First page of the Gospel of Mark in Armenian, by Sargis Pitsak, 14th century.

A gospel is an account, often written, that describes the life of Jesus of Nazareth. The most widely-known examples of gospel are the four canonical gospels of Matthew, Mark, Luke, and John. However, the term is also used to refer to the apocryphal gospels, the non-canonical gospels, the Jewish gospels and the gnostic gospels. Christians may additionally use the term "gospel" in reference to the general message of the biblical New Testament, otherwise known as the "good news".

World religions differ in their treatment of documents classified as gospels. Christianity traditionally places a high value on the four canonical gospels, which it considers to be a revelation from God and central to its belief system.^[1] Christians teach that the four canonical gospels are an “accurate and authoritative” representation of the life of Jesus.^[2]

In Islam the Injil (Arabic: إنجيل‎ ʾInǧīl) is the Arabic name for the original gospel of Jesus, and one of the four Islamic holy books the Qur'an records as revealed by God. Islam holds that over time it became corrupt and God sent the prophet Muhammad to reveal the last book, according to the Islamic faith.^[3]

Etymology[link]

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The word gospel derives from the Old English gōd-spell ^[4] (rarely godspel), meaning "good news" or "glad tidings". It is a calque (word-for-word translation) of the Greek word εὐαγγέλιον, euangelion (eu- "good", -angelion "message"). The Greek word euangelion is also the source (via Latinised evangelium) of the terms "evangelist" and "evangelism" in English. The authors of the four canonical Christian gospels are known as the four evangelists.

Originally, the gospel was the good news of redemption through the propitiatory offering of Jesus Christ for one's sins, the central Christian message. Note: John 3:16.^[5] Before the first gospel was written (Mark, c. 65–70),^[6] Paul the Apostle used the term εὐαγγέλιον gospel when he reminded the people of the church at Corinth "of the gospel I preached to you" (1 Corinthians 15.1). Paul averred that they were being saved by the gospel, and he characterized it in the simplest terms, emphasizing Christ's appearances after the Resurrection (15.3 – 8):

...that Christ died for our sins according to the scriptures; And that he was buried; and that he rose again the third day according to the scriptures; And that he was seen of Cephas; then of the Twelve: After that, he was seen of above five hundred brethren at once: of whom the greater part remain unto this present, but some have fallen asleep. After that he was seen of James, then of all the apostles. Last of all, he was seen of me also, as one born out of due time.

The earliest extant use of εὐαγγέλιον gospel to denote a particular genre of writing dates to the 2nd century. Justin Martyr (c. 155) in 1 Apology 66 wrote: "...the apostles, in the memoirs composed by them, which are called Gospels".

Henry Barclay Swete's Introduction to the Old Testament in Greek, pages 456–457 states:

Εὐαγγέλιον in the LXX occurs only in the plural, and perhaps only in the classical sense of 'a reward for good tidings' (2 Sam 4:10 [also 18:20, 18:22, 18:25–27, 2 Kings 7:9]); in the N.T. it is from the first appropriated to the Messianic good tidings (Mark 1:1, 1:14), probably deriving this new meaning from the use of εὐαγγελίζεσθαι in Isaiah 40:9, 52:7, 60:6, 61:1.

In the New Testament, evangelism meant the proclamation of God's saving activity in Jesus of Nazareth, or the agape message proclaimed by Jesus of Nazareth. This is the original New Testament usage (for example Mark 1:14–15 or 1 Corinthians 15:1–9; see also Strong's G2098). The peculiar situation in the English language of an obsolete translation persisting into current usage harks back to John Wycliffe who already had gospel, and whose usage was adopted into the King James Version. The short o in the modern word gospel is due to mistaken association with the word god. Old English gōd-spell had a long vowel and would have become good-spell in modern English.

More generally, gospels compose a genre of early Christian literature.^[7] Gospels that did not become canonical also circulated in Early Christianity. Some, such as the work known today as Gospel of Thomas, lack the narrative framework typical of a gospel.^[8] These gospels almost certainly appeared much later than the canonical gospels, with the Gospel of Thomas being a likely exception.

First accounts[link]

Critical scholars generally agree on several early sayings, collections, and accounts preceding the "canonical" gospels. The dedicatory preface of the Gospel of Luke testifies already to the existence of several "accounts" of the life of Jesus by the time of its composition.^[9] The term Luke uses (διήγησις diēgēsis) is a term used in classical Greek for any historical narrative.^[10] The term "gospel" is not used in the New Testament text for any of the canonical Gospels, though in later centuries a traditional reading of 2 Corinthians 8:18 "the brother whose praise is the Gospel" was to sometimes identify this with Luke, and consequently Gospel of Luke.^[11]

Synoptic gospels[link]

The gospels of Matthew, Mark, and Luke are considered synoptic gospels on the basis of many similarities between them that are not shared by the Gospel of John. "Synoptic" means here that they can be "seen" or "read together," indicating the many parallels that exist among the three. The synoptic gospels are the source of many popular stories, parables, and sermons, such as Jesus' humble birth in Bethlehem, the Sermon on the Mount, the Beatitudes, the Last Supper, and the Great Commission. It is widely believed that the three synoptic gospels derive from a common source or set of sources, and that they directly or indirectly borrowed from or were influenced by each other. For example, the vast majority of material in Mark is also present in either Luke or Matthew or both, suggesting that Mark was a source for Matthew and Luke. The existence of material in Matthew or Luke not contained in Mark suggests that both Matthew and Luke had at least one other source at their disposal.

The fourth gospel, the Gospel of John, presents a very different picture of Jesus and his ministry from the synoptics.^[12] In differentiating history from invention, historians interpret the gospel accounts skeptically^[13] but generally regard the synoptic gospels as including significant amounts of historically reliable information about Jesus.^[13]

Canonical gospels[link]

Of the many gospels written in antiquity, only four gospels came to be accepted as part of the New Testament, or canonical. An insistence upon there being a canon of four gospels, and no others, was a central theme of Irenaeus of Lyons, c. 185. In his central work, Adversus Haereses Irenaeus denounced various early Christian groups that used only one gospel, such as Marcionism which used only Marcion's version of Luke, or the Ebionites which seem to have used an Aramaic version of Matthew as well as groups that embraced the texts of newer writings, such as the Valentinians (A.H. 1.11). Irenaeus declared that the four he espoused were the four "Pillars of the Church": "it is not possible that there can be either more or fewer than four" he stated, presenting as logic the analogy of the four corners of the earth and the four winds (3.11.8). His image, taken from Ezekiel 1, or Revelation 4:6–10, of God's throne borne by four creatures with four faces—"the four had the face of a man, and the face of a lion, on the right side: and the four had the face of an ox on the left side; they four also had the face of an eagle"—equivalent to the "four-formed" gospel, is the origin of the conventional symbols of the Evangelists: lion, bull, eagle, man. Irenaeus was ultimately successful in declaring that the four gospels collectively, and exclusively these four, contained the truth. He also supported reading each gospel in light of the others.

By the turn of the 5th century, the Catholic Church in the west, under Pope Innocent I, recognized a biblical canon including the four gospels of Matthew, Mark, Luke, and John, which had been previously established at a number of regional Synods, namely the Council of Rome (382), the Synod of Hippo (393), and two Synods of Carthage (397 and 419).^[14] This canon, which corresponds to the modern Catholic canon, was used in the Vulgate, an early 5th century translation of the Bible made by Jerome^[15] under the commission of Pope Damasus I in 382.

• Gospel according to Matthew
• Gospel according to Mark
• Gospel according to Luke
• Gospel according to John

There was also another order, the "western order of the gospels", so called because it is typical for the manuscripts which are usually a representative of the Western text-type.

• Gospel according to Matthew
• Gospel according to John
• Gospel according to Luke
• Gospel according to Mark

This order is found in the following manuscripts: Bezae, Monacensis, Washingtonianus, Tischendorfianus IV, Uncial 0234.

Although there is no set order of the four gospels in patristic lists or discussions,^[16] D. Moody Smith suggests that the standard order of Matthew-Mark-Luke-John "projects a kind of intention that can scarcely be ignored".^[17]

In what he calls a "mild form of reader criticism, Greg Goswell suggests a possible rationale that "the commission at the end of Matthew (28:20) is in part fulfilled by the subsequent gospels (and letters)" while for Luke,

The preface to Luke (1:1–4) is a possible explanation for that Gospel’s canonical placement after Matthew and Mark, for its non-pejorative reference to previous "attempts" (επεχειρησαν) at writing an account of what Jesus said and did can be understood in canonical context as referring to the Gospels of Matthew and Mark.^[16]

Goswell concludes by suggesting that the self-reference to "this book" in John 20:30, "can be taken as an implicit acknowledgment of other books, namely the three preceding Gospels".^[16]

Medieval copies of the four canonical gospels are known as Gospel Books or also simply as Gospels (in Greek as Tetraevangelia). Notable examples include the Lindisfarne Gospels (c. 700), the Barberini Gospels, Lichfield Gospels and the Vienna Coronation Gospels (8th century), the Book of Kells and the Ada Gospels (c. 800) or the Ebbo Gospels (9th century).

Origin of the canonical gospels[link]

The majority view today is that Mark is the first gospel, with Matthew and Luke borrowing passages both from that gospel and from at least one other common source, lost to history, termed by scholars 'Q' (from German: Quelle, meaning "source"). This view is known as the "two-source hypothesis".^[18] The two-gospel hypothesis, in contrast, says that Matthew was written first (by Matthew the Apostle), and then Luke the Evangelist wrote his gospel (using Matthew as his main source) before Mark the Evangelist wrote his gospel (using Peter's testimony). John was written last and shares little with the synoptic gospels.

The gospels were apparently composed in stages. Mark's traditional ending (Mark 16:9–20, see Mark 16) was most likely composed early in the 2nd century and appended to Mark in the middle of that century.^[19] The birth and infancy narratives apparently developed late in the tradition.^[20] Luke and Matthew may have originally appeared without their first two chapters.^[20]

The consensus among biblical scholars is that all four canonical gospels were originally written in Greek, the lingua franca of the Roman Orient.

Dating[link]

Estimates for the dates when the canonical gospel accounts were written vary significantly; and the evidence for any of the dates is scanty. Because the earliest surviving complete copies of the gospels date to the 4th century and because only fragments and quotations exist before that, scholars use higher criticism to propose likely ranges of dates for the original gospel autographs. Scholars variously assess the majority (though not the consensus ^[21]) view as follows:

• Mark: c. 68–73,^[22] c. 65–70^[23]
• Matthew: c. 70–100.^[22] c. 80–85.^[23]
• Luke: c. 80–100, with most arguing for somewhere around 85,^[22] c. 80–85^[23]
• John: c. 90–100,^[23] c. 90–110,^[24] The majority view is that it was written in stages, so there was no one date of composition.

Traditional Christian scholarship has generally preferred to assign earlier dates. Some historians interpret the end of the book of Acts as indicative, or at least suggestive, of its date; as Acts mentions neither the death of Paul, generally accepted as the author of many of the Epistles, who was later put to death by the Romans c. 65^{[citation needed]}, nor any other event post AD 62, notably the Neronian persecution of AD 64/5 that had such impact on the early church^[25]. Acts is attributed to the author of the Gospel of Luke, which is believed to have been written before Acts, and therefore would shift the chronology of authorship back, putting Mark as early as the mid 50s. Here are the dates given in the modern NIV Study Bible:

• Matthew: c. 50 to 70s
• Mark: c. 50s to early 60s, or late 60s
• Luke: c. 59 to 63, or 70s to 80s
• John: c. 85 to near 100, or 50s to 70

Such early dates are not limited to conservative scholars. In Redating the New Testament John A. T. Robinson, a prominent liberal theologian and bishop, makes a case for composition dates before the fall of Jerusalem.

Location[link]

Matthew was probably written in Syria, perhaps in Antioch,^[23] an ancient Christian center. Mark has traditionally been associated with Peter's preaching in Rome, and it is well-suited to a Roman audience.^[23] Various cities have been proposed for the origin of Luke, but there is no consensus on the matter. Ephesus, in Western Anatolia, is a popular scholarly choice for the place of origin for the Gospel of John.^[23]

Following Raymond Brown's postulation of a Johannine community having been responsible for John's gospel and letters,^[26] other scholars have identified localized communities behind each of the other gospels and Q. This assumes the relative isolation of early Christian communities in which distinctive traditions concerning Jesus thrived. Other scholars have questioned this hypothesis and have stressed the constant communication between early Christian communities.^{[27][28][29][30]}

Oral tradition[link]

One of the most important concerns in accurately accounting for an oral Jesus tradition is the model of transmission used. Form criticism (Formgeschichte) was developed primarily by the German scholars Karl Ludwig Schmidt, Martin Dibelius, and Rudolf Bultmann.^[31][32][33] The oral model developed by the form critics drew heavily on contemporary theory of folkloric transmission of oral material, and partly as a result of this form criticism posited that the Jesus tradition was transmitted informally, added to freely, and was uncontrolled.^[34] However, "Today it is no exaggeration to claim that a whole spectrum of main assumptions underlying Bultmann's Synoptic Tradition must be considered suspect."^[35]

A number of other models have been proposed which posit greater control over the tradition, to varying degrees. For example, largely in response to form critical scholarship, Professor Birger Gerhardsson examined oral transmission in early rabbinic circles, and proposed that a more controlled and formal model of orality would more accurately reflect the transmission of the Jesus tradition in early Christian circles, and therefore that the oral traditions present in the gospels have been fairly reliably and faithfully transmitted.^[36] However, other scholars contend that early rabbinic transmissons were not all that concerned with historicity and were not "controlled" until 70 CE.^[37] Professor Kenneth Bailey, after spending a great deal of time in remote and illiterate villages in the Middle East, used his experience with orality in such places to formulate a similar model of controlled transmission within the early Christian communities, but posited an informal mechanism of control.^[34]

Controlled models of the Jesus tradition, and with them an evaluation of the gospels as possessing greater historical reliability, have been accepted by some scholars in recent years.^[38][39][40] However Thomas R. Yoder Neufeld adds that the early followers of Jesus were not interested in simply preserving the past but were also interested in fitting the narratives to suit urgent information, audience interest and creativity in communication and believed that they were in direct communication with Jesus though the Holy Spirit, thus making it still difficult for historians to assess the historical reliability of the oral tradition.^[41] With regards to Bailey's studies, Maurice Casey writes that they cannot be applied to 1st century Jews as they were about a different culture at a different time.^[42]

Historicity of the canonical gospels[link]

The historicity of the gospels refers to the reliability and historic character of the four New Testament gospels as historical documents. Historians subject the gospels to critical analysis, attempting to differentiate authentic, reliable information from what they judge to be inventions, exaggerations, and alterations. However, all four of the Gospels meet the five criteria for historical reliability.^[13]

Biblical scholars consider the synoptic gospels to contain much reliable historical information about the historical Jesus as a Galilean teacher ^[43][44] and of the religious movement he founded, but not everything contained in the gospels is considered to be historically reliable.^{[45][46][47][48][49][50][51]}

The baptism of Jesus, his preaching, and the crucifixion of Jesus are deemed to be historically authentic.^{[citation needed]} Elements whose historical authenticity is disputed include the two accounts of the nativity of Jesus, as well as certain details about the crucifixion and the resurrection.^{[52][53][54][55][56][57]} The fourth gospel, John, includes a number of historically reliable details, but it differs greatly from the first three gospels, and historians largely discount it. The canonical gospels, overall, are considered to have more historically authentic content than the various non-canonical gospels.^{[citation needed]}

Some Christian scholars maintain that the gospels are inerrant descriptions of the life of Jesus.^[58] On the other extreme, some scholars have concluded that the gospels provide no historical information about Jesus's life since the first gospel account (Mark) may have appeared as much as forty years after Jesus's death.^[59]

Content of the gospels[link]

The four gospels present different narratives, reflecting different intents on the parts of their authors.^[60]

All four gospels portray Jesus as leading a group of disciples, performing miracles, preaching in Jerusalem, being crucified, and rising from the dead.

The synoptic gospels represent Jesus as an exorcist and healer who preached in parables about the coming Kingdom of God. He preached first in Galilee and later in Jerusalem, where he cleansed the temple. He states that he offers no sign as proof (Mark) or only the sign of Jonah (Matthew and Luke).^[61] In Mark, apparently written with a Roman audience in mind, Jesus is a heroic man of action, given to powerful emotions, including agony.^[23] In Matthew, apparently written for a Jewish audience, Jesus is repeatedly called out as the fulfillment of Hebrew prophecy.^[23] In Luke, apparently written for gentiles, Jesus is especially concerned with the poor.^[23] Luke emphasizes the importance of prayer and the action of the Holy Spirit in Jesus' life and in the Christian community.^[62] Jesus appears as a stoic supernatural being, unmoved even by his own crucifixion.^[60] Like Matthew, Luke insists that salvation offered by Christ is for all, and not the Jews only.^[62][63]

The Gospel of John represents Jesus as an incarnation of the eternal Word (Logos), who spoke no parables, talked extensively about himself, and did not explicitly refer to a Second Coming.^[23] Jesus preaches in Jerusalem, launching his ministry with the cleansing of the temple. He performs several miracles as signs, most of them not found in the synoptics. The Gospel of John ends:(21:25) "And there are also many other things which Jesus did, the which, if they should be written every one, I suppose that even the world itself could not contain the books that should be written. Amen."

Gospel genre[link]

One important aspect of the study of the gospels is the genre under which they fall. Genre "is a key convention guiding both the composition and the interpretation of writings.^[64] " Whether the gospel authors set out to write novels, myths, histories, or biographies has a tremendous impact on how they ought to be interpreted. If, for example, Rudolf Bultmann was correct, and the gospel authors had no interest in history or in a historical Jesus,^[33] then the gospels must be read and interpreted in this light. However, some recent studies suggest that the genre of the gospels ought to be situated within the realm of ancient biography.^{[65][66][67][68][69]} Although not without critics,^[70] the position that the gospels are a type of ancient biography is the consensus among scholars today.^[71]

Non-canonical gospels[link]

In addition to the four canonical gospels, early Christians wrote other gospels that were not accepted into the canon, some of which are discussed below.

Jewish-Christian gospels[link]

Epiphanius, Jerome and other early church fathers preserve in their writings citations from one or more Jewish-Christian gospels, versions of Matthew used by Ebionites and Nazarenes. Most modern critical scholars consider that the extant citations suggest at least two and probably three distinct Jewish-Christian versions of Matthew, and that the source language of these is probably Greek.^[72] A minority of scholars, including Edward Nicholson (1879) and James R. Edwards (2009) have suggested that the surviving citations are all from one gospel, which is, as Jerome himself records that the Nazarenes claimed, the original, and Hebrew, Gospel of Matthew.^[73]

According to Eusebius, Origen said the first gospel was written by Matthew (Church History 6.25.4). Jerome reports that the Nazarenes believed that this gospel was composed in Hebrew near Jerusalem for Hebrew Christians and Jerome claimed to have translated parts of it into Greek, but if so any the Greek translation has not survived. Jerome reports that the Nazarenes' Hebrew original was kept at the Library of Caesarea and that the Nazarene Community transcribed a copy for him which he used in his work (On Illustrious Men 3:7) Jerome refers to this gospel sometimes as the Gospel according to the Hebrews (3.7) and sometimes as the Gospel of the Apostles (Against Pelagius 3.2).

Gospel of Thomas[link]

The gospel attributed to Thomas is mostly wisdom without narrating Jesus's life. A few scholars argue that its first edition was written c. 50–60, but that the surviving edition was written in the first half of the 2nd century.^[74] This would mean that its first edition was contemporary with the earliest letters of Paul the Apostle. The Oxford Dictionary of the Christian Church says that the original may date from c. 150.^[75] It may represent a tradition independent from the canonical gospels, but that developed over a long time and was influenced by Matthew and Luke.^[75] While it can be understood in Gnostic terms, it lacks the characteristic features of Gnostic doctrine.^[75] The Jesus Seminar identified two of its unique parables, the parable of the empty jug and the parable of the assassin.^[76] It had been lost but was discovered, in a Coptic version dating from c. 350, at Nag Hammadi in 1945–46, and three papyri, dated to c. 200, which contain fragments of a Greek text similar to but not identical with that in the Coptic language, have also been found.^[75]

Gospel of Peter[link]

The gospel of Peter was likely written in the first half of the 2nd century.^[77][78] It seems to be largely legendary, hostile toward Jews, and including docetic elements.^[77] It had been lost but was rediscovered in the 19th century.^[77]

Gospel of Judas[link]

The Gospel of Judas is another controversial and ancient text that purports to tell the story of the gospel from the perspective of Judas, the disciple who is usually said to have betrayed Jesus. It paints an unusual picture of the relationship between Jesus and Judas, in that appears to interpret Judas's act not as betrayal, but rather as an act of obedience to the instructions of Jesus. The text was recovered from a cave in Egypt by a thief and thereafter sold on the black market until it was finally discovered by a collector who, with the help of academics from Yale and Princeton, was able to verify its authenticity. The document itself does not claim to have been authored by Judas (it is, rather, a gospel about Judas), and dates no earlier than the 2nd century.

"Q" sayings collection[link]

According to scholars proposing the existence of a hypothetical sayings-source, a Redensquelle, "Q" (following the terminology of Johannes Weiss) at some time there existed a document comprised mostly sayings of Jesus with little narrative. It is presumed the source for many of Jesus' sayings in Matthew and Luke, and accordingly must have preceded these gospels. It is believed that the earliest form of the sayings were written c. 50–60.^[74] However Mark Goodacre and other scholars have questioned the existence of a Q document.^[79]

Infancy gospels[link]

A genre of "Infancy gospels" (Greek: protoevangelion) arose in the 2nd century, such as the Gospel of James, which introduces the concept of the Perpetual Virginity of Mary, and the Infancy Gospel of Thomas (not to be confused with the absolutely different sayings Gospel of Thomas), both of which related many miraculous incidents from the life of Mary and the childhood of Jesus that are not included in the canonical gospels.

Harmonies[link]

Another genre is that of gospel harmonies, in which the four canonical gospels were selectively recast as a single narrative to present a consistent text. Very few fragments of harmonies have survived. The Diatessaron was such a harmonization, compiled by Tatian around 175. It was popular for at least two centuries in Syria, but eventually it fell into disuse.

Marcion's Gospel of Luke[link]

Marcion of Sinope, c. 150, had a version of the gospel of Luke which differed substantially from that which has now become the standard text. Marcion's version was far less Jewish than the now canonical text, and his critics alleged that he had edited out the portions he didn't like from the canonical version, though Marcion argued that his text was the more genuinely original one. Marcion also rejected all the other gospels, including Matthew, Mark and especially John, which he alleged had been forged by Irenaeus.

Islamic view[link]

The original gospel of Jesus is named the Injil (Arabic: إنجيل‎ ʾInǧīl) in the Qur'an. The word Injil occurs twelve times in the Qur'an and refers to the book of revelation given to the prophet Jesus. God taught Jesus both the law and gospel.^[80] Muslim scholars generally agree that Injil refers to the true gospel, bestowed upon Jesus by God. The word Injil is used in the Qur'an, the Hadith and early Muslim documents to refer specifically to the revelations made by God to Jesus. Muslims reject that Jesus or any other person wrote the Injil, instead crediting its authorship to God. Many Muslim scholars believe that the gospel has undergone alteration, that the words and the meaning of the words have been distorted, with some passages suppressed and others added.

See also[link]

Christianity portal

• List of gospels
• Acts of the Apostles (genre)
• Agrapha are the collection of religious sayings attributed to Jesus Christ that are not found in the canonical gospels.
• Apocalyptic literature
• The Aquarian Gospel of Jesus the Christ
• Bodmer Papyri
• Godspell is a musical based on the gospels of Jesus Christ. The word "Gódspell" is Anglo Saxon (c. 1000 AD) for Gospel.^[81]
• Good news (Christianity) concerning the content of the Bible's message about Jesus Christ
• Gospel harmony
• Gospel (liturgy)
• Jesusism
• Theology

References[link]

This article lacks ISBNs for the books listed in it. Please make it easier to conduct research by listing ISBNs. If the {{Cite book}} or {{citation}} templates are in use, you may add ISBNs automatically, or discuss this issue on the talk page. (November 2011)

Further references[link]

McGrath, A. 2001. In the Beginning the Story of the King James Bible and how it changed a Nation, a Language and a Culture. Hodder & Stoughton. ISBN 0-340-78585-3.

External links[link]

Wikiquote has a collection of quotations related to: Gospel

Wikisource has the text of the 1905 New International Encyclopedia article Gospel.

• BibleGateway.com has the text of the New Testament gospels in various translations and versions
• A detailed discussion of the textual variants in the gospels — covering about 1200 variants on 2000 pages.
• Greek New Testament — the Greek text of the New Testament: specifically the Westcott-Hort text from 1881, combined with the NA26/27 variants.
• Introduction to The Complete Gospels — an excerpt and information about this compilation of canonical and non-canonical gospels in translation.
• Tessarôn Euaggeliôn Sumphônia – The Greek harmony of the Gospels
• Quattuor Evangeliorum Consonantia – The Latin harmony of the Gospels (1)
• Quattuor Evangeliorum Consonantia – The Latin harmony of the Gospels (2)
• The Case against Q collects resources for considering the Q hypothesis and evidence that Luke used Matthew
• Parallel Gospels in Harmony Online version of the public domain book Parallel Gospels in Harmony — with Study Guide
• Synoptic Parallels A web tool for finding corresponding passages in the Gospels

vep:Evangelii

Whitney Houston
Whitney Houston performing at Good Morning America in Central Park on September 1, 2009
Background information
Birth name	Whitney Elizabeth Houston
Born	(1963-08-09)August 9, 1963 Newark, New Jersey, U.S.
Died	February 11, 2012(2012-02-11) (aged 48) Beverly Hills, California, U.S.
Genres	R&B, soul, pop, dance, gospel
Occupations	Singer, actress, model, film producer, record producer, songwriter
Instruments	Vocals, piano
Years active	1977–2012
Labels	Arista, RCA
Associated acts	Cissy Houston, Dionne Warwick, Dee Dee Warwick, Aretha Franklin, Jermaine Jackson, Mariah Carey, Enrique Iglesias, Bobby Brown
Website	Official website Whitney Houston's autograph

Whitney Elizabeth Houston (August 9, 1963 – February 11, 2012) was an American recording artist, actress, producer, and model. In 2009, the Guinness World Records cited her as the most-awarded female act of all-time.^[1] Houston was one of the world's best-selling music artists, having sold over 170 million albums, singles and videos worldwide.^[2][3] She released seven studio albums and three movie soundtrack albums, all of which have diamond, multi-platinum, platinum or gold certification. Houston's crossover appeal on the popular music charts, as well as her prominence on MTV, starting with her video for "How Will I Know",^[4] influenced several African American female artists to follow in her footsteps.^[5][6]

Houston is the only artist to chart seven consecutive No. 1 Billboard Hot 100 hits.^[7] She is the second artist behind Elton John and the only female artist to have two number-one Billboard 200 Album awards (formerly "Top Pop Album") on the Billboard magazine year-end charts.^[8] Houston's 1985 debut album Whitney Houston became the best-selling debut album by a female act at the time of its release. The album was named Rolling Stone's best album of 1986, and was ranked at number 254 on Rolling Stone's list of the 500 Greatest Albums of All Time.^[9] Her second studio album Whitney (1987) became the first album by a female artist to debut at number one on the Billboard 200 albums chart.^[9]

Houston's first acting role was as the star of the feature film The Bodyguard (1992). The film's original soundtrack won the 1994 Grammy Award for Album of the Year. Its lead single "I Will Always Love You", became the best-selling single by a female artist in music history. With the album, Houston became the first act (solo or group, male or female) to sell more than a million copies of an album within a single week period under Nielsen SoundScan system.^[9] The album makes her the top female act in the top 10 list of the best-selling albums of all time, at number four. Houston continued to star in movies and contribute to their soundtracks, including the films Waiting to Exhale (1995) and The Preacher's Wife (1996). The Preacher's Wife soundtrack became the best-selling gospel album in history.^[10]

Life and career[link]

1963–1976: Early life[link]

Whitney Houston was born in what was then a middle-income neighborhood in Newark, New Jersey, the second child of Army serviceman and entertainment executive John Russell Houston, Jr. (September 13, 1920 – February 2, 2003), and gospel singer Cissy Houston (née Emily Drinkard).^[11] She was of African American, Native American and Dutch descent.^[12] Her mother, along with cousins Dionne Warwick and Dee Dee Warwick, godmother Darlene Love^[13] and honorary aunt Aretha Franklin^[14] were all notable figures in the gospel, rhythm and blues, pop, and soul genres.^[15] She met her honorary aunt at age 8, or 9, when her mother took her to a recording studio.^[16] Houston was raised a Baptist, but was also exposed to the Pentecostal church. After the 1967 Newark riots, the family moved to a middle-class area in East Orange, New Jersey, when she was four.^[17]

At the age of 11, Houston began to follow in her mother's footsteps and started performing as a soloist in the junior gospel choir at the New Hope Baptist Church in Newark, where she also learned to play the piano.^[18] Her first solo performance in the church was "Guide Me, O Thou Great Jehovah".^[19] When Houston was a teenager, she attended Mount Saint Dominic Academy, a Catholic girls' high school in Caldwell, New Jersey, where she met her best friend Robyn Crawford, whom she described as the "sister she never had".^[20] While Houston was still in school, her mother continued to teach her how to sing.^[5] In addition to her mother, Franklin, and Warwick, Houston was also exposed to the music of Chaka Khan, Gladys Knight, and Roberta Flack, most of whom would have an impact on her as a singer and performer.^[21]

1977–1984: Early career[link]

Houston spent some of her teenage years touring nightclubs where her mother Cissy was performing, and she would occasionally get on stage and perform with her. In 1977, at age 14, she became a backup singer on the Michael Zager Band's single "Life's a Party".^[22] In 1978, at age 15, Houston sang background vocals on Chaka Khan's hit single "I'm Every Woman", a song she would later turn into a larger hit for herself on her monster-selling The Bodyguard soundtrack album.^[23][24] She also sang back-up on albums by Lou Rawls and Jermaine Jackson.^[23]

In the early 1980s, Houston started working as a fashion model after a photographer saw her at Carnegie Hall singing with her mother. She appeared in Seventeen^[25] and became one of the first women of color to grace the cover of the magazine.^[26] She was also featured in layouts in the pages of Glamour, Cosmopolitan, Young Miss, and appeared in a Canada Dry soft drink TV commercial.^[27] Her striking looks and girl-next-door charm made her one of the most sought after teen models of that time.^[27] While modeling, she continued her burgeoning recording career by working with producers Michael Beinhorn, Bill Laswell and Martin Bisi on an album they were spearheading called One Down, which was credited to the group Material. For that project, Houston contributed the ballad "Memories", a cover of a song by Hugh Hopper of Soft Machine. Robert Christgau of The Village Voice called her contribution "one of the most gorgeous ballads you've ever heard".^[28] She also appeared as a lead vocalist on one track on a Paul Jabara album, entitled Paul Jabara and Friends, released by Columbia Records in 1983.^[29]

Houston had previously been offered several recording agencies (Michael Zager in 1980, and Elektra Records in 1981), however her mother declined the offers stating her daughter must first complete high school.^[22][30] In 1983, Gerry Griffith, an A&R representative from Arista Records, saw her performing with her mother in a New York City nightclub and was impressed. He convinced Arista's head Clive Davis to make time to see Houston perform. Davis too was impressed and offered a worldwide recording contract which Houston signed. Later that year, she made her national televised debut alongside Davis on The Merv Griffin Show.^[31]

Houston signed with Arista in 1983, but did not begin work on her album immediately.^[1] The label wanted to make sure no other label signed the singer away. Davis wanted to ensure he had the right material and producers for Houston's debut album. Some producers had to pass on the project due to prior commitments.^[32] Houston first recorded a duet with Teddy Pendergrass entitled "Hold Me" which appeared on his album, Love Language.^[33] The single was released in 1984 and gave Houston her first taste of success, becoming a Top 5 R&B hit.^[34] It would also appear on her debut album in 1985.

1985–1986: Rise to international prominence[link]

With production from Michael Masser, Kashif, Jermaine Jackson, and Narada Michael Walden, Houston's debut album Whitney Houston was released in February 1985. Rolling Stone magazine praised Houston, calling her "one of the most exciting new voices in years" while The New York Times called the album "an impressive, musically conservative showcase for an exceptional vocal talent".^[35][36] Arista Records promoted Houston's album with three different singles from the album in the US, UK and other European countries. In the UK, the dance-funk "Someone for Me", which failed to chart in the country, was the first single while "All at Once" was in such European countries as the Netherlands and Belgium, where the song reached the top 5 on the singles charts, respectively.^[37]

In the US, the soulful ballad "You Give Good Love" was chosen as the lead single from Houston's debut to establish her in the black marketplace first.^[38] Outside the US, the song failed to get enough attention to become a hit, but in the US, it gave the album its first major hit as it peaked at No. 3 on the US Billboard Hot 100 chart, and No. 1 on the Hot R&B chart.^[32] As a result, the album began to sell strongly, and Houston continued promotion by touring nightclubs in the US. She also began performing on late-night television talk shows, which were not usually accessible to unestablished black acts. The jazzy ballad "Saving All My Love for You" was released next and it would become Houston's first No. 1 single in both the US and the UK. She was then an opening act for singer Jeffrey Osborne on his nationwide tour. "Thinking About You" was released as the promo single only to R&B-oriented radio stations, which peaked at number ten on the US R&B Chart. At the time, MTV had received harsh criticism for not playing enough videos by black, Latino, and other racial minorities while favoring white acts.^[39] The third US single, "How Will I Know", peaked at No. 1 and introduced Houston to the MTV audience thanks to its video. Houston's subsequent singles from this, and future albums, would make her the first African-American female artist to receive consistent heavy rotation on MTV.^[26]

By 1986, a year after its initial release, Whitney Houston topped the Billboard 200 albums chart and stayed there for 14 non-consecutive weeks.^[40] The final single, "Greatest Love of All", became Houston's biggest hit at the time after peaking No. 1 and remaining there for three weeks on the Hot 100 chart, which made her debut the first album by a female artist to yield three No. 1 hits. Houston was No. 1 artist of the year and Whitney Houston was the No. 1 album of the year on the 1986 Billboard year-end charts, making her the first female artist to earn that distinction.^[40] At the time, Houston released the best-selling debut album by a solo artist.^[41] Houston then embarked on her world tour, Greatest Love Tour. The album had become an international success, and was certified 13× platinum (diamond) in the United States alone, and has sold a total of 25 million copies worldwide.^[42]

At the 1986 Grammy Awards, Houston was nominated for three awards including Album of the Year.^[43] She was not eligible for the Best New Artist category due to her previous hit R&B duet recording with Teddy Pendergrass in 1984.^[44] She won her first Grammy award for Best Pop Vocal Performance, Female for "Saving All My Love for You".^[45] Houston's performance of the song during the Grammy telecast later earned her an Emmy Award for Outstanding Individual Performance in a Variety or Music Program.^[46]

Houston won seven American Music Awards in total in 1986 and 1987, and an MTV Video Music Award.^[47][48] The album's popularity would also carry over to the 1987 Grammy Awards when "Greatest Love of All" would receive a Record of the Year nomination. Houston's debut album is listed as one of Rolling Stone's 500 Greatest Albums of All Time and on The Rock & Roll Hall of Fame's Definitive 200 list.^[49][50] Houston's grand entrance into the music industry is considered one of the 25 musical milestones of the last 25 years, according to USA Today.^[51] Following Houston's breakthrough, doors were opened for other African-American female artists such as Janet Jackson and Anita Baker to find notable success in popular music and on MTV.^[52][53]

[edit] 1987–1991: Whitney, I'm Your Baby Tonight and "The Star Spangled Banner"

With many expectations, Houston's second album, Whitney, was released in June 1987. The album again featured production from Masser, Kashif and Walden as well as Jellybean Benitez. Many critics complained that the material was too similar to her previous album. Rolling Stone said, "the narrow channel through which this talent has been directed is frustrating".^[54] Still, the album enjoyed commercial success. Houston became the first female artist in music history to debut at number one on the Billboard 200 albums chart, and the first artist to enter the albums chart at number one in both the US and UK, while also hitting number one or top ten in dozens of other countries around the world. The album's first single, "I Wanna Dance With Somebody (Who Loves Me)", was also a massive hit worldwide, peaking at No. 1 on the Billboard Hot 100 chart and topping the singles chart in many countries such as Australia, Germany and the UK. The next three singles, "Didn't We Almost Have It All", "So Emotional", and "Where Do Broken Hearts Go" all peaked at number one on the US Hot 100 chart, which gave her a total of seven consecutive number one hits, breaking the record of six previously shared by The Beatles and The Bee Gees.^[55][56] Houston became the first female artist to generate four number-one singles from one album. Whitney has been certified 9× Platinum in the US for shipments of over 9 million copies, and has sold a total of 20 million copies worldwide.^[57]

At the 30th Grammy Awards in 1988, Houston was nominated for three awards, including Album of the Year, winning her second Grammy for Best Female Pop Vocal Performance for "I Wanna Dance With Somebody (Who Loves Me)".^[58][59] Houston also won two American Music Awards in 1988 and 1989, respectively, and a Soul Train Music Award.^[60][61][62] Following the release of the album, Houston embarked on the Moment of Truth World Tour, which was one of the ten highest grossing concert tours of 1987.^[63] The success of the tours during 1986–87 and her two studio albums ranked Houston No. 8 for the highest earning entertainers list according to Forbes magazine.^[64] She was the highest earning African-American woman overall and the third highest entertainer after Bill Cosby and Eddie Murphy.^[64]

Houston was a supporter of Nelson Mandela and the anti-apartheid movement. During her modeling days, the singer refused to work with any agencies who did business with the then-apartheid South Africa.^[65][66] On June 11, 1988, during the European leg of her tour, Houston joined other musicians to perform a set at Wembley Stadium in London to celebrate a then-imprisoned Nelson Mandela's 70th birthday.^[65] Over 72,000 people attended Wembley Stadium, and over a billion people tuned in worldwide as the rock concert raised over $1 million for charities while bringing awareness to apartheid.^[67] Houston then flew back to the US for a concert at Madison Square Garden in New York City in August. The show was a benefit concert that raised a quarter of a million dollars for the United Negro College Fund.^[68] In the same year, she recorded a song for NBC's coverage of the 1988 Summer Olympics, "One Moment in Time", which became a Top 5 hit in the US, while reaching number one in the UK and Germany.^[69][70][71] With her world tour continuing overseas, Houston was still one of the top 20 highest earning entertainers for 1987–88 according to Forbes magazine.^[72][73]

Houston performing "Saving All My Love for You" on the Welcome Home Heroes concert in 1991

In 1989, Houston formed The Whitney Houston Foundation For Children, a non-profit organization that has raised funds for the needs of children around the world. The organization cares for homelessness, children with cancer or AIDS, and other issues of self-empowerment.^[74] With the success of her first two albums, Houston was undoubtedly an international crossover superstar, the most prominent since Michael Jackson, appealing to all demographics. However, some black critics believed she was "selling out".^[6] They felt her singing on record lacked the soul that was present during her live concerts.^[25]

At the 1989 Soul Train Music Awards, when Houston's name was called out for a nomination, a few in the audience jeered.^[75][76] Houston defended herself against the criticism, stating, "If you're gonna have a long career, there's a certain way to do it, and I did it that way. I'm not ashamed of it".^[25] Houston took a more urban direction with her third studio album, I'm Your Baby Tonight, released in November 1990. She produced and chose producers for this album and as a result, it featured production and collaborations with L.A. Reid and Babyface, Luther Vandross, and Stevie Wonder. The album showed Houston's versatility on a new batch of tough rhythmic grooves, soulful ballads and up-tempo dance tracks. Reviews were mixed. Rolling Stone felt it was her "best and most integrated album".^[77] while Entertainment Weekly, at the time thought Houston's shift towards an urban direction was "superficial".^[78]

The album contained several hits: the first two singles, "I'm Your Baby Tonight" and "All the Man That I Need" peaked at number one on the Billboard Hot 100 chart; "Miracle" peaked at number nine; "My Name Is Not Susan" peaked in the top twenty; "I Belong to You" reached the top ten of the US R&B chart and garnered Houston a Grammy nomination; and the sixth single, the Stevie Wonder duet "We Didn't Know", reached the R&B top twenty. The album peaked at number three on the Billboard 200 and went on to be certified 4× platinum in the US while selling twelve million total worldwide.

In 1990, Houston was the spokesperson for a youth leadership conference hosted in Washington, D.C. She had a private audience with President George H. W. Bush in the Oval Office to discuss the associated challenges.

With America entangled in the Persian Gulf War, Houston performed "The Star Spangled Banner" at Super Bowl XXV at Tampa Stadium on January 27, 1991.^[79] Due to overwhelming response to her rendition, it was released as a commercial single and video of her performance, and reached the Top 20 on the US Hot 100, making her the only act to turn the national anthem into a pop hit of that magnitude (Jose Feliciano's version reached No. 50 in November 1968).^[80][81] Houston donated all her share of the proceeds to the American Red Cross Gulf Crisis Fund. As a result, the singer was named to the Red Cross Board of Governors.^[79][82][83]

Her rendition was considered the benchmark for singers and critically acclaimed.^[84] Rolling Stone commented that "her singing stirs such strong patriotism. Unforgettable", and the performance ranked No. 1 on the 25 most memorable music moments in NFL history list. VH1 listed the performance as one of the greatest moments that rocked TV.^[85][86] Following the attacks on 9/11, it was released again by Arista Records, all profits going towards the firefighters and victims of the attacks. This time it peaked at No. 6 in the Hot 100 and was certified platinum by the Recording Industry Association of America.^[87]

Later in 1991, Houston put together her Welcome Home Heroes concert with HBO for the soldiers fighting in the Persian Gulf War and their families. The free concert took place at Naval Station Norfolk in Norfolk, Virginia in front of 3,500 servicemen and women. HBO descrambled the concert so that it was free for everyone to watch.^[88] Houston's concert gave HBO its highest ratings ever.^[89] She then embarked on the I'm Your Baby Tonight World Tour.

[edit] 1992–1994: Marriage to Bobby Brown and The Bodyguard

Throughout the 1980s, Houston was romantically linked to American football star Randall Cunningham and actor Eddie Murphy, whom she dated.^[90] She then met R&B singer Bobby Brown at the 1989 Soul Train Music Awards. After a three-year courtship, the two were married on July 18, 1992.^[91] On March 4, 1993, Houston gave birth to their daughter Bobbi Kristina Houston Brown, her only child, and his fourth. Brown would go on to have several run-ins with the law, including some jail time.^[91]

With the commercial success of her albums, movie offers poured in, including offers to work with Robert De Niro, Quincy Jones, and Spike Lee; but Houston felt the time wasn't right.^[90] Houston's first film role was in The Bodyguard, released in 1992 and co-starring Kevin Costner. Houston played Rachel Marron, a star who is stalked by a crazed fan and hires a bodyguard to protect her. USA Today listed it as one of the 25 most memorable movie moments of the last 25 years in 2007.^[92] Houston's mainstream appeal allowed people to look at the movie color-blind.^[93]

Still, controversy arose as some felt the film's advertising intentionally hid Houston's face to hide the film's interracial relationship. In an interview with Rolling Stone in 1993, the singer commented that "people know who Whitney Houston is – I'm black. You can't hide that fact."^[21] Houston received a Razzie Award nomination for Worst Actress. The Washington Post said Houston is "doing nothing more than playing Houston, comes out largely unscathed if that is possible in so cockamamie an undertaking",^[94] and The New York Times commented that she lacked passion with her co-star.^[95] Despite the film's mixed reviews, it was hugely successful at the box office, grossing more than $121 million in the U.S. and $410 million worldwide, making it one of the top 100 grossing films in film history at its time of release, though it is no longer in the top 100 due to rising ticket prices since the time the film was released.^[96]

The film's soundtrack also enjoyed big success. Houston executive produced and contributed six songs for the motion picture's adjoining soundtrack album. Rolling Stone said it is "nothing more than pleasant, tasteful and urbane".^[97] The soundtrack's lead single was "I Will Always Love You", written and originally recorded by Dolly Parton in 1974. Houston's version of the song was acclaimed by many critics, regarding it as her "signature song" or "iconic performance". Rolling Stone and USA Today called her rendition "the tour-de-force".^[98][99] The single peaked at number one on the Billboard Hot 100 for a then-record-breaking 14 weeks, number one on the R&B chart for a then-record-breaking 11 weeks, and number one on the Adult Contemporary charts for five weeks, thus becoming the first single to top those three charts simultaneously for five weeks.^[100]