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.

Style[link]

	"How Great Thou Art" Yolanda Adams performs "How Great Thou Art" at the White House's Celebration of Music from the Civil Rights Movement in 2010. "How Great Thou Art" audio only file
Problems listening to these files? See media help.

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 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 . . ."^[1]

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.^[2] Gold said, "Essentially the gospel songs are songs of testimony, persuasion, religious exhortation, or warning. Usually the chorus or refrain technique is found."^[3]

History[link]

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. When it comes to the African American experience, gospel music can be traced to the early 17th century.^[4]

Coming out of an oral tradition, gospel music typically utilizes a great deal of repetition. This is a device to promote group participation.^{[citation needed]} And the repetition of the words allowed those who could not read the opportunity to participate in worship. During this time, hymns and sacred songs were lined and repeated in a call and response fashion, and the Negro spirituals and work songs emerged. Due to the enslaved Africans attending their masters’ worship services, the 17th-century influences on Negro spirituals and work songs were the traditional hymns which the enslaved had 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.^{[citation needed]}

Quite often, readings were from the Apostle Paul's writings which 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 black people were not free to worship on their own and had to attend worship services with their master. At these services, their understanding of Christian doctrine grew, and music played a role in that experience. The worship music (hymns) of the whites became the backdrop for the music that the enslaved Africans would use at their eventual worship meetings.^{[citation needed]}

Most of the churches did not have musical instruments to use. There would be guitars and tambourines available every now and then, but not frequently. There were not regular church choirs that existed at this time, and they did not use a piano very often. Most of the singing was done a cappella.^[5]

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.^[6] 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.^[7]

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.^[8] 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.^[9] 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^[10]

20th century[link]

Exemplification of gospel music: The Bible, which is the word of God for Christians and a CD that represents the music in general.

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.^[11]

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.^[12] Virgil O. Stamps and Jesse R. Baxter studied Vaughan’s business model and by the late 1920s were running a heavy competition for Vaughan.^[13] 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.^[14]

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.^[15] 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.^[16] 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.^[17] 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.^[18] Dorsey was responsible for developing the musical careers of many African-American artists, such as Mahalia Jackson.^[19]

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.^[20]

Following the Second World War, gospel music moved into major auditoriums, and gospel music concerts became quite elaborate.^[21] 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.^[22] 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.^[23] In the black community, James Cleveland established the Gospel Music Workshop of America in 1969.

Gospel music genres and subgenres[link]

This article is a part in a series on Gospel music

Roots and Beginnings  Christian Hymns Negro Spirituals Sacred Harp Shape note

Genres and Subgenres  Southern Gospel Gospel blues Bluegrass gospel Christian country music Country Gospel Progressive Southern Gospel Urban contemporary gospel Christian hip hop

Related Music Genres  CCM

Associations and Groups  Gospel Music Hall of Fame Gospel Music Workshop of America National Gospel Singing Convention National Quartet Convention Australian Gospel Music Association GMA Canada

Gospel Music Awards  GMA Dove Awards Stellar Awards Covenant Awards Singing News Fan Awards Australian Gospel Music Awards

Related WikiProjects  Christianity Wikiproject Gospel music Wikiproject Southern Gospel Wikiproject

Category  • Musicians See also: Christianity: Portal  • Category Christian music: Portal  • Category

This box: view talk edit

Urban contemporary gospel[link]

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.^{[citation needed]}

Gospel blues[link]

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

Southern gospel[link]

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[link]

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

Christian country music[link]

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.^[24][25]

Bluegrass gospel[link]

Bluegrass gospel music is rooted in American mountain music.

Celtic gospel[link]

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[link]

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."^[26] 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."^[27]

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.)^[28]

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,"^[29] a diplomatic way of saying, "It's all right to sing these songs in church."

See also[link]

• Gospel Music Hall of Fame
• Gospel music WikiProject
• List of gospel musicians
• Museum of African American Music
• Phillip Paul Bliss House
• Soul music
• Stellar Awards

References[link]

Further reading[link]

• 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 0-415-94179-2.
• 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.

External links[link]

Professional organizations[link]

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[link]

Black Family Channel

Bobby Jones Gospel

Gospel Music Channel

The Inspirational Network

Christian Broadcasting Network

Daystar Television Network

Trinity Broadcasting Network

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BeBe Winans
BeBe Winans
Background information
Birth name	Benjamin Winans
Also known as	BeBe
Born	(1962-09-17) September 17, 1962 (age 49)
Origin	Detroit, Michigan, United States
Genres	Gospel, R&B, soul
Occupations	Singer, songwriter, record producer, actor
Instruments	Voice
Years active	1984–present
Labels	PTL Records (1984–87), Sparrow/Capitol (1987–98), Atlantic Records (1997–98), Motown (1999–2003), Still Waters/Hidden Beach (2004–06), The Movement Group (2004–present)
Associated acts	CeCe Winans, Winans family
Website	BeBeWinans.net

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[link]

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[link]

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.^[1]

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.^[2]

President George W. Bush puts his arm around singer BeBe Winans as he sings God Bless America during the 'Saluting Those Who Serve' event at the MCI Center in Washington, D.C. on January 18, 2005. Also pictured are, from left, Laura Bush, Lynne Cheney, and Vice President Dick Cheney.

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.^[3] 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.^[4] 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".^[5] 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.^[6] 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.^[7]

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 ^[8]

Legal issues[link]

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,^[9] 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."^[10]

On December 4, 2009, the domestic assault criminal charges against Bebe Winans were dismissed.^[11][12] 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.^[13]

Discography[link]

Solo albums[link]

• 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[link]

• 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)^[14]

Singles[link]

• 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)^[15]
• 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[link]

• 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: "One Voice" from "Never Say Never":Brandy Norwood (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[link]

• BeBe Winans albums
• BeBe and CeCe Winans albums
• The Winans Family

References[link]

External links[link]

• www.bebewinans.net - The official BeBe Winans Internet site
• www.beberadio.com The official BeBe Winans Radio Show Internet site

David "Dai" John was a Welsh professional rugby league footballer of the 1910s, playing at representative level for Wales, and at club level for Salford, as a Fullback, i.e. number 1.^[1]

International honours[link]

Dai John won a cap for Wales while at Salford in 1913.^[2]

References[link]

External links[link]

• Statistics at rugbyleagueproject.org