You can listen to (or download) the full episode here.

You can browse our entire TCM Audio Archives here.

Questions:

1. Victoria Carswell (Boiling Springs, SC):  Of all the moments through your writing career, what has been your favorite so far?
2. Jeremiah Zaldarriaga (Forest City, IA):  What author has inspired most of your writing?
3. Brian Coultrup (Yorba Linda, CA):  Would you ever consider co-writing a novel with another Christian fiction author such as Ted Dekker, Eric Wilson, Robert Liparulo, etc?
4. Garrett Pletcher (Chipley, Florida):  What was the first book you wrote, what was it about and how long was it?
5. Troy Tennard (Parsippany, NJ):  Have you been approached to have any of your books adapted into a movie?
6. Jennifer Bruce (Salem, OR):  Are you going to be writing any more novels in the ‘romance’ genre again soon?
7. Brian Pierson (Lebanon, MO):  Which is harder to pen:  horror or emotionally-driven romance?
8. Christine Pappas (Burbank, Illinois):  Where does Travis Thrasher come up with the storylines for his books? Does it come from personal experiences?
9. Tom Farr (Huntsville, TX):  How do you think the complete story of LOST will impact storytelling in all its forms for years to come?
10. Kevin A. Denis (Mountain Grove, MO):  You’re becoming more well-known for your supernatural suspense thrillers (“Isolation,” “Ghostwriter,” etc.) but you also have written touching “love” stories and Indiana Jones-style adventure stories. “Out of the Devil’s Mouth” is a favorite of mine, and I’m wondering if we’re going to see any prequels/sequels featuring Henry Wolfe?

You can listen to (or download) the full episode here.

You can browse our entire TCM Audio Archives here.

Questions:

1. Anthony Peronto (Eagle River, AK): What inspires you musically when writing songs?
2. Jeremiah Zaldarriaga (Forest City, IA): What’s been the hardest thing joining the Newsboys, if any?
3. Robert Codding (Danielson, CT): How many dcTalk songs besides “Jesus Freak” are you going to do with the Newsboys?
4. Jenny Belknap (Kawakalin, MI): Do you love that “Breakfast” involves you getting doused in cereal and have you been working on learning the whole song?
5. LaRonne DeCarmo: In good nature, what’s the deal with being the only black guy when you’re in a group?
6. Calvin Moore (Warren, MI): Have you been picking up on any Australian colloquialisms since some of the other members use them?
7. Corey Chambers (Blue Springs, MO): Newsboys has had a long and successful history. When creating the new album did the band’s prior releases influence the current one?
8. Timothy Chen (Beltsville, MD): What has been the highlight of your musical career?
9. Jason Tam (Bethesda, MD): How would you like to be remembered in your time with the Newsboys? With Tait? With dcTalk?

You can listen to (or download) the episode here.

You can browse the full “TCM Audio Archives” here.

Questions asked:

1. Paul Rose, Jr. (Cape Coral, FL): Do you ever anticipate seeing one of your books as a film? Do you consider this when writing them?
2. Frank Martin (Colorado Springs, CO): What is your secret to developing truly engaging and memorable characters in your novels?
3. Calvin Moore (Warren, MI): Is Dr. Ronald Eccleson named after anyone famous from the sci-fi genre?
4. Sherri Pruitt (Ranger, GA): Is it difficult to combine “creepy” subject matter with Christian fiction?
5. Joel Davis (Mobjack, VA): Has the TV show LOST influenced your work in any way?
6. Cory Clubb (Metamora, IL): Now that LOST is over, what will you ever do with your time? Oh, and rumor has it a “Parrish LOST” book is in the works. How it coming?
7. Linda Wagner (St. Paul, MN): Do you have a spiritual theme or basis for your book? What do you want your readers to learn after reading your book?
8. Melissa Willis (Dallas, TX): When you’re writing a book do you already know how it’s going to end?
9. Ronie Kendig (McKinney, TX): What is Robin’s worst nightmare? What nightmare of Robin’s has come true?

“Q&A” is a program generated entirely by the fan. Questions sent in via Facebook, Twitter, and e-mail are compiled through surveys, contests, and other means and asked of your favorite artists, authors, pastors, and organizational leaders. In a nutshell, the success is entirely up to you. The better the questions, the better the program!

You can listen to (or download) the episode here.

You can browse the full “TCM Audio Archives” here.

Questions asked:

1. Lauren Trosky, Cedar Rapids, IA: What was your favorite place to send the Kings and why?
2. Jennifer Myers, Broken Arrow, OK: I’ve heard there will be a DHK movie. Will it just be of the first book or will they try to cram the whole series into one?
3. Bob Cagle, Lone Jack, MO: Are any of your thrillers going to be made into movies any time soon? I especially enjoyed Horseman and Germ.
4. Christopher Craven, Lillian, TX: Why is it about changing history, past, present and future, that inspired you to write the Dreamhouse Kings Series? Why do people love to hear stories about it?
5. Troy Williamson, Pontiac, IL: What is your preferred style of writing such as computer, pen & paper, old napkins, etc.?
6. Kyle deWaal, Calgary, Alberta, Canada: How many manuscripts did you write before you got one published?
7. Ana Faria, Colorado Springs, CO: What does he hate seeing most often in reviews?
8. Melissa Willis, Dallas, TX: Will we ever see Julian again (from Deadfall)?
9. Nikki Campbell, Lavaca, AR: How do you keep going back and forth, like in Germ, and keep the storyline so intact and easy to follow that we don’t get lost?
10. Calvin Moore, Warren, MI: You said you’re working on a new adult novel that has some fantasy elements to it. Can you tease us a little bit on what that is?

“Q&A” is a program generated entirely by the fan. Questions sent in via Facebook, Twitter, and e-mail are compiled through surveys, contests, and other means and asked of your favorite artists, authors, pastors, and organizational leaders. In a nutshell, the success is entirely up to you. The better the questions, the better the program!

You can listen to (or download) the episode here.

You can browse the full “TCM Audio Archives” here.

Questions asked:

1. TrueOne06 – Based off all your albums thus far, what are the top 3 songs you like?
2. Christlers – My Brother and I have been rapping the Gospel for about 2 years now in a small town. How can we spread our music like 116?
3. Jesuslilgirl222 — How do you balance school, relationships, your relationship with God, family, marriage, travel & work?
4. cyoungtt – Has living in Philly had any effect on your music? If yes how so?
5. TheZacJohnson – How much time do you put into studying theology versus witnessing?
6. GilliganK – Are there any music videos being planned for your album?
7. Joerags1 – Which pastors past/present have influenced you the most?
8. GigglinThruLife — How do you keep from thriving on the music of secular R&B and rap while living in such an urban atmosphere?

About Q&A:

“Q&A” is a program generated entirely by the fan. Questions sent in via Facebook, Twitter, and e-mail are compiled through surveys, contests, and other means and asked of your favorite artists, authors, pastors, and organizational leaders. In a nutshell, the success is entirely up to you. The better the questions, the better the program!

A few months ago I wrote a piece titled, “The Christian Hip-Hop Margin: A Rant” (viewable here),  in which I took to task the idea of Christian rap being co-opted by “safe, white-washed, suburban rappers” naming Toby Mac, B. Reith, and KJ-52 as examples.

In total graciousness, KJ-52 contacted me and asked if we could discuss some of what was said in the article, agreeing with some of it, disagreeing with a majority of it (at present).

So, we hopped on the line and discussed my article. It takes a lot to shut me up. KJ-52 set me straight on a lot of what was said in that argument. He also raised a number of other troubling questions surrounding the issue of Christian hip-hop, unity within the genre, and racial discrimination, both perceived and actual.

You can listen to the full interview here.

You can read KJ’s rebuttal in article form below.

Blessings.

C.E. Moore
Creator/Administrator
TheChristianManifesto.com

——————————

What Does Christian Hip-Hop Really Sell in Numbers? (aka How to NOT Go Platinum…)
By Jonah Sorrentino aka KJ-52

Hold onto you’re platinum plaques if you got em… in reality if you’re reading this you probably don’t have one!  The hardcore truth of what Christian Hip Hop sells is what I want  to dive into and dispel the myths, share the facts and set the record straight on what it means to do this music.

Let me explain how sales are actually counted in the music business… before the days of digital downloads running (and ruining) the industry you got paid on how many albums you shipped to stores.  This made it hard to gauge how many records were physically sold… if you shipped 1000 units of an lp you may only actually sold 750 physical copies.  With the introduction of soundscan in 1991 record companies then had to way to estimate how many albums were actually sold and thus became the barometer for how successful (or unsucessfull) an album was.

The saying goes “men and women lie but numbers don’t” so lets disperse with the myths and speculation and dive into some actual numbers… the best way to accurately gauge the sales of this genre is in 2 ways: total artist sales and individual album sales…

The following is the top 6 overall sellers in Christian hip hop according to soundscan.. (all numbers are rounded up or down to the thousand for simplicity).

note these are totals as of 11.21.09*

1. Grits with 571, 000 total artist sales

- this is over the course of 14 albums

-biggest selling album is art of translation with 158,000

2. KJ-52 with 560, 000

-this is over the course of 8 albums (these 8 are including 2 side projects)

-biggest selling album is Its pronounced 52 with 123,000

3. T-Bone with 449,000

-this is over the course of 10 albums

-biggest selling album is Last street preacher with 117, 000

4.Cross Movement with 345 000

-this is over the course of 6 albums

-biggest selling album is Holy culture with 95,000

5. Lecrae with 277, 000

-this is over the course of 3 albums

-biggest selling album is after the music with 124,000

6. Gospel Gangstaz with 218, 000

-this is over the course of 3 albums

-biggest selling album is I can see clearly now with 170,000

Those are the top 6 overall selling artists (based on total units sold over a career) here is the following top 10 overall selling albums:

note … this is listed artist, album, sales, release date*

1. Gospel gangstaz

I Can See Clearly Now

170,000

(5.18.1999)

2. Grits

The Art of Translation

158,000

(08.07.2002)

3. Lecrae

After The Music

124,000

(7.06.2005)

4. KJ-52

Its Pronounced 52

123,000

(9.24.2003)

5. T-Bone

The Last Street Preacher

117,000

(02.21.2001)

6. KJ-52

Behind the Music

114,000

(02.01.2005)

7. KJ-52

Collaborations

106,000

(7.16.2002)

8. Lecrae

Rebel

103,000

(08.19.2008)

9. Cross Movement

Holy Culture

95,000

(4.22.2003)

10. Grits

Grammatical Revolution

92,000

(05.12.1999)

These numbers will leave you either depressed or excited based on you’re perspective of what it means to be apart of this genre.  You may notice that even our biggest selling album still hasn’t broke the 200k mark (much less selling gold @ 500k) 10 yerars after its release.  Even on total artist sales there is only two artists (myself and grits) who have ever sold 500k in TOTAL sales.

Christian hip hop still remains a very niche market without the financial and/or supportive muscle to drive artists to the gold and platinum status level.  With overall album sales down 50% from 2001 for all genres (and continuing to decline every year) the reality of an artist reaching those milestones remains hard to fathom.

The truth is that this genre doesn’t have the same outlets to push records to soaring heights in sales… we lack the video and radio outlets to support us and so have to rely on word of mouth and touring to sell our product.  And on a side note, I can’t help but think that our message clashes brutally with the mainstream market message of sex, drugs and material goods… this makes it hard for a mass consumption of what we do.

It’s very similar to the junk food that we buy everyday… if all of sudden you’re Big Mac tasted different and was formulated to be good for you the truth is the publiic wouldn’t buy it.  If one day you woke up and decided to change you’re eating habits to consume tofu burgers you’d have to seek them out to purchase them.. they aren’t readily available.

Christian hip hop is the tofu burger of the industry… good for you’re spiritual health but most people refuse it because they prefer the “junk food” of mainstream hip hop.

What’s a Christian hip hop artist/consumer to do?  Press on!  We need to support, work hard, grind and continue to pursue our call that God has on our lives all the while maintaining a realistic perspective. We don’t do this for the sales and/or money (hopefully) we do this for a higher calling.  While it’s fun sometimes to try and size ourselves to everyone else it’s not always the healthiest or godliest thing to do.  The nation of Israel clamored for a king so “they could be like all the other nations” but keeping up with Jones’s usually leaves us empty.

On a side note… maybe we should rate our albums the following … gold (100k) frankincense (50k) and myrrh (25k)…. No?  Ah well… it worked for the wisemen.

Views expressed here do not necessarily reflect the views and positions of The Christian Manifesto. All views expressed are solely those of the writer. Article reprinted by permission of Jonah Sorrentino.

By Charles Peters

For the better part of two decades, Derek Webb has been a figure in Christian music either as a member of the GMA Dove award-winning group Caedmon’s Call or a solo artist. In recent years his solo career has been the point of interest for many because the indicative nature and expletive lyrics. In the fall of 2009, he released his fifth album Stockholm Syndrome, which explores politics, gay rights and captivity while ruffling the feathers of critics and conservative evangelicals.

Shortly before Stockholm Syndrome‘s release, Webb played an impromptu show at Taft Street Coffee, in Houston, Texas. Here he announced, “I am in cahoots with some friends here in Houston and it looks like we’re going to release a new Caedmon’s Call.”

Through the fall, he embarked on a full band tour with Josh Moore, who produced Stockholm Syndrome, and Chris Kimmerer, a session drummer from Nashville. On the “Black Eye Tour” performances we’re well received and reinterpreted a heavily electronic record on stage.  The tour featured special guests Sandra McCracken and Marc Scibilia.

On Jan. 8, 2010 he played an acoustic set at the Gay Christian Network Conference, in Nashville, Tenn. Also after the new year he started to release a cover song per month as a part of project called Democracy Vol. 1. He continued on with his tour joined by supporting acts Amy Courts and Jennifer Knapp, who is celebrating her return to music after several long years break.

I caught up with Derek on the second leg of his tour on March 6 in Manheim, Pa. He was in generally good spirits. The night before he played at the City Winery in New York City and was complement by indie rock legend, Joseph Arthur, for his performance.

During the show he explained the origins of his controversial song “What Matters More”. He explained that he had been driving through Nashville listening to an interview by the Rev. Dr. Jerry Falwell who had declared his moral framework was concentrated around the Golden Rule and later in the interview made unfavorable comments about the gay community. Also that 93% of people identify Christians as a people who hate gays.

Webb and I discussed, amongst many things, his last album and his new projects with Caedmon’s Call.

—

On Stockholm Syndrome:

When a lot of us got Stockholm Syndrome, we were all a bit perplexed and put off slightly. There is such a distance between that records sound and something like 40 Acres or even I See Things Upside Down, which is known for being your experimental record. Why the abrupt change of pace?

Honestly every record, to me has been totally different from the previous. They’ve all been a progression. They’ve all been really different. This has been the first really big jump stylistically. Like Mockingbird is nothing like The Ringing Bell and neither are anything like She Must and Shall Go Free and neither of those are nothing like I See Things Upside Down.

They’re all really different and I’ve always felt at liberty to style change whenever I want to because I get bored easily. I am super bored of acoustic music. I don’t listen to any acoustic music. I don’t really like much acoustic music. It doesn’t really do anything for me. Now unfortunately, when I play live shows that’s just what I do and I have to reinterpret everything on an acoustic guitar because I can’t afford to have a band out with me all the time. Sometimes I can and when I can, I do. But I would probably be bored to tears at my concert. But I have to appreciate that there some people who do like acoustic music and hopefully that’s who’s coming or people who are interested enough in the songs that can put up with acoustic versions if that’s all I can pull off live at this point.

But what I like is the opposite. I love synthetic. I love inorganic. I love programmed and electronic music. That’s what I’ve been into for so long. It was just time for me to bring up to speed my particular preferences and personality with the actual work I was doing. It was just time and there were a lot of other reasons but boredom and restlessness is high up there.

Can you explain the title a bit more? Why Stockholm Syndrome?

I don’t know, in my job I’m careful to pay attention to things that seem to crop up on my radar time and time again. When The Ringing Bell was done and we were touring that, be it in reading various things or conversations with friends, the concept kept coming up. It kept getting mentioned to me. It was like “Man, I just read another article that referred to Stockholm syndrome.” And what a fascinating concept that is of people falling in love with or being infatuated with the forces that oppress them and ultimately want to kill and destroy them. It’s the fascinating, twisted, weird idea.

When that started to pattern itself, I just started to take notice and started to use that as the grid through which I was approaching the subject matter I was writing about. At first it was just a writing exercise and it wound up being this fascinating topical approach.

On the Gay Christian Network

What is your stance on the Gay Christian Network in Nashville, Tenn. and the work they’re doing?

Yea, I played an acoustic show as apart of their conference in Nashville. I’ll tell you the truth as an organization, I really like the idea. First of all the GCN wouldn’t have to exist if churches were doing their jobs. If Christ followers were actually following Jesus, then an organization like that wouldn’t have to exist where gay people who are on a spiritual journey, a uniquely Christian spiritual journey, would have to band together because there is no other safe place for them to go and worship and learn and study. So now it’s unfortunate that it should have to exist, and it shouldn’t. That said I like the fact that in their official documentation they leave it very open for people in their community to have very, very different opinions about the particular morality of the issue. I like that they weren’t setting themselves up to say “here’s what we are.” Instead they’re a catch-all for any disenfranchised Christians or people who are spiritually curious, who have been alienated because of their sexuality. That I was really encouraged by and being there with them I was really encouraged by that.

On Caedmon’s Call

Does this new record have a name yet?

No we’re still sorta kicking things around, it’s too soon to call.

So you’re back into the Caedmon’s Call groove. You’ve said over and over “don’t count this band out yet folks”. What tricks do you have up your sleeve this time?

I have the band themselves, which you don’t get on every Caedmon’s record, it’s a hard group of people to motivate, because they all do other things. Everyone in the band has primary things in their life that they do. Now I’ve got my career, Cliff Young runs the media department for a huge church in Texas. Everyone just has something else they do. So it’s a hard group of  people, it’s like herding cats. It’s a hard group of people to wrangle and get excited about something. But what I have is their excitement. Everybody really feels that there’s something special about the moment we’re in and the most significant thing is the songs. That is the only thing that can make a record great, is the songs. Hype and energy doesn’t make a great record. Songs make a great record. Sometimes you have both and in this case we do and that is a result of me and my wife [Sandra McCracken] both kind of seeing a moment where this band needed to be pushed a little bit.

So we started to push them to write. Now I have written the majority of [songs]; like I wrote about half the band’s songs and Aaron Tate wrote half the band’s songs, that’s the majority of the band’s catalog. The other members of the band have just never written songs. When Aaron and I had left, which happened in the same year, there were no writers left in the band. So they started to farm it out to friends and people in their community. And that was fine but it didn’t really make for any great Caedmon’s records in my opinion other than maybe Share the Well, which was a really special thing, it was a great moment.

Regardless, the moment we’re in right now, we have members of the band, who have never written any songs writing all the songs. Danielle [Young], for instance, has written half the record. She carrying the majority of the weight of the writing on the record. Now I’m helping facilitate. I’m writing with her, my wife is writing with her. I’ve written a few songs with Cliff. Sandra and I wrote a song with Todd [Bragg] the band’s drummer. Jeff Miller is the band’s bass player and he wrote a song. I told this band I want something uniquely Caedmon’s Call; I don’t want anyone else writing all the songs and I don’t wanna write all the songs either. And they are freakishly talented. I mean who would’ve thought the best writers in the band had never written a song up until the eleventh hour that we’re in now. None of these guys had written any of the songs before, and I feel like they’re best Caedmon’s songs on any Caedmon’s album, ever. I think it’s positioned to be the best record the band has ever made.

So the trick I have up my sleeve is, I have the band’s full attention.

Now Aaron Tate, who wrote some the more memorable songs “Not Enough” “This World” “There You Go”, hasn’t contributed to an album for Caedmon’s Call in seven years, and then you stopped recording with the band (until 2007). Were the two departures linked?

No, not really, coincidently maybe. On the surface it may have appeared so but Aaron was at the end of a season of songwriting. He just didn’t want to write songs anymore. It was something that had gone from something he couldn’t keep from doing, just something coming out of him naturally, these songs, to something that had just stopped and dried up. It became a burden for him to have to write when a new season came along, a new cycle or a time start another record. It started to become a stress on him to write songs when it wasn’t coming naturally and he just didn’t want to do it anymore. So that occurred simultaneous with a few things for me and it just kind of happen and wasn’t anything too calculated.

It appears that way but he had actually written what he declared to be his last batch of songs. He felt that they wrapped up whatever songwriting statements he wanted to make. He felt like he said everything he wanted to say with this conclusion of six or eight songs; and the band wound up not recording any of those songs. But I felt there were some really great songs. So I spent my first couple of records mining those demos of songs he wrote before. But he had written those songs for Caedmon’s Call. They just never recorded them and I just thought they were great songs and wanted people to hear them. I dropped them onto records so people would have a chance.

And since that time do you think, without your hand in the work and creative process, they adapted well?

I absolutely do. It was a great thing for them to get Andrew Osenga in the band, who actually I recommend because Andy’s a great friend and we toured with the Normals which was his band before for years and they were one of my favorite bands. Andy is such a great performer, such a great songwriter, he was more than qualified. So I tried to set them up so he could come in and take my place.

We orchestrated Back Home to be the be the last record I would be on. I was working on my first record while were working on Back Home at the same time. So intention we didn’t have me write or sing much for that record because I knew I wouldn’t be with them when they toured it. They did to and we wanted them to have a whole bunch of new material they could play without me.

I think it was a great move. Andy came in initially as a hired gun to come in to play guitar and sing background vocals to help them through the transition. They eventually made him a member of the band and had him writing and singing and really contributing and I thought that was a good move because it was a great season of music that came out of that partnership.

But ultimately I didn’t feel that there was a certain cohesiveness that I didn’t see happening, because the songs were coming from every direction. It wasn’t the songs weren’t great. It’s not that the songs weren’t great. It’s just when you put it all together it just wasn’t a cohesive statement, to me. I love all the individual songs. When the band plays those live I think they’re great songs. But when you put them in the context of a piece of one state of 13 or 14 songs. I just don’t feel like it fit together as much as some of those earlier records did.

That’s one man’s opinion thought too and I’m a big Caedmon’s Call fan. I loved a lot of stuff the band did after I left. I thought Share the Well was their best record and it was the first one they did after I left. I paid attention with much interest….It’s a beautiful, stunning record. I wept the first time I heard Share the Well. I got an earlier copy of it and I listened to it on a plane when I was going somewhere. One of the band members floated it to me and I hadn’t heard anything. I just put it on and didn’t know what to expect and it was just beautiful, stunning record.

What elements do you think have changed between this project and Overdressed?

I feel like the band has taken the band back a little bit. A lot of the way the band has worked before has been in neutral and having others push them from one place to another. That can be a good thing it just depends on who’s pushing. You know, I feel like the band hasn’t been super invested in the process and it’s just a hard thing when you have so little time and the time you do have is all disconnected. We used to go in and make records all at once and spend a month or two months making it and doing it. As you get caught up it take on it’s own energy. When you’re making records like Caedmon’s has had to over the last few years you don’t have that advantage of that energy building up. So overall they were good efforts but a little lifeless and some of that was my fault too. The camaraderie was different. Again I don’t think they were bad records, I just don’t fell like they were as great as they could’ve been and I feel like this record is going to be. Maybe because they’re writing the songs people are so much more invested. There’s so much energy coming out on the project because people are excited to be working on it because they love it. They’ve never been so involved before and even at are best they were still sing the songs someone else wrote. So for Danielle to be singing songs she wrote, she is so connected, she performs them differently than she would that if Aaron or I wrote for her. It’s a totally different process, it’s really magical, it’s a great moment.
A special thanks to Charles Peters for conducting the interview and to Derek Webb to take the time to answer some tough questions in such a thoughtful manner.

You can listen to the full interview between Charles Peters and Derek Webb here.

VIEWS EXPRESSED IN THIS INTERVIEW DO NOT NECESSARILY REFLECT THE VIEWS AND BELIEFS OF THECHRISTIANMANIFESTO.COM. QUESTIONS ASKED AND ANSWERS PROVIDED SHOULD NOT ASSUME A POSITIONAL STATEMENT OR THEOLOGICAL COMMITMENT ON THE PART OF THIS WEBSITE, ITS WRITERS, OR ITS ADMINISTRATORS.

You can listen (or subscribe) to the interview here.

You can browse the entire Profess Interview Series library here.

BIOGRAPHICAL INFORMATION: Inpop Records’ award-winning roots band Newworldson will release its anticipated, self-titled sophomore project Feb. 23, 2010. The record reflects the band’s experiences and growth since debuting its first national release, Salvation Station, nearly two years ago.

“Salvation Station was about Newworldson exploring the roots of gospel and Americana music,” explains Parisien. “The new album incorporates more of a world perspective, inspired by our visits to international markets where people of all cultures and backgrounds received our music openly.”

The band plans to support its sophomore effort this spring and summer in new territories, including the  United Kingdom, New Zealand and Scandinavia, as well as to revisit major venues across North America.

To follow Newworldson on Twitter: @Newworldson

To find out more about Newworldson go to www.newworldson.com.

We’d like to thank Joel Parisen for answering some of our burning questions. A very special thank you Brooke Elder of Savvy Media Solution for setting up the interview for us.

You can listen (or subscribe) to the interview here.

You can browse the entire Profess Interview Series library here.

BIOGRAPHICAL INFORMATION: I am Second is a movement meant to inspire people of all kinds to live for God and for others. Actors. Athletes. Musicians. Business leaders. Drug addicts. Your next-door neighbor. People like you. The authentic stories on iamsecond.com provide insight into dealing with typical struggles of everyday living. These are stories that give hope to the lonely and the hurting, help from destructive lifestyles, and inspiration to the unfulfilled. You’ll discover people who’ve tried to go it alone and have failed. Find the hope, peace, and fulfillment they found. Be Second.

I am Second is designed to help people discover their purpose in life. Have you discovered yours?

To follow I Am Second on Twitter: @IAmSecond

To find out more about the organization and how you can be involved, go to www.iamsecond.com

We’d like to thank John Humphrey for answering some of our burning questions. A very special thank you Laura Garison of E3 Parters for setting up the interview for us.

You can listen to (or download) the interview here.

You can browse the entire Profess Interview Series library here.

BIOGRAPHICAL INFORMATION: Having climbed the mountain once with the group dcTalk (4 Grammys, more than 8 million albums sold), TobyMac knows how difficult the journey can be and how much work the process actually takes. Rarely does an artist get to soar to great heights for a second time, but soar he has. He took home his first Grammy as a solo artist last year after receiving Grammy nominations for each of his first three solo projects (Momentum, Welcome To Diverse City, Portable Sounds). And last year TobyMac topped 2 million in total albums sold during his solo career. He has done it with a combination of talent, hard work and humility which has produced songs that resonate with people from all walks of life.

To follow TobyMac on Twitter: @TheRealTobyMac

To find out more about tobyMac go to www.tobymac.com

We’d like to thank tobyMac for answering some of our burning questions. A very special thank you Christina Garvin of The M Collective for setting up the interview for us.