Christianity Today magazine is an evangelical Christian periodical, founded in 1956 and is based in Carol Stream, Illinois. The Washington Post calls Christianity Today, "evangelicalism's flagship magazine". Christianity Today magazine has a print circulation of 130,000, of which 36,000 is free, readership of 260,000, as well as a website at ChristianityToday.com. The founder, Billy Graham, stated that he wanted to "plant the evangelical flag in the middle-of-the-road, taking the conservative theological position but a definite liberal approach to social problems". Graham started the magazine as counterpoint to The Christian Century, the predominant independent periodical of mainline Protestantism, as a way to bring the evangelical Christian community together; the first issue of Christianity Today was mailed October 15, 1956, the opening editorial, Why'Christianity Today'?, stated "Christianity Today has its origin in a deep-felt desire to express historical Christianity to the present generation.
Neglected, misrepresented—evangelical Christianity needs a clear voice, to speak with conviction and love, to state its true position and its relevance to the world crisis. A generation has grown up unaware of the basic truths of the Christian faith taught in the Scriptures and expressed in the creeds of the historic evangelical churches." Its first editor was Carl F. H. Henry. Notable contributors in its first two decades included F. F. Bruce, Edward John Carnell, Frank Gaebelein, Walter Martin, John Warwick Montgomery, Harold Lindsell. Lindsell succeeded Henry as editor and during his editorial administration much attention centered on debates about biblical inerrancy. Editorial leadership came from Kenneth Kantzer, Terry Muck, David Neff; the current editor is Mark Galli, the publication now includes print and various ancillary products. Andy Olsen is managing editor of the print edition, Richard Clark is managing editor of online journalism. Contents of print and online include feature stories, news ranging from cultural issues from a Christian viewpoint to the global church, opinion and investigative reporting.
In Billy Graham’s 1997 autobiography, Just As I Am, he writes of his vision and history with Christianity Today and his early meeting with oil company executive, John Howard Pew, to establish the publication. Harold Myra, who became president and chief executive of the magazine in 1975, believed that a "family" of magazines would disperse overhead expenses and give more stability to the organization. At the same time, he rejected expansion for expansion's sake, writing: "our main concern was to make Christianity Today, the flagship publication effective in three basic areas: editorial, advertising. Anything which would drain off energies from the prime task was unthinkable." Christianity Today founded or acquired periodicals during the 1980s and 90s, beginning with Leadership, a quarterly journal for clergy, in 1980. In 2005, Christianity Today International published 12 magazines, but following the financial downturn of 2008 it was forced to shutter several publications. By 2017 that had further winnowed to three.
The first "sister publication" added to the Christianity Today publishing group was Leadership: A Practical Journal for Church Leaders, launched in 1980. The subtitle defined the journal's mission: it was a quarterly publication, aimed at clergy, focusing on the practical concerns of ministry and church leadership; the first issue of Leadership sold out its initial press run of 50,000 copies, the publication was in the black after a single issue. The journal continued in print for 36 years. After volume 37, issue 1, Christianity Today discontinued the print publication, replacing it with expanded content in Christianity Today for pastors and church leaders and occasional print supplements, as well as a new website, CTPastors.com. In 1982, Christianity Today purchased the magazine Campus Life, aimed at a high school audience, from its parent organization, Youth For Christ; the name of the magazine was changed to Ignite Your Faith in 2006. It ceased publication in 2009. Partnership was launched in 1984 as a magazine for wives of clergy.
In 1987 it was renamed Marriage Partnership and expanded its focus to marriage in general, not just clergy marriages. The magazine ceased publication in 2009. Today's Christian Woman was founded in 1978 and acquired by Christianity Today from the Fleming H. Revell Co. in 1985. It discontinued print publication in 2009 and was replaced with a "digizine" called Kyria, online only but still required a paid subscription to access, although at a lower price than the print magazine. In 2012 the name of the digital publication was changed back to Today's Christian Woman, in 2016 it stopped being issued as a scheduled digital periodical. Christian History was a journal of the history of Christianity, first issued in January 1982 by the Christian History Institute; each issue had multiple articles covering a single theme. Published annually, it became a quarterly publication. Christianity Today took over ownership of the magazine beginning with issue number 22 in 1989. In 2011 the Christian History Institute resumed quarterly publication of the magazine.
Christian History archives can still be found on ChristianityToday.com under its special section. Christian Reader, a digest magazine in the vein of Reader's Digest, was founded in 1963 by Tyndale House Publishers founder Ken Taylor. Christianity Today purchased the magazine in 1992; the name was changed to Today's Christian in 2004. In 2008, Christiani
Between the Fence & the Universe
Between the Fence & the Universe is an EP by recording artist Kevin Max released independently in 2004 and by Northern Records in 2005. It is a compilation of unreleased songs that Max recorded for his second album for Nashville-based ForeFront Records; however and Forefront parted ways before a second record could be released. Max moved to Los Angeles and released the songs on this EP. "Seek" – 3:38 "21st-Century Darlings" – 2:32 "Irish Hymn" – 3:43 "Stranded 72.5" – 3:43 "Golden" – 5:57 "To the Dearly Departed" – 3:59 "Seek" – 3:38 "21st-Century Darlings" – 2:32 "Irish Hymn" – 3:43 "Stranded 72.5" – 3:43 "Golden" – 5:57 "Hallelujah" – 4:53 "To the Dearly Departed" – 3:59 Kevin Max – vocals, keyboard Erick Cole – guitar, programming Jason Garner – programming Cary Barlowe – guitar "Tone the Bone" Lucido – bass Jonathan Smith a.k.a. TheRealJonSmith – drums, engineering Jesse Supalla – piano Andy Prickett – guitar Douglas Grean – bass, keyboard Kevin Max Official Website dc Talk NewReleaseTuesday.com Interview
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Stereotype Be is solo debut album of Kevin Max. The album blends progressive rock, world music, spoken word, traditional pop, with spiritual lyrics. "My Sweet Lord" – 4:32 "Shaping Space" – 4:05 "Deconstructing Venus" – 5:01 "Dead End Moon" – 5:23 "End of the Beginning" – 6:06 "Angel Without Wings" – 4:29 "Mojo Reckoning" – 5:05 "The Revolution" – 3:52 "Burn Me Up" – 4:43 "Leaving the Planet" – 4:10 "Dark Night" – 4:22 "You" - 4:24"End of the Beginning" was revamped by Max and used as the second track of his 2012 EP, Fiefdom of Angels-Side One. In 2015 Kevin released Stereotype Be-Sides which included these tracks and others not before heard
Kevin Max is an American singer and poet. He is best known for being a member of the Christian pop group dc Talk; as a solo artist following the band going on hiatus, he has recorded nine full-length studio albums, one Christmas album, eight EPs. From 2012 until 2014, he was the lead singer of the band Audio Adrenaline. Born Kevin Max Smith, he shortened it to "Kevin Max" in 1997, as a tribute to his adoptive father. Kevin grew up in Grand Rapids, Michigan, his adoptive brother was named Derek. Kevin showed incredible musical talent early in his life. Renowned for his unusual vibrato and multiple octave range, his voice grabbed attention immediately, his talent grew while at Grand Rapids Baptist High School and at Liberty University in Lynchburg, Virginia. While at Liberty, Max started a band called'Connection' and was known around the campus as'the rock singer.' Max was dismissed from Liberty University for unknown reasons following the first semester of his freshman year. He shortly thereafter joined the Christian music group dcTalk.
Max shortened his name to avoid confusion with Kevin Smith, the filmmaker. While at Liberty University, he met fellow DC Talk bandmates: Michael Tait, they went on to achieve great success in both Christian and mainstream music. The band went on to win 4 Grammy Awards, 16 GMA Dove Awards, other recognition. However, they decided to take an extended "intermission" in 2000. Max's first solo album, Stereotype Be, released on August 28, 2001, was praised by Allmusic for " pop and world music to create a versatile and intriguing project.". Artists Adrian Belew and Tony Levin of King Crimson, Larry Norman and drummer Matt Chamberlain contributed to the album along with Max's collaborator Erick Cole, it became a turning point in Max's career, as the project was a foreshadowing of Max's own brand of style and alternative music. He would become known as the'enigmatic' and'independent' voice of the band, creating work that would take on many different directions that skewed far from the initial sounds and lyrical content of the dctalk music.
While Stereotype Be has developed a considerable cult following, it wasn't well received in the Christian music market. Soon after its release, Max was dropped from Forefront Records. Undeterred, Max began to build his solo career through live shows and word-of-mouth, he released independent albums via his website, including an EP entitled Between the Fence & the Universe and a spoken-word collaboration with Adrian Belew entitled Raven Songs 101, both in 2004. In fall of 2004, Max's word-of-mouth strategy began to pay off, he played the title role in the Visalia Theatre Company / Hutson-Cavale Productions revival of the classic Tim Rice and Andrew Lloyd Webber musical Joseph and the Amazing Technicolor Dreamcoat. That year, he signed a new deal with Northern Records and released a second full-length album, titled The Imposter, said to "contain...a sound that recalls the passion of early U2, the soul of Jeff Buckley, the ambiguity of Blur," on October 18, 2005. He released titled Holy Night, in time for the 2005 Christmas season.
In April 2007, Infinity Music announced. The Blood was released on December 26, 2007. According to Max, "The Blood is not a classic hymns cover project or a white/homogenized version of black gospel or soul music. It's a sensitive and stylized adaption of the music, at the root of rock and roll and popular culture."In February 2008 Kevin Max starred in the independent film The Imposter. Kevin plays a character named "Johnny C", a singer who becomes addicted to OxyContin and loses his family and job as a Christian music star; the movie features Tom Wright and Troy Baker. In 2009 Max released Crashing Gates through dPulse records and was critically praised as returning to his experimental side in the rock and pop genres. Like Lennon, Max was part of one of the premier bands in his particular genre, has faced the task of becoming a solo artist in his own right with a degree of artistry and creativity that has eclipsed that of his more commercially-oriented former band-mates. Crashing Gates, a seven song EP, is a half-hour of streamlined, hard-hitting, well-informed rock and roll flavored with a dash of Euro-pop and plenty of soul.
The music has a similar energy to Lennon’s classic Plastic Ono Band solo project, which featured a stripped-down rock unit of drums, bass and keyboard. Crashing Gates starts off with Jonathan Smith’s opening drumbeats on the lead track, “Traveler,” a tight, economical song and a good introduction to this band which powerfully delivers seven songs featuring the distinctive Max factor of Kevin’s signature vocals and intriguing lyrics."-Soul Audio Early 2010, Max began to change the direction of Cotes d' Armor with label dPulse records and included UK Electronica band PWEI on production, announcing a double vinyl and disc selection. The single'On Yer Bike' was produced by industry veteran Tedd T known for his work with alternative rock band Mutemath; the project boasts remixes done by Graham Crabb of PWEI and members of 3kStatic. In February 2011, Max had formed a supergroup with Broadway singer Tony Vincent and longtime collaborator David Larring; the band is tentatively named "Bad Omens".
Blues is a music genre and musical form, originated in the Deep South of the United States around the 1870s by African Americans from roots in African musical traditions, African-American work songs and the folk music of white Americans of European heritage. Blues incorporated spirituals, work songs, field hollers, shouts and rhymed simple narrative ballads; the blues form, ubiquitous in jazz and blues and rock and roll, is characterized by the call-and-response pattern, the blues scale and specific chord progressions, of which the twelve-bar blues is the most common. Blue notes thirds or fifths flattened in pitch, are an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove. Blues as a genre is characterized by its lyrics, bass lines, instrumentation. Early traditional blues verses consisted of a single line repeated four times, it was only in the first decades of the 20th century that the most common current structure became standard: the AAB pattern, consisting of a line sung over the four first bars, its repetition over the next four, a longer concluding line over the last bars.
Early blues took the form of a loose narrative relating the racial discrimination and other challenges experienced by African-Americans. Many elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa; the origins of the blues are closely related to the religious music of the Afro-American community, the spirituals. The first appearance of the blues is dated to after the ending of slavery and the development of juke joints, it is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century; the first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a wide variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues and West Coast blues. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience white listeners.
In the 1960s and 1970s, a hybrid form called blues rock developed, which blended blues styles with rock music. The term Blues may have come from "blue devils", meaning sadness; the phrase blue devils may have been derived from Britain in the 1600s, when the term referred to the "intense visual hallucinations that can accompany severe alcohol withdrawal". As time went on, the phrase lost the reference to devils, "it came to mean a state of agitation or depression." By the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, when Hart Wand's "Dallas Blues" became the first copyrighted blues composition. In lyrics the phrase is used to describe a depressed mood, it is in this sense of a sad state of mind that one of the earliest recorded references to "the blues" was written by Charlotte Forten aged 25, in her diary on December 14, 1862.
She was a free-born black from Pennsylvania, working as a schoolteacher in South Carolina, instructing both slaves and freedmen, wrote that she "came home with the blues" because she felt lonesome and pitied herself. She overcame her depression and noted a number of songs, such as Poor Rosy, that were popular among the slaves. Although she admitted being unable to describe the manner of singing she heard, Forten wrote that the songs "can't be sung without a full heart and a troubled spirit", conditions that have inspired countless blues songs; the lyrics of early traditional blues verses often consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current structure became standard: the so-called "AAB" pattern, consisting of a line sung over the four first bars, its repetition over the next four, a longer concluding line over the last bars. Two of the first published blues songs, "Dallas Blues" and "Saint Louis Blues", were 12-bar blues with the AAB lyric structure.
W. C. Handy wrote; the lines are sung following a pattern closer to rhythmic talk than to a melody. Early blues took the form of a loose narrative. African-American singers voiced his or her "personal woes in a world of harsh reality: a lost love, the cruelty of police officers, oppression at the hands of white folk, hard times"; this melancholy has led to the suggestion of an Igbo origin for blues because of the reputation the Igbo had throughout plantations in the Americas for their melancholic music and outlook on life when they were enslaved. The lyrics relate troubles experienced within African American society. For instance Blind Lemon Jefferson's "Rising High Water Blues" tells of the Great Mississippi Flood of 1927: "Backwater rising, Southern peoples can't make no time I said, backwater rising, Southern peoples can't make no time And I can't get no hearing from that Memphis girl of mine."Although the blues gained an association with misery and oppression, the lyrics could be humorous and raunchy: "Rebecca, get your big legs off of me, Rebecca, get your big legs off of m