Story'''s "Somewhere". MCA then sent Vickie to that year's Stellar Awards television broadcast with dancers – a move that shocked the conservative Christian community, leading to the Winans having to issue a public apology.

This controversy led to the Gospel community not backing the album, and after also failing to break through on contemporary R&B; radio, MCA eventually dropped Winans from their roster.

Intersound/CGI: 1994–2002

After 3 years without a recording contract, former Word Records executive James Bullard signed Vickie to Intersound Records, an Atlanta-based classical recording label, for which he was forming a gospel music division. Her label debut ''Vickie Winans'' rose to #10 on the gospel charts, spawning the hits ''Work It Out'' and ''We Shall Behold Him''. However, she developed nodes on her vocal cords, causing her to fail to hit all the right notes in her re-recording of ''We Shall Behold Him''.

''Live in Detroit''

She ran across a James Cleveland classic tune from the 1960s called As Long As I Got King of Jesus and used it as the lead single and megahit for a traditionally-styled album in 1997 titled ''Live In Detroit''. Recorded live at Bishop Andrew Merrit's Straight Gate Church, Winans recorded simple arrangements of "Great Is Thy Faithfulness", Bill Gaither's "Because He Lives" and Candi Staton's "The Blood Rushes". Another James Cleveland classic, "No Cross, No Crown", was also a hit from the album.

Intersound/CGI financed a video for "Long As I Got King Jesus", that boosted the sales of the album. It eventually sold 200,000 units. The album earned Winans a Grammy nomination for Best Soul Gospel Album and two Stellar Award nominations for Best Female Vocalist and Best Video ("Long As I Got King Jesus").

''Live in Detroit II'' and ''Share the Laughter''

Intersound/CGI realized and capitalized on Winans' star quality by planning to release three Vickie Winans albums in 1999; a May release of ''Live In Detroit II'', followed by the ''Share The Laughter'' comedy album in July and capping the year with an October release called "Woman To Woman: Songs Of Survival''. They launched their most expensive marketing campaign ever to promote the project . They bought full page color ads in magazines, shot a concept video for the song "Already Been To The Water" and hired Capital Entertainment (which handled CeCe Winans and Bishop T. D. Jakes at the time) to handle Winans' press coverage. They were able to book Vickie on Queen Latifah, various BET shows and Jenny Jones, among other high profile television programs and got her the most press coverage she'd had since she toured with the Winans Family Tour in 1992.

''Live in Detroit II'' was a major success, reaching #3 on the gospel charts, only failing to top the charts because of Kirk Franklin's success with The Nu Nation Project in the same year.

''Share the Laughter'' did not do as well, but for a standup comedy album, its sales were far from disappointing considering Intersound/CGI was on its last legs and soon closed.

Hiatus: 2000–2002

Vickie Winans troubles with recording companies continued after Intersound/CGI closed and released her from her contract. In early 2000, she signed with Tommy Boy Gospel. ''Woman To Woman'' was scheduled as the third album in the trilogy, but the label folded before the album could be released.

In 2002, she signed with Verity Records at the invitation of her longtime friend Max Siegel who had assumed leadership of the label.

Verity Records: 2003–2006

After a four-year hiatus, in 2003, Winans released ''Bringing It All Together'' which featured "Shake Yourself Loose", written and produced by her son, Mario. Leaving nothing to chance, she dipped deep into her own pockets to create a marketing strategy that most gospel labels would never spend on a project. She spent well over $200,000 creating five music videos, hiring independent radio teams, promotional marketing teams and creating a 50 city-promotional concert tour to launch the CD.

The strategy paid off as the album debuted at #1 on the Billboard gospel music charts. It spent nine weeks at #1 and a full year in the Top 10. The album also garnered 8 Stellar Award nominations, winning 5, and a Grammy nomination.

''Woman to Woman: Songs of Life'', was released on August 8, 2006.

''How I Got Over''

''How I Got Over'' (Destiny Joy Records) is the name of Winans' self-produced CD that was released on August 25, 2009. The eleven-song project is a well-blended collage of traditional and urban contemporary songs. Her first radio single, “How I Got Over” is Winans’ personal testimony. Taking a line from an old hymn classic favorite, Winans creates a brand new song that celebrates her victories, faith and trust in God. It opens with an upbeat, but old school church flavor and breaks down into a contemporary vamp before she slams a closing with her nephew, Tim Bowman Jr. who lays down some jazzy scats. The song's music video was shot in the basement of Winans' home.

Current activities

Most recently, Winans requested and was granted a release from her recording contract with Verity Records in order to pursue her independent venture, Destiny Joy Records. The new label's name is very personal to Vickie Winans: : "''Right after I had my son, Coconut (Marvin Winans Jr.), I got pregnant with a little girl. We were planning to name her Destiny Joy Winans. Unfortunately, however, I miscarried during my fifth month and lost my baby who only weighed one pound. I named that baby Marvlyn Loreal Winans after her father Marvin Lawrence Winans Sr and kept the name Destiny Joy alive - not knowing one day that I would start this label and name it after her''".

Through Destiny Joy, she intends to release a fitness DVD titled ''Laugh While You Lose'', a comedy DVD, and a Christmas album, in addition to releases from signees Denise Tichenor and Datisha Pickett.

Her profile on BET's Sunday morning TV series "Lift Every Voice" remains the most watched episode in that program's history with over 800,000 viewers.

Recently, Black Entertainment Television (BET) signed Winans to host a new comedy TV series, “A Time to Laugh.” Winans has already begun taping and is signed on to tape 30 episodes that feature her plus other G-rated comedians and inspirational music. The show focuses on good clean family comedy. The series was supposed to debut on BET in January 2010. but never aired. Also In 2011 Winans premiered her new video for the song release it, from her mega hit album How I Got Over.

Albums

''Be Encouraged'' (Light, 1985)

''Total Victory'' (Light, 1989)

''Best of All'' (Light, 1991)

''The Lady'' (Selah/MCA, 1991)

''Vickie Winans'' (Intersound, 1995)

''Live In Detroit'' (Intersound, 1997)

''Live In Detroit II'' (Intersound, 1999)

''Share the Laughter'' (CGI/Platinum, 1999)

''Best of Vickie Winans'' (CGI/Platinum, 2002)

''Bringing It All Together'' (Verity platinum, 2003)

''Greatest Hits (Light/Artemis, 2005)

''Woman to Woman: Songs of Life'' (Verity, 2006)

''Happy Holidays from Vickie Winans'' (Destiny Joy, 2007)

''Praise & Worship'' (Verity, 2008)

''How I Got Over'' (Destiny Joy, 2009)

''How I Got Over Remix'' (Destiny Joy, 2010)

''Radio One Family Comdedy Tour, Vol.1'' (Destiny Joy, 2010)

Notable singles

"Don't Throw Your Life Away"

"We Shall Behold Him"

"Just When (featuring Marvin Winans)"

"Work It Out"

"Shake Yourself Loose"

"It's Alright"

"Special Day"

"The Rainbow"

"Kids Love Jesus Too"

"How I Got Over"

"Holiday Jam"

"Release it"

External links

www.vickiewinans.com Vickie Winans official Internet site

References

Category:1953 births Category:American female singers Category:Gospel artists from Detroit, Michigan Category:American gospel singers Category:Urban contemporary gospel musicians Category:Grammy Award winners Category:Living people Category:People from Detroit, Michigan

Coordinates	37°46′45.48″N122°25′9.12″N
Name	Sam Cooke
Background	solo_singer
Birth name	Samuel Cook
Alias	Dale Cook
Born	January 22, 1931Clarksdale, Mississippi, U.S.
Origin	Chicago, Illinois, U.S.
Died	December 11, 1964Los Angeles, California, U.S. Interred: Forest Lawn Memorial Park, Glendale, California
Genre	R&B;, soul, gospel, pop
Occupation	Singer-songwriter, entrepreneur
Instrument	Vocals, piano, guitar
Years active	1950–1964
Label	Specialty, Keen, RCA
Associated acts	The Soul StirrersBobby WomackJohnnie Taylor }}

Samuel Cook, best known under the stage name Sam Cooke, (January 22, 1931 – December 11, 1964), was an American gospel, R&B;, soul, and pop singer, songwriter, and entrepreneur. He is considered to be one of the pioneers and founders of soul music. He is commonly known as the King of Soul for his vocal abilities and influence on the modern world of music. His contribution in pioneering Soul music led to the rise of Aretha Franklin, Bobby Womack, Al Green, Curtis Mayfield, Stevie Wonder, Marvin Gaye, and popularizing the likes of Otis Redding and James Brown.

Cooke had 29 top-40 hits in the U.S. between 1957 and 1964. Major hits like "You Send Me", "A Change Is Gonna Come", "Cupid", "Chain Gang", "Wonderful World", and "Bring It on Home to Me" are some of his most popular songs. Cooke was also among the first modern black performers and composers to attend to the business side of his musical career. He founded both a record label and a publishing company as an extension of his careers as a singer and composer. He also took an active part in the American Civil Rights Movement.

On December 11, 1964, Cooke was fatally shot by the manager of the Hacienda Motel in Los Angeles, California, at the age of 33. At the time, the courts ruled that Cooke was drunk and distressed, and that the manager had killed Cooke in what was later ruled a justifiable homicide. Since that time, the circumstances of his death have been widely questioned.

Early life and career

Cooke was born in Clarksdale, Mississippi. He later added an "e" onto the end of his name, though the reason for this is disputed. He was one of eight children of Annie Mae and the Reverend Charles Cook, a Baptist minister. He had a brother, L.C., who some years later would become a member of the doo-wop band Johnny Keyes and the Magnificents. The family moved to Chicago in 1933. Cooke attended Wendell Phillips Academy High School in Chicago, the same school that Nat "King" Cole had attended a few years earlier.

Cooke began his career singing gospel with his siblings in a group called ''The Singing Children''. He first became known as lead singer with the Highway QC's as a teenager. In 1950, Cooke replaced gospel tenor R.H. Harris as lead singer of the landmark gospel group The Soul Stirrers. Under Cooke's leadership, the group signed with Specialty Records and recorded the hits "Peace in the Valley", "How Far Am I From Canaan?", "Jesus Paid the Debt", and "One More River", among many other gospel songs.

Crossover pop success

His first pop single, "Lovable" (1956), was released under the alias "Dale Cook" in order not to alienate his gospel fan base (he sang with the Soul Stirrers until 1957); there was a considerable stigma against gospel singers performing secular music. However, it fooled no one - Cooke's unique and distinctive vocals were easily recognized. Art Rupe, head of Specialty Records, the label of the Soul Stirrers, gave his blessing for Cooke to record secular music under his real name, but he was unhappy about the type of music Cooke and producer Bumps Blackwell were making. Rupe expected Cooke's secular music to be similar to that of another Specialty Records artist, Little Richard. When Rupe walked in on a recording session and heard Cooke covering Gershwin, he was quite upset. After an argument between Rupe and Blackwell, Cooke and Blackwell left the label.

In 1957, Cooke appeared on ABC's ''The Guy Mitchell Show''. That same year, he signed with Keen Records. His first release "You Send Me", (the B-side of a reworking of George Gershwin's "Summertime") spent six weeks at #1 on the Billboard R&B; chart. The song also had mainstream success, spending three weeks at #1 on the Billboard pop chart.

In 1961, Cooke started his own record label, SAR Records, with J.W. Alexander and his manager, Roy Crain. The label soon included The Simms Twins, The Valentinos, Bobby Womack, and Johnnie Taylor. Cooke then created a publishing imprint and management firm, then left Keen to sign with RCA Victor. One of his first RCA singles was the hit "Chain Gang". It reached #2 on the Billboard pop chart and was followed by more hits, including "Sad Mood", "Bring it on Home to Me" (with Lou Rawls on backing vocals), "Another Saturday Night" and "Twistin' the Night Away".

Like most R&B; artists of his time, Cooke focused on singles; in all he had twenty-nine top-40 hits on the pop charts, and more on the R&B; charts. In spite of this, he released a well received blues-inflected LP in 1963, ''Night Beat'', and his most critically acclaimed studio album ''Ain't That Good News'', which featured five singles, in 1964.

Loss of son

In 1963, Cooke's 18 month old son, Vincent, wandered away from his mother's supervision and drowned in their front yard pool while Sam was away from the home. With their marriage already in trouble largely due to extramarital affairs by both Sam and his wife, Barbara, the distance between them deepened as Sam blamed Barbara for their son's death. Cooke retreated into a deep depression, and asked that no one wear black to the child's funeral. He found his escape in out-of-town performances, which he agreed to at every opportunity.

Death

Cooke died at the age of thirty-three on December 11, 1964, at the Hacienda Motel at 9137 South Figueroa Street in Los Angeles, California. Bertha Franklin, manager of the motel, told police that she shot and killed Cooke in self-defense because he had attacked her. Police found Cooke's body in Franklin's apartment-office, clad only in a sports jacket and shoes, but no shirt, pants or underwear. The shooting was ultimately ruled a justifiable homicide. His funeral was held in Chicago at A.R Leak Funeral Home, where thousands of fans had lined up for over four city blocks to view his body. Cooke was interred in the Forest Lawn Memorial Park Cemetery in Glendale, California.

Some posthumous releases followed, many of which became hits, including "A Change Is Gonna Come", an early protest song that is generally regarded as his greatest composition. After Cooke's death, his widow, Barbara, married Bobby Womack. Cooke's daughter, Linda, later married Bobby's brother, Cecil.

Controversy

The details of the case involving Cooke's death are still in dispute. The official police record states that Cooke was shot dead by Bertha Franklin, manager of the Hacienda Motel, where Cooke had checked in earlier that evening. Franklin claimed that Cooke had broken into the manager's office-apartment in a rage, wearing nothing but a shoe and a sports coat demanding to know the whereabouts of a woman who had accompanied him to the hotel. Franklin said that the woman was not in the office and that she told Cooke this, but the enraged Cooke did not believe her and violently grabbed her, demanding again to know the woman's whereabouts. According to Franklin, she grappled with Cooke, the two of them fell to the floor, and she then got up and ran to retrieve her gun. She said that she then fired at Cooke, in self-defense, because she feared for her life. Cooke was struck once in the torso, and according to Franklin, he exclaimed, "Lady, you shot me," before mounting a last charge at her. She said that she beat him over his head with a broomstick before he finally fell, mortally wounded by the gunshot.

According to Franklin and the motel's owner, Evelyn Carr (whose last name is identified by some sources as ''Card'', rather than ''Carr''), they had been on the telephone together at the time of the incident. Thus, Carr claimed to have overheard Cooke's intrusion and the ensuing conflict and gunshots. Carr called the police to request that they go to the motel, informing them that she believed a shooting had occurred.

A coroner's inquest was convened to investigate the incident. The woman who had accompanied Cooke to the motel was identified as Elisa Boyer, who had also called the police that night shortly before Carr. Boyer had called the police from a telephone booth near the motel, telling them she had just escaped being kidnapped.

Boyer told the police that she had first met Cooke earlier that night and had spent the evening in his company. She claimed that after they left a local nightclub together, she had repeatedly requested that he take her home, but he instead took her against her will to the Hacienda Motel. She claimed that once in one of the motel's rooms, Cooke physically forced her onto the bed and that she was certain he was going to rape her. According to Boyer, when Cooke stepped into the bathroom for a moment, she quickly grabbed her clothes and ran from the room. She claimed that in her haste, she had also scooped up most of Cooke's clothing by mistake. She said that she ran first to the manager's office and knocked on the door seeking help. However, she said that the manager took too long in responding, so, fearing Cooke would soon be coming after her, she fled the motel altogether before the manager ever opened the door. She claimed she then put her own clothing back on, hid Cooke's clothing, and went to the telephone booth from which she called police.

Boyer's story is the only account of what happened between the two that night; however, her story has long been called into question. Inconsistencies between her version of events and details reported by other witnesses, as well as circumstantial evidence (e.g., thousands in cash that Cooke was reportedly carrying was never recovered, and Boyer was soon after arrested for prostitution), invited speculation that Boyer may have gone willingly to the motel with Cooke, then slipped out of the room with Cooke's clothing in order to rob him, rather than to escape an attempted rape.

Such questions were ultimately deemed beyond the scope of the inquest, whose purpose was to establish the circumstances of Franklin's role in the shooting, not to determine precisely what had transpired between Cooke and Boyer preceding the event. Boyer's leaving the motel room with almost all of Cooke's clothing, regardless of exactly why she did so, combined with the fact that tests showed Cooke was inebriated at the time, provided what inquest jurors deemed a plausible explanation for Cooke's bizarre behavior and state of dress, as reported by Franklin and Carr. This explanation, in conjunction with the fact that Carr's testimony corroborated Franklin's version of events, and the fact that police officials testified that both Boyer and Franklin had passed lie detector tests, was enough to convince the coroner's jury to accept Franklin's explanation, and return a verdict of justifiable homicide. With that verdict, authorities officially closed the case on Cooke's death.

Some of Cooke's family and supporters, however, have rejected Boyer's version of events, as well as those given by Franklin and Carr. They believe that there was a conspiracy to murder Cooke and that the murder took place in some manner entirely different from the three official accounts. In her autobiography, ''Rage to Survive'', singer Etta James claimed that she viewed Cooke's body in the funeral home and that the injuries she observed were well beyond what could be explained by the official account of Franklin alone having fought with Cooke. James described Cooke as having been so badly beaten that his head was nearly separated from his shoulders, his hands were broken and crushed, and his nose mangled.

No concrete evidence supporting a conspiracy theory has been presented to date.

Legacy and cultural impact

The song "A Change Is Gonna Come" was played upon the death of Malcolm X, and was featured in Spike Lee's film ''Malcolm X''. It also serves as title for a season six episode of ''The West Wing'' in which James Taylor performs a version of the song.

Rapper Tupac Shakur references Cooke in a line of the song "Thugz Mansion", and Nas references him in the song "We Major" with Kanye West. The Roots' song "Stay Cool" suggests, "I got the soul of a young Sam Cooke." The Irish rock-group Jetplane Landing have a song named "Sam Cooke". Canadian punk band The Riptides pay homage to Cooke in "Change Gonna Come". Steve Perry makes reference to Cooke's tragic death in "Captured by the Moment".

The Night Beats, a band from Seattle Washington, claim to have borrowed their name from Cooke's album ''Night Beat''.

He is once again mentioned by Nas on the song "Blunt Ashes". The rapper talks about the marriage between Bobby Womack and Sam Cooke's widow, suggesting Cooke’s discontent with the affair in the afterlife.

Rock star Rod Stewart once revealed to VH-1 that as a teen in the UK, he would lock himself in his room and spend hours studying Cooke's vocal phrasings.

A fictional version of Cooke (portrayed by Paul Mooney) appeared briefly in the 1978 film, ''The Buddy Holly Story'', leaving the stage at the Apollo Theater before Buddy and The Crickets went on. After being featured prominently in the 1985 film ''Witness'', the song "Wonderful World" gained further exposure. "Wonderful World" was featured in one of two concurrently running Levi's Jeans commercials in 1985 and became a hit in the United Kingdom because of this, reaching #2 in re-release. Two of Cooke's songs, "Cupid" and "Twistin' the Night Away" were also prominently featured in the 1987 movie, ''Innerspace''. Other movies that featured his music are ''Animal House'' ("Wonderful World" and "Twistin' the Night Away"), ''An American Werewolf in London'', and ''Cadence'' ("Chain Gang").

Cooke's songs "Bring It on Home to Me" and "A Change is Gonna Come" were both featured in the 2001 film ''Ali''. The opening scene of the movie consisted of a live reenactment of "Bring It on Home to Me". Al Green's cover of "A Change Is Gonna Come" is featured during the death scene of Malcolm X.

Alternative rock band The Wallflowers song "Sleepwalker" from their 2000 album (Breach) featured the lyric "Cupid don't draw back your bow/Sam Cooke didn't know what I know." The words are a reference to Cooke's song, "Cupid".

John Cougar Mellencamp's song "Ain't Even Done With the Night" contains the line "You got your hands in my back pockets, and Sam Cooke's singin' on the radio."

R. Kelly performed "A Change Gonna Come", during the Ladies Make Some Noise Tour in September 2009 in New York City.

Colin Meloy of The Decemberists released a tour-only EP entitled ''Colin Meloy Sings Sam Cooke''. The album was released to accompany his 2008 solo tour, and features five cover songs. "Cupid", "Summertime", "Thats Where Its At", "Good Times", and "Bring it on Home to Me".

The song was featured in Tyler Perry's 2007 film Daddy's Little Girls.

Matt Embree frequently covers "Bring It On Home" at RX Bandits live shows.

Posthumous honors

Shortly following his passing, Motown Records released ''We Remember Sam Cooke'', a collection of Cooke covers recorded by The Supremes.

In 1986, Cooke was inducted as a charter member of the Rock and Roll Hall of Fame. In 1999, Cooke was honored with the Grammy Lifetime Achievement Award, and in 2004, ''Rolling Stone'' ranked him #16 on their list of the "100 Greatest Artists of All Time". In 2008, Cooke was named the fourth "Greatest Singer of All Time" by ''Rolling Stone''.

Discography

Further reading

''Dream Boogie: The Triumph of Sam Cooke'' by Peter Guralnick (2005) ISBN 0-316-37794-5

''Our Uncle Sam: The Sam Cooke Story from His Family's Perspective'' by Erik Greene (2005) ISBN 1-412-06498-8

''You Send Me: The Life and Times of Sam Cooke'' by Daniel Wolff, S. R. Crain, Clifton White, and G. David Tenenbaum (1995) ISBN 0-688-12403-8

References

External links

SongsofSamCooke.com

Sam Cooke (ABKCO Homepage)

Rosco Gordon interview

History of Rock and Roll: Sam Cooke

Sam Cooke in the Encyclopedia of Gratitude

Category:1931 births Category:1964 deaths Category:1964 crimes in the United States Category:African American singers Category:American gospel singers Category:American male singers Category:American soul musicians Category:Specialty Records artists Category:RCA Victor artists Category:African Americans' rights activists Category:Burials at Forest Lawn Memorial Park (Glendale) Category:Musicians from Chicago, Illinois Category:Deaths by firearm in California Category:Grammy Lifetime Achievement Award winners Category:Musicians from Mississippi Category:Murdered African-American people Category:Murdered musicians Category:People from Clarksdale, Mississippi Category:People from Chicago, Illinois Category:Rock and Roll Hall of Fame inductees‎ Category:Songwriters Hall of Fame inductees

bg:Сам Кук cy:Sam Cooke da:Sam Cooke de:Sam Cooke es:Sam Cooke fr:Sam Cooke it:Sam Cooke he:סם קוק hu:Sam Cooke nl:Sam Cooke ja:サム・クック no:Sam Cooke pl:Sam Cooke pt:Sam Cooke ro:Sam Cooke ru:Кук, Сэм simple:Sam Cooke fi:Sam Cooke sv:Sam Cooke th:แซม คุก tr:Sam Cooke uk:Сем Кук vi:Sam Cooke yo:Sam Cooke