John Stiles
Hannam University, Linton Global College, Korea

Abstract

Christian entertainment.  While this notion is an oxymoron to many, it is no longer a foreign concept to the world of business and finance.  Largely ignored in the past, this growing sector of the entertainment industry has begun to garner significant appeal with the public, and thus has attracted increased media attention–both mainstream and Christian, both positive and negative.  What makes this industry entirely unique is that it is indeed both “Christian” and “entertainment,” and both elements must function with equal effectiveness for the industry to thrive.  This study chronicles a decade of challenge for this industry, involving scandals and buyouts, and examines the traumas and triumphs of PR professionals faced with potentially catastrophic situations.  The intent of this project is to emphasize that the industry role of public relations was so in tune with calamity that it acted routinely, responsibly, and effectively to help diffuse each circumstance presented. 

[1] Christian entertainment.  While this notion is an oxymoron to many, it is no longer a foreign concept to the world of business and finance.  Recent figures produced by the Christian Booksellers Association (CBA) indicate that this industry’s overall earnings have surpassed $4 billion annually for the years 2001 through 2004 (CBA Media Relations, 2005).  Largely ignored in the past, this sector of the entertainment industry has begun to garner significant appeal with the public, and thus has attracted increased media attention–both mainstream and Christian, both positive and negative.

[2] One mainstream, or “secular” (the rather inclusive term within Christendom), journalist offers an honest perspective regarding his professional counterpart: “The Christian media have moved beyond polyester-clad faith healers and mascara-running testimonials” (Scott 1996, 12). David Scott continues by pointing out the multitude of Christian sites on the Internet and a 24-hour Christian music video television channel similar to MTV in production quality, while drawing distinctions in other aspects like fashion and subject matter:  “Christian artists like DC Talk, Jars of Clay, Michael W. Smith, and Carman are regulars on Billboard’s top 200, and Christian books and records are sending down profits from heaven for chains like Waldenbooks, Barnes & Noble, Wal-Mart, and Tower Records” (13).

The Explosion of a Fledgling Industry

[3] Although a quick channel surf will prove that the tasteless and the tactless are still alive and well within Christian media, the melodrama of the ’80s has seemingly given way to strategy, publicity, and rational thought within the industry.  This newfound media savvy is particularly characteristic of an explosive division of this industry, which has come to be recognized as “contemporary Christian music (CCM).”  The difficulty with this phraseology is that this “genre” may encompass anything from an inspirational ballad by Steve Green, to a not-so-soothing, “grind-core/thrash” styled tune, complements of the band called “Living Sacrifice.”  Despite the implicit confusion of semantics, the stakeholders, and especially the record companies, are currently labeling the genre–in a word–profitable. 

[4] The CBA, in fact, attributes almost one-fourth of the entire earnings of the Christian entertainment industry directly to record sales within contemporary Christian music (CBA Media Relations, 2005).  An edition of Newsweek devoted its cover and feature article to this growing segment of the music industry.  Lorraine Ali (2001), in an objective, well-researched, and responsibly written article entitled, “The Glorious Rise of Christian Pop,” states that in the year 2000, sales were twice the amount of Latin music, and CCM eclipsed the total sales of jazz, classical, and New Age combined:  “You don’t have to care about music to see that the subculture of Christian rock, with its marketing strategies, ecclesiastical messages and devoted fans, sheds light on a fascinating sector of American life” (4).

[5] This report evokes an obvious question: How did CCM so suddenly burst onto the national scene?  Although there are many factors and theories, Ali continues by supplying an acceptable solution:  “Christian music underwent a makeover, hipping itself up for the approaching millennium.  Starting in the early ’90s, its artists began borrowing from more relevant styles of music and fashion to promote their words of praise” (2001, 6).  This “conversion” of sorts is where this article will begin to chronologically focus its attention in examination of an industry on the rise.

Challenges to Continued Growth

[6] Perhaps more fascinating than the above facts and figures themselves is the formation of the CCM subculture, and how it so promptly came to arrive as such.  It is this somewhat self-contained, and more importantly “self-supporting,” core fan base, that has for several years now enabled contemporary Christian music to not only maintain its success, but to actually grow annually.  This growth is all the more remarkable in light of the fact that on the heels of “hipping itself” for the new millennium, CCM as an industry suffered some seemingly fatal blows to its image, and potentially to its very foundation.   

[7] For perhaps the first time in its young history, CCM had been dealt shocking and direct blows, which called for specific and strategic counteraction.  Intriguingly, however, this “action” did not so much fall into the categories of business, marketing, or finance; rather it was a clear case for the public relations department within this industry as a whole.  Furthermore, this was not a case of quantity of public relations, whereby the practitioner insensitively sought to gain exposure in any possible outlets–the “any press is good press” philosophy.  On the contrary, with these situations arose the sincere need for the practice of responsible, reflective, and relational public relations.  This article therefore, will present these types of situations, and will reflect how they were effectively dealt with in varying, practical strategies to help many organizations to survive, and to help the entire contemporary Christian music industry to once again thrive. 

Three Part Disharmony

[8] This article will focus on three separate events which threatened the industry, each of them causing a potential public relations nightmare.  In 1994, the growing CCM juggernaut was rocked by adultery.  First came the rumors and allegations.  The entire industry was caught between denial and disbelief.  Then came the confessions.  The scandal involved two recording artists in the industry, one a highly acclaimed and successful solo performer, Michael English, and a singer from the three-member group “First Call,” Marabeth Jordon.  The ultimate shock transcended CCM into Christendom itself upon learning that English and Jordon, who had together just completed a tour for unwed mothers, were each married. The situation was further inflamed by the fact that Jordon was, in fact, impregnated by English.  This story broke just days after the 1994 Dove Awards, CCM’s equivalent to the Grammy Awards, produced by the industry’s umbrella organization based in Nashville, Tennessee, called the Gospel Music Association (GMA).  Ironically, the man of the hour was none other than Michael English.  “A week after sweeping six categories at the GMA’s Dove Awards, English, 32, halted his career–and sent the six trophies back” (O’Donnell and Eskind 1994, 2).

[9] The record company of Michael English, Warner Alliance, which is the Christian division of Warner Records, made the decision to stop selling his recordings.  The pastor of Mr. English and of Christ Church in Nashville, Rev. Scotty Smith, was called upon to counsel English, Jordon, and executives at Warner Alliance (O’Donnell and Eskind, 1994). Certainly dark days were in store for the shareholders in the companies, as marked decreases in sales immediately became evident.  Though the bottom line continued to shrink, the public relations of Warner Alliance focused on upholding its standards, values, and image by turning its attention to the individuals involved in this episode.  The underlying relational themes of this unusual campaign, as modeled by Christ, were forgiveness, healing, and restoration.

[10] Following the scandal, Newsweek magazine was granted an interview with Michael English following the scandal.  As he spoke from his place of retreat in Florida, he exemplified this sobering theme of humility.  When asked about making music again, he dismissed its importance by saying his first desire is the attempt to restore himself in the eyes of his fellow musicians.  “I grew up singing Christian music and Christian music is where my heart is.  I'd like to sing Christian music again, but I don't know if I will be allowed to.  I knew when I was accepting artist of the year, I was actually saying goodbye” (O’Donnell and Eskind 1994, 9).  In the interview, he also added that “First Call” had replaced Marabeth Jordon with a studio singer, and in an even more sad irony–Jordon had miscarried (O’Donnell and Eskind 1994).  What was to be a glamorous night when the Gospel Music Association and CCM would shine for the world to see on cable TV, instead, was a prelude to a terrible turn of events which effectually made a mockery of the awards show, and undermined the very core values these trophies of doves represented.

Scandal Number Two

[11] Even though Michael English earned an incredible six Dove awards in 1994, he was a relative newcomer to the CCM stage, sporting movie star good looks and Hollywood style to match, with a soulful pop voice that exploded on Christian airwaves.  By comparison, other CCM artists seemingly had to work harder to “pay their dues,” gradually building an audience through the limited clientele in the early 1980s before the surge in the industry.  One such pioneer of early CCM was Sandi Patty, who forged a relationship with her fan base primarily through her melodically stirring songs of inspiration.  Unmistakably though, she was genuinely masterful at the craft of winning over audiences, especially evident through concerts and live recordings.  Conveying an image of credible innocence, she was immediately likeable, and used this image to establish a true rapport with her audience. 

[12] All throughout the ’80s, Sandi Patty and Amy Grant dominated the Christian music charts and Dove Awards, actually carrying the torch for the fledgling industry.  Oftentimes the two females were pitted together in a figurative competition or rivalry comparable to that of Madonna versus Janet Jackson, or even Chris Evert versus Martina Navratilova on the professional tennis circuit.  CCM audiences adopted these two women, tending to view Amy Grant as the fun, hip, pop darling, and viewing Sandi Patty as the angelic songstress, transparent and approachable.

[13] With adoption, however, comes some expected possessiveness on the part of the adopter, that is, the CCM audience.  Naturally, when Sandi Patty suddenly confessed to an extramarital affair in the 1990s, audiences asked themselves how such an obvious pitfall could ensnare one of their very own, especially their exhalted Sandi.  Morgan (1998) quoted Patty as saying, “I know I let my marriage down with John [Helvering] in huge ways.  I have tremendous regrets about that” (7).  Pointing to a drop off in her relationship with God as the root problem, she admitted learning difficult lessons about substituting personal spirituality with her singing ministry (Morgan).  This news sent shockwaves throughout the CCM community, but affected the evangelical Christian subculture even more than the Michael English scandal, simply because of Patty’s far-reaching appeal and apparent strong moral character.  Similar to the English and Jordon scandal, Don Peslis, with whom Patty had the extramarital affair, had been a backup singer on the touring circuit with Patty.  In 1993, Sandi Patty’s marriage ended in divorce.  In August 1995, she then married Don Peslis, who was also once divorced (1998).

Public Relations with Integrity

[14] These accounts are both perfect scripts for most any tabloid media, and certainly for a “Behind the Music” episode, dripping with complex, juicy twists, not the least of which were downward turns in CCM record sales.  It is interesting to learn how a paradoxical approach was taken by those involved in Christian journalism and public relations. Powell (1999), a Christian journalist, commented on the astounding public relations discipline and responsibility displayed by John Styll, publisher of the foremost Christian rock journal, Contemporary Christian Music (CCM).  Powell explained that his publication, Christianity Today, had actually broken the story in 1995 that Sandi Patty’s divorce three years before was indeed evoked by an extramarital affair with her current husband:  "CCM took up the story too, but Styll wrote a separate account of his own struggle with the issues involved in reporting on the private lives of public people.  In fact, he revealed that his publication had known of the affair but had chosen not to reveal it” (8).  After Styll had talked with Patty and her pastor, he was apparently comfortable with a basic policy that things spiritual such as “‘confession, repentance, and discipline should happen on the church level rather than in the media.’  Was that the right course?  The question was not rhetorical, but actual, reflective of non-defensive public in meditation on a theme that has only increased in relevance” (Powell 1999, 8).

[15] Oftentimes, the excellent, responsible, and relational practice of public relations is not so much what the practitioner enacts into production, but rather what the practitioner, through the exercise of proper courage and responsibility, chooses to omit. This is to say, the honorable choice would be to refuse the temptation of more sales, more notoriety, or more prestige in exchange for mutually beneficial long-term relationships between the organization and its publics (Cutlip, Center and Broom 2000). Herein is the difference between press agentry and public information practices of public relations.  Many times these types of common models of public relations are marked by mere persuasion, if not construed as actual manipulation.  This is of course a grey area for the professional public relations practitioner, as one who is challenged with a more ethical and responsible interpretation of the contemporary practice of dealing effectively with an organization’s strategic publics.

Practicing What Is Preached

[16] Specifically within the Christian music industry, this dichotomy is increasingly blurred because of the assumed moral value of the industry and those who help to uphold it.  However, the industry is fortunately not without those figures who, like Jesus Christ, model an exemplary manner of living and treating others which naturally seems to flow into their “Christian” jobs.  John Styll perfectly exemplified the wisdom, foresight, and patience necessary to deny the short-term gain of selling loads of magazines by breaking an exclusive, scandalous story involving an icon in Christian music.  Instead, he actually sat on the story for years until another Christian publication ironically gained the notoriety by breaking the sinful tale of a fallen Christian artist.  Perhaps Styll drew upon his knowledge of the ingredients that brought CCM to where it was, and, realizing the risk of falling back to its incubational levels, felt that a bit of integrity would help it weather the present storm and continue to thrive.  It took Styll, an insider, to recognize the unique nature of the industry with all its intricacies, and to determine to solve its problems “in house.”

[17] As Styll pointed out, there exists an intriguing and certain dichotomy between Christian press and Christian entertainers in the limelight.  As in any other entertainment field, of course, fans want to know as much as possible about their favourite artists.  Styll said, “Sometimes people don’t know what to think about a given situation, particularly if it is negative.  The best PR deals head-on with the issues in a positive way, but offers a perspective that is in many cases helpful or instructional” (personal email interview, October 4, 2001).  John Styll, who also currently volunteers as the Chairman of the Board of Directors for the Gospel Music Association, has exemplified the distinction between what is public and what is meant to remain private.  As stated by Stephen Banks (1995), “conflict encounters are opportunities for people to choose between competitive, exploitive behaviors aimed at acquiring a finite resource and collaborative, creative behaviors aimed at mutually solving problems” (51).

[18] Many of these issues of moral and ethical conduct for a CCM public relations practitioner run directly parallel with the standards of “excellent public relations” as viewed by James Grunig (1992) in relation to the two-way symmetrical model:  “critical scholars have done research to document the poor ethics, negative social consequences, or ineffectiveness of forms of public relations that differ from normative theories of excellent public relations” (54).  Thus, a public relations practitioner within the CCM industry is seemingly reinforced by an assumed high moral standard and a set of principles and codes as outlined within Grunig’s view of excellent public relations.

Scandal Number Three

 [19] The final trial of this whirlwind decade for CCM was another personal dilemma, one handled delicately by public relations practitioners throughout the industry.  This was particularly true because this situation directly involved CCM's top selling artist of all time–its adopted darling, Amy Grant.  After announcing their separation in December 1998, only a few months later, Amy Grant filed for divorce from her husband of 16 years, Gary Chapman. The papers cited “irreconcilable differences,” after speculation had continued for months in the national press regarding the marital status of these two popular public figures.  Chapman was at the time a Reunion Records Christian recording artist himself, as well as the host of both TNN’s PrimeTime Country, and The CCM Countdown With Gary Chapman (CCM Staff, 1999). 

[20] Although this news was not as shocking or as scandalous as other accounts herein, it had a poignantly saddening affect on all sectors of the CCM industry, as well as in universal Christendom, given all the Christian music arena had suffered in recent years.  However, it was well poised to sensitively handle yet another potentially crippling strike against it.  The general manager of Grant’s record company, Myrrh, issued a statement saying, "We are saddened by this announcement and continue to pray for Amy, Gary, and their children.”  Also in this press release, both artists “requested prayers and privacy during this difficult time” (CCM staff 1999, 2).  Although to the casual observer the Amy Grant divorce wouldn’t appear to be potentially catastrophic, many within the industry wondered–even aloud–if this might be the scandal that crumbled Christian rock. 

[21] Aside from other similar press statements from record companies and management, as was the case with English and Patty, Frank Breeden, president of the GMA, interestingly used this more identifiable scenario in the attempt to model a high moral standard.  He said, "this is a chance to show the world how normal problems happening to normal people get handled in a Christian context” (Hefner and Warren 1998, 7).  In terms of responsible and effective public relations, John Styll, in theory, precisely supports the action of Frank Breeden in this case by saying: "good PR not only tells the facts, but offers the context and meaning behind them.”  Therefore, when CCM is facing trials such as scandals, buyouts, or sales dips, "it has always tried to put the information in a context that diffuses the negativity in an appropriate way” (John Styll, personal interview, October 3, 2001). 

[22] This type of resolve and moral standard would be called upon essentially all through the '90s for CCM public relations practitioners, professionals and artists alike.  Simultaneously with much of the spiritual and ethical upheaval in the industry, CCM was sustaining more structural blows.  By the middle of the decade, almost every major mainstream recording company had established a presence in Christian music:

“Warner Brothers founded their own division, Warner Alliance.  EMI snapped up the old gospel house, Sparrow, in 1992, as well as Forefront, the label of DC Talk, one of Christian rock's biggest acts. The Zomba group purchased 15-year-old Brentwood music in 1993.  With Brentwood came Essential, Jars of Clay's label, and Essential became a sister company of Zomba’s secular ‘boutique’ label, Silvertone” (O’Donnell 1996, 7).

These People Mean Business

[23] If at this point CCM had not garnered the attention of the universal music industry, it surely would never do so.  Christian record labels were selling out at a head-spinning pace, and conglomerates scrambled for the remaining few.  BMG and Sony were the next to test the less than virgin soil of CCM (Curiel 1997).  However, Curiel reported that many believe, as does Warren Pettit, music professor at Greenville College (which offers courses in CCM), that these buyouts actually ushered in the impending CCM explosion.  By emphasizing its newly discovered diversification, and utilizing the marketing power of the ownership companies, Professor Pettit said this was paving the way for Christian artists and bands to cross over into mainstream music.  He added, "it allows those bands to get widespread distribution.  It took them out of Christian bookstores and started putting [their CDs] in Tower Records and Wal-Mart” (1997, 8).  Much of the crossover success can be attributed to the fact that for the first time, many Christian bookstores had instituted Soundscan, a point of sale tracking system used by the Billboard charts.  Suddenly the sales figures were objective and not embellished, causing the consummate mushroom effect–once people heard how many units were selling, Christian music suddenly became hot and consumers bought more and more units.

[24] In such a volatile situation, assuredly not everyone shared the same views on these takeovers of the Christian record labels, many of which had been constructed from the ground floor.  Price says “some in the industry have described the state of certain labels as ‘decimated’ and ‘cannibalized’” in the wake of the acquisitions (Curiel 1997):  “Numerous key executives, considered the ‘founding fathers’ of what has become music’s fastest-growing niche market, have left the companies they so diligently built for careers in health care, publishing, or other fields” (3). 

[25] During this period, the common CCM fan, consumer, or retailer was intensely concerned about the collective structure of the industry compromising its Christian platform.  This is not unlike Sandy Patty's individual confession of substituting the career, i.e. the business, for personal devotion, out of which flows an effective and sincere ministry.  Christian retailer Rick Anderson, a music buyer for a chain of 22 stores based in Cincinnati, said, “we have definitely moved away from ministry in this industry, and we’ve looked too much at numbers, too much at trying to make stars out of people and trying to duplicate what's happening in the world.  I think that's a major mistake” (Price 1999, 7).  The artists who had apparently fallen prey to the perceived glamorous aspect of the business by giving into sexual temptation while on the road, had sparked much doubt and cynicism within the public about the overall sincerity of CCM in terms of its now overriding business aspect.  When the subject matter of your music is, at its core, humble and sincere, there is thus a very fine line between being popular in a ministerial sense and being a rock or pop star.  In a strange way audiences will allow an artist to get only so big for fear of losing touch and feeling as though their favourite artist is getting out of reach.

Ministry versus Commerce

[26] Still others, even within Christian retail stores, show less concern.  Price quoted Bob Starnes, the music buyer for Lemstone, a 70-store chain, stating, "I think the ministry still comes [from artists].  It’s not whether Sparrow Records changes hands and is part of EMI.  Instead it's the artists that are driving the ministry " (1999, 8).  As exemplified, intriguing topical discussions were evoked industry-wide by the ministry versus commerce debate.  The logical statement above by the Lemstone representative contends that artists are the face of CCM.  They produce the product, sell the records, and draw the crowds to live concerts.  It would also stand to reason that if this were not true, then CCM sales and the industry itself would not have begun to feel the detrimental affects of such reported trials of individual artists.  From the artists’ perspective, Peter Furler, founder of the highly successful alternative-pop group Newsboys, asserts this position by saying, "now you have big record companies involved ’cause they’re sniffing at the bucks.  But we know that.  We're not stupid.  We know they’re not trying to promote the name of Christ’” (Ali 2001, 20). 

[27] With so many previously competing record labels now trying to peacefully coexist under the same umbrellas, consolidation has definitely had an impact on the identity of the labels.  Every record label ownership and organizational structure is different.  This organizational structure becomes very important in terms of the overall effectiveness of the organization.  In the case of record companies, this becomes apparent in the bottom line with regard to record sales.  Some companies will have sustained sales, others will experience fluctuation in sales, while still others will feel the pinch of steady decreases in units sold.  At the same time, Furler’s position seems to be a realistically wise one, in that the coexistence of Christian musicians, company personnel, and their secular label ownership is possible–and potentially successful–if each party acknowledges and understands its unambiguous role and function within the given structure of the organizational environment.

Relational Value of Good PR

[28] The same could be said for any public relations department in that there are certainly many times when public relations operate more at the surface, or at “face value.”  In defraying the negativity, the practitioner is performing a function that is commonly associated with the profession by helping the organization or industry “look good” even in the midst of turmoil. Though this service is common, it is often taken for granted.  The public relations function does not routinely make an impact on the bottom line of an organization.  However, this is a realistic example of how PR can actually dissuade negative or cynical perceptions and images, thereby reducing “cost” to the organization and its interested parties.  Therefore, when the public relations role is properly maintaining responsible PR through long-term relationships, subjective costs are decreased and the organization is allowed to revert to its normal, more efficient course.  As Grunig (1992) says, “poor relationships, in other words, can cost an organization a great deal although good relationships may not necessarily make money for the organization” (86).  In the case of the CCM industry, the PR strategy employed during these crises protected against a potentially catastrophic downslide, and although it may not be quantifiable in terms of bottom line gains, it was instrumental in preventing the floor from falling out from under the industry. 

[29] Although the seemingly obligatory CCM press conferences were conducted almost as if someone has died, each conference on behalf of the above artists has played a role in providing all the publics the opportunity not only to be informed, but to be allowed to grieve with the participants.  By following this penitential approach, audiences and other important environments are relationally nurtured through crises such as these where the artists’ moral position and image are in jeopardy.  In this way, public relations within CCM employ a methodology somewhat unique to any other entertainment industry in that it plays a pivotal role in discreetly conducting these press conferences, as well as countless additional PR functions that directly convey the image and perceptions of literally every branch of the industry.

Conclusion

[30] Even through these announcements of the personal turmoil of cornerstone fixtures of CCM, Amy Grant and Sandy Patty, the industry has as successfully as possible withstood the onslaught of the 1990s.  In fact, the Christian Music Trade Association (Contemporary Christian, 2001) announced at midyear 2001 that "the Contemporary Christian and Gospel Music industry is seeing a double digit sales increase over last year.”  While numbers were actually down in the music industry in general, CCM sold nearly 20 million units from January 1 to July 1, 2001 (1).  The GMA president Frank Breeden addressed these current record sales results to the more than 250 international press members who had assembled for the Gospel Music Week convention in Nashville.  Mr. Breeden said, “We are seeing some great signs to start 2001 that our Contemporary Christian Music industry remains vital, and in fact, continues to grow” (Whitehead 2001, 5).

[31] It appears, therefore, the industry role of public relations in general was so in tune with calamity that it acted routinely, responsibly, and effectively to systematically diffuse each circumstance presented.  This emergency “blueprint” was called upon much in the same fashion in the given situation, so that later in this chain of challenging events, the practice of responsible public relations became second nature.  Indeed, the CCM industry was thrilled to say goodbye to a trying decade by welcoming in a new millennium.  EMI Christian music group president/CEO Bill Hearn remarks positively on the current state of CCM:  "I think that as an industry, we closed out the millennium in better shape than we’ve been in a long, long time as a business” (Price 2000, 4).  Knowing that its testimony has been strengthened by these trials, CCM strives forward with the confidence that the industry and its fortitude have now transcended the popularity of any one artist, as well as any calamity with which it will inevitably be faced in the future.

[32] Many of the issues that apply to mainstream society are in some ways opposite to that of CCM.  In environments like Wall Street, Washington or Hollywood, it could be argued that humility will get you nowhere.  But one key element of psychology that was expertly factored into this equation by PR professionals is that there is something very human and very effective about the proper expression of humility.  In CCM, humility might just get you to the top–and it will most probably help you stay there. 

[33] As offered by Heath (1994), “rather than building disagreement and differences regarding risk issues, the answer may be to make them public and explicit as a first step toward resolving them” (270).  Among the statements in the Bible regarding this topic are the following two: (1) Be sure your sins will find you out (Num 3:23), and (2) If you confess your sins, He (God) is faithful and just to forgive you (1 John 1:9).  In the cases of these crises, PR professionals within CCM took a page from a book that has been around longer than any PR journal, and advised their clients thusly: If your sins find you out, confess them.  And if your Father in heaven is faithful to forgive, let’s trust that your fans are too.

References

Ali, L. 2001. “The glorious rise of Christian Pop.” Newsweek 138,3, 38-45.  Retrieved September 13, 2001 from EBSCO database (Academic Search Elite) on the World Wide Web: http://www.ebsco.com.

Anonymous. 2001. “Contemporary Christian and Gospel music selling strong at mid-year.” Christian Music Trade Association.  Retrieved September 29, 2001 on the World Wide Web: http://www.gospelmusic.org/communityfs.cfm?REF=http://www. gospelmusic.org/pressroom/.

Banks, S. 1995. Multicultural Public Relations. Thousand Oaks, CA: Sage.

CBA Media Relations. 2001.  ”CBA and the Christian resources industry: $4 billion industry grows during slowdown.”   Retrieved September 30, 2001 on the World Wide Web:  http://204.71.129.243/General/_ATL_press_release_jsp.

CCM staff. 1999.  “Grant, Chapman to divorce.”  Retrieved October 3, 2001 on the World Wide Web: http://ccmcom.com/Archives/fullstory.asp?Id=808.

Curiel, J. 1997. “Christian rock gets with the beat.”  Christian Science Monitor 89, 233. Retrieved September 28, 2001 from EBSCO database (Academic Search Elite) on the World Wide Web: http://www.ebsco.com.

Cutlip, S.M, A.H. Center and G.M. Broom. 2000. Effective Public Relations. New Jersey: Prentice-Hall.

Grunig, J.E. 1992. Excellence in Public Relations and Communication Management. Hillsdale, NJ: Lawrence Erlbaum Associates.

Heath, R. 1994. Management of Corporate Communication. Hillsdale, NJ: Lawrence Earlbaum.

Hefner, A. and Warren, L. 1999. “Grant, Chapman announce separation.”  Retrieved October 3, 2001 from the World Wide Web: http://ccmcom.com/Archives/fullstory.asp?ID=826

Morgan, T.C. 1998. “Sandi Patty stages comeback.”  Christianity Today 42,1, 57. Retrieved September 28, 2001 from EBSCO database (Academic Search Elite) on the World Wide Web: http://www.ebsco.com.

O’Donnell, P. 1996. “Rock of ages.”  The New Republic 215,8, 14. Retrieved September 29, 2001 from Silverplatter database on the World Wide Web: http://spweb.silverplatter.com/usm.

O’Donnell, P and A. Eskind. 1994. “God and the music biz.”  Newsweek 123,22, 62-63. Retrieved September 28, 2001 from EBSCO database (Academic Search Elite) on the World Wide Web: http://www.ebsco.com.

Powell, M.A. 1999. “Rocking the church.”  Christianity Today 43,3, 66-67.  Retrieved September 29, 2001 from Silverplatter database on the World Wide Web: http://spweb.silverplatter.com/usm.

Price, D.E. 1999. “Shake-ups it Christian labels.”  Billboard 111,13, 1-2.  Retrieved September 28, 2001 from EBSCO database (Academic Search Elite) on the World Wide Web: http://www.ebsco.com.

Price, D.E.  2000. “Higher ground.”  Billboard 112,3,  41-42.  Retrieved September 27, 2001 from EBSCO database (Academic Search Elite) on the World Wide Web: http://www.ebsco.com.

Scott, D. 1996. “Notes from the alternative nation.”  National Review 48,11, 50-51. Retrieved September 14, 2001 from EBSCO database (Academic Search Elite) on the World Wide Web: http://www.ebsco.com.

Whitehead, T. 2001. Contemporary Christian and gospel music industry strong in 2001, GMA President tells Gospel Music Week convention.  Gospel Music Association.  Retrieved September 29, 2001 on the World Wide Web:  http://www.gospelmusic.org/pressroom/article.cfm?ArticleID=30.

______. 2005. “Rock, youth-driven music dominate 2004 Gospel Charts, Gospel Music Association.” Retrieved July 8, 205 on the World Wide Web: http://www.gospelmusic.org/newsmedia/pressRoom_detail.aspx?iid=3900&tid=33.