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About the Book
"Love: The Way to Victory" by Kenneth E. Hagin explores the power of love and how it can bring victory into the lives of believers. The book emphasizes the importance of operating in love as a key component to experiencing success and overcoming obstacles. Hagin teaches readers how to walk in love, forgive others, and cultivate a loving attitude in order to achieve ultimate victory in every area of life.
Keith Green
Born on October 21, 1953, in Sheepshead Bay, NY; died on July 28, 1982, in Lindale, TX; married Melody Steiner, 1973; children: Josiah (deceased), Keith, Bethany (deceased), Rebekah. Addresses: Record company--Sparrow Records, P.O. Box 5085, Brentwood, TN 37024. Website--Keith Green Official Website: http://www.lastdaysministries.org.
Known for his uncompromising approach to both his faith and his music, Keith Green has become a legendary figure in Contemporary Christian music since his death in 1982. Taking on the role of a modern-day prophet, he earned a fervent following thanks to his explicit evangelical message and buoyant brand of pop-rock. Green was a critic both of secular society and of commercial tendencies within the Christian community. Since his passing, he has been the subject of several tribute albums and was inducted into the Gospel Music Hall of Fame in 2001.
From early childhood onward, it seemed certain that Green would become a musician. Born in New York, he relocated to the San Fernando Valley area of California with his family not long after. At age eight, he began to perform in stage musicals, appearing in such notable roles as Kurt Von Trapp in a local production of The Sound of Music. In 1965 he published his first song, "The Way I Used to Be," and became the youngest member of the American Society of Composers, Authors, and Publishers. That same year he signed a five-year recording contract with Decca Records and released his first single, "Cheese and Crackers."
Though Green was groomed to be a teenage idol, he never quite achieved success. The late 1960s found him experimenting with drugs and dabbling in various Eastern religions. His life began to turn around after he met (and eventually married) songwriter Melody Steiner in the early 1970s. Under Steiner's guidance, Green began to explore fundamentalist Christianity. Before fully embracing the faith, he began keeping company with singer/songwriters Larry Norman and Randy Stonehill, two of Southern California's best-known Christian rock artists. His skills as a singer and composer began to develop as he edged closer to religious conversion. Finally, in 1975 he became a committed Christian after becoming involved with the Vineyard, a well-known San Fernando Valley church. With a convert's fervor, Green became involved in a series of Christian music projects, including the band Good News and the stage musical Firewind. He also began writing spiritually themed songs, among them "Your Love Broke Through," which went on to become a Christian pop standard recorded by Randy Stonehill, Phil Keaggy, and others.
Dedicating his reawakened creativity to glorifying God, Green founded Last Days Ministries in 1977. He and his followers evangelized to young rock music fans, street people, and others not being reached by conventional churches. At the same time, he made his debut as a Christian recording artist, signing with Sparrow Records and releasing the album For Him Who Has Ears to Hear. This song collection displays the essentials of Green's musical style: exuberant singing, piano-based melodies, and well-crafted pop/rock production. Among the best-known tracks on Green's first album are "You Put This Love in My Heart," "No One Believes Me Anymore," and "Your Love Broke Through." Balancing the warm-hearted testimony of these tunes are some humorous moments, including "No One Believes Me Anymore," a mock lament sung from the Devil's point of view. Overall, For Him Who Has Ears to Hear introduced Green to the Christian music market as a gifted musical evangelist of enormous potential.
As his audience grew, Green made clear that his focus was on spreading Christian teaching rather than providing entertainment. He sought to challenge the assumptions of his fellow believers, criticizing Christians who took their faith for granted. Some compared him with the Old Testament prophet Ezekiel, who decried the loose morals and weak faith of his generation. A number of the songs on Green's 1978 album No Compromise were addressed to the spiritually lazy. Most important among these is "Asleep at the Light," a ringing call for Christian activism sung by Green with palpable emotion. Less intense but still effective is the playful "Dear John (Letter to the Devil)" and the country-tinged "Soften Your Heart." All three of these songs received considerable airplay on Christian music stations.
Green was uneasy in his role as an emerging celebrity. He spoke out against the Christian music industry's increasing tendency to imitate secular show business ways. "Why do we idolize Christian singers and speakers?," he asked in a statement issued through Last Days Ministries. "We go from glorifying musicians in the world, to glorifying Christian musicians. It's all idolatry! ... It's true that there are many men and women of God who are greatly anointed to call down the Spirit of God on His people and the unsaved. But Satan is getting a great victory as we seem to worship these ministers on tapes and records...."
Turning away from the California Christian music scene, Green relocated to Lindale, a small east Texas community, in 1978. In addition to maintaining Last Days Ministries, he decided to launch his own record company, Pretty Good Records. Through this label, he released his next album, So You Wanna Go Back to Egypt, in 1980. This eclectic effort pokes fun at weak-spirited believers in its title track and offers a personal confession of need in "I Want to Be More Like Jesus." The most enduringly popular track proved to be "Oh Lord You're Beautiful," a powerful hymn that became a favorite at Christian worship services. In a bold move, Green announced that So You Wanna Go Back to Egypt would be sold for a variable price, even given away for free to those unable to pay. This decision sent shock waves through the Christian music industry, causing other artists to reconsider their album and concert pricing policies. An estimated 200,000 copies of the album were eventually distributed on a "pay what you can afford" basis.
Unlike some of his Christian music peers, Green showed little desire to dilute his message in hopes of reaching a wider audience. His 1982 album Songs to the Shepherd concentrates on worshipful material, praising the Lord in musical settings ranging from uplifting pop ("You Are the One") to blues-seasoned rock ("O God Our Lord") to old-fashioned country ("Draw Me"). While these songs were little-heard outside the Christian community, they helped fire Green's already-committed audience to a greater level of devotion. Fusing his work as a performer and evangelist, he toured actively during the early 1980s, mixing personal testimonials and heartfelt exhortations in between his musical numbers.
Green's life was cut short just as he began to hit his stride as a musician and minister. On July 28, 1982, he boarded a small Cessna aircraft for a brief sightseeing flight around his property in Lindale. Also on board were his son Josiah and daughter Bethany, along with the pilot and eight other passengers. Overloaded, the plane crashed shortly after takeoff, killing everyone on board. Recovering from her loss, Melody Green decided to carry on with Last Days Ministries and Pretty Good Records. Recordings of her husband's music were released posthumously, beginning with Prodigal Son and Jesus Commands Us to Go in 1983. Though lacking the cohesiveness of the albums released during his lifetime, both these song collections capture Green in strong creative moments. Prodigal Son's dramatic title track is a particular highpoint.
Melody Green continued to guide Last Days Ministries through the coming years and, in 1985, also took on the directorship of Americans against Abortion. Green's musical legacy remained vital as well, with many of his best-known recordings repackaged in compilation albums by Sparrow during the 1980s and 1990s. Multi-artist tribute albums also began to appear, starting with 1992's No Compromise: Remembering the Music of Keith Green. 2001 saw the release of Start Right Here: Remembering the Life of Keith Green, featuring spirited interpretations of his songs by such notable Christian rock acts as MxPx, Joy Electric, and Starflyer 59. Your Love Broke Through: The Worship Songs of Keith Greencontains covers of Green tunes by Michael W. Smith, Twila Paris, Rebecca St. James, and other top-rank Christian pop/rock talents.
On November 27, 2001, Green was inducted into the Gospel Music Hall of Fame. The honor served as an acknowledgment of his continuing influence in Contemporary Christian music some 20 years after his death. Green's intensity and dedication have continued to make him a role model for younger Christian performers, such as Rebecca St. James, who paid tribute to him in a Sparrow Records press biography. "I think what touches me most about him was that he was so committed to loving God and living for Him," she said of Green. "I know he was very strong-willed and people were sometimes offended at what he did and said, but it all came out of a pure motive of trying to be committed to Him in every part of his life. He wasn't going to back down just because of what people thought of him. That, to me, says that he was more focused on pleasing God than on pleasing man, something I think we should all try to focus on."
Keith Green's Career
Began career as child stage actor and composer, early 1960s; signed with Decca, released debut single, "Cheese and Crackers," 1965; began writing Christian songs, mid-1970s; founded Last Days Ministries, released first album, For Him Who Has Ears to Hear, 1977; founded Pretty Good Records, released album So You Wanna Go Back to Egypt, 1980.
Keith Green's Awards
Induction (posthumous), Gospel Music Hall of Fame, 2001.
Famous Works
For Him Who Has Ears To Hear , Sparrow, 1977.
No Compromise , Sparrow, 1978.
So You Wanna Go Back to Egypt , Pretty Good, 1980.
The Keith Green Collection , Sparrow, 1981.
Songs for the Shepherd , Pretty Good, 1982.
The Prodigal Son , Pretty Good, 1983.
Jesus Commands Us to Go , Pretty Good, 1984.
Because of You--Songs of Testimony , Sparrow, 1998.
Here I Am, Send Me--Songs of Evangelism , Sparrow, 1998.
Oh Lord, You're Beautiful--Songs of Worship , Sparrow, 1998.
Make My Life a Prayer to You--Songs of Devotion , Sparrow, 1998.
the majesty of god mastered him: john calvin
In 1538, the Italian Cardinal Sadolet wrote to the leaders of Geneva trying to win them back to the Roman Catholic Church after they had turned to the Reformed teachings. John Calvinās response to Sadolet uncovers the root of Calvinās quarrel with Rome that would determine his whole life. Hereās what Calvin wrote to the cardinal: ā[Your] zeal for heavenly life [is] a zeal which keeps a man entirely devoted to himself, and does not, even by one expression, arouse him toĀ sanctify the name of God ā ( John Calvin: Selections from His Writings , 89). The issue for Calvin was not, ļ¬rst, the well-known sticking points of the Reformation: justiļ¬cation, priestly abuses, transubstantiation, prayers to saints, and papal authority. All those would come in for discussion. But beneath all of them, the fundamental issue for Calvin, from the beginning to the end of his life, was the issue of the centrality and supremacy and majesty of the glory of God. Calvin goes on and says to Sadolet that what he should do ā and what Calvin aims to do with all his life ā is āset before [man], as the prime motive of his existence,Ā zeal to illustrate the glory of God ā ( Selections , 89). This would be a ļ¬tting banner over all of John Calvinās life and work āĀ zeal to illustrate the glory of God . The essential meaning of Calvinās life and preaching is that he recovered and embodied a passion for the absolute reality and majesty of God. Captive to Glory What happened to John Calvin to make him a man so mastered by the majesty of God? And what kind of ministry did this produce in his life? He was born July 10, 1509, in Noyon, France, when Martin Luther was 25 years old and had just begun to teach the Bible in Wittenberg. When he was 14, his father sent him to study theology at the University of Paris, which at that time was untouched by the Reformation and steeped in Medieval theology. But ļ¬ve years later (when Calvin was 19), his father ran afoul of the church and told his son to leave theology and study law, which he did for the next three years at Orleans and Bourges. His father died in May of 1531, when Calvin was 21. Calvin felt free then to turn from law to his ļ¬rst love, which had become the classics. He published his first book, a commentary on Seneca, in 1532, at the age of 23. But sometime during these years he was coming into contact with the message and the spirit of the Reformation, and by 1533 something dramatic had happened in his life. Calvin recounts, seven years later, how his conversion came about. He describes how he had been struggling to live out the Catholic faith with zeal when I at length perceived, as if light had broken in upon me, in what a sty of error I had wallowed, and how much pollution and impurity I had thereby contracted. Being exceedingly alarmed at the misery into which I had fallen . . . as in duty bound, [I] made it my ļ¬rst business to betake myself to thy way [O God], condemning my past life, not without groans and tears. God, by a sudden conversion, subdued and brought my mind to a teachable frame. . . . Having thus received some taste and knowledge of true godliness, I was immediately inļ¬amed with [an] intense desire to make progress. ( Selections , 26) What was the foundation of Calvinās faith that yielded a life devoted utterly to displaying the glory and majesty of God? The answer seems to be that Calvin suddenly, as he says, saw and tasted in Scripture the majesty of God. And in that moment, both God and the word of God were so powerfully and unquestionably authenticated to his soul that he became the loving servant of God and his word the rest of his life. Henceforth he would be a man utterly devoted to displaying the majesty of God by the exposition of the word of God. Compelled to Geneva What form would that ministry take? Calvin knew what he wanted. He wanted the enjoyment of literary ease so he could promote the Reformed faith as a literary scholar. That is what he thought he was cut out for by nature. But God had radically different plans. In 1536, Calvin left France, taking his brother Antoine and sister Marie with him. He intended to go to Strasbourg and devote himself to a life of peaceful literary production. But one night, as Calvin stayed in Geneva, William Farel, the ļ¬ery leader of the Reformation in that city, found out he was there and sought him out. It was a meeting that changed the course of history, not just for Geneva, but for the world. Calvin tells us what happened in his preface to his commentary on Psalms: Farel, who burned with an extraordinary zeal to advance the gospel, immediately learned that my heart was set upon devoting myself to private studies, for which I wished to keep myself free from other pursuits, and ļ¬nding that he gained nothing by entreaties, he proceeded to utter an imprecation that God would curse my retirement, and the tranquillity of the studies which I sought, if I should withdraw and refuse to give assistance, when the necessity was so urgent. By this imprecation I was so stricken with terror, that I desisted from the journey which I had undertaken. ( Selections , 28) The course of his life was irrevocably changed. Not just geographically, but vocationally. Never again would Calvin work in what he called the ātranquillity of . . . studies.ā From now on, every page of the 48 volumes of books and tracts and sermons and commentaries and letters that he wrote would be hammered out on the anvil of pastoral responsibility. Unrelenting Exposition Once in Geneva, what kind of ministry did his commitment to the majesty of God produce? Part of the answer is that it produced a ministry of incredible steadfastness ā a ministry, to use Calvinās own description of faithful ministers of the word, of āinvincible constancyā ( Sermons from Job , 245). But that is only half the answer. The constancy had a focus: the unrelenting exposition of the word of God. Calvin had seen the majesty of God in the Scriptures. This persuaded him that the Scriptures were the very word of God. He said, āWe owe to the Scripture the same reverence which we owe to God, because it has proceeded from Him alone, and has nothing of man mixed with itā ( John Calvin: A Collection of Distinguished Essays , 162). His own experience had taught him that āthe highest proof of Scripture derives in general from the fact that God in person speaks in itā ( Institutes of the Christian Religion , 1.7.4). These truths led to an inevitable conclusion for Calvin. Since the Scriptures are the very voice of God, and since they are therefore self-authenticating in revealing the majesty of God, and since the majesty and glory of God are the reason for all existence, it follows that Calvinās life would be marked by āinvincible constancyā in the exposition of Scripture. He wrote tracts, he wrote the greatĀ Institutes , he wrote commentaries (on all the New Testament books except Revelation, plus the Pentateuch, Psalms, Isaiah, Jeremiah, and Joshua), he gave biblical lectures (many of which were published as virtual commentaries), and he preached ten sermons every two weeks. ButĀ all Ā of it was exposition of Scripture. In his last will and testament, he said, āI have endeavored, both in my sermons and also in my writings and commentaries, to preach the Word purely and chastely, and faithfully to interpret His sacred Scripturesā ( Selections , 35). This was the ministry unleashed by seeing the majesty of God in Scripture. The Scriptures were absolutely central because they were absolutely the word of God and had as their self-authenticating theme the majesty and glory of God. But out of all these labors of exposition, preaching was supreme. Godās Voice in Every Verse Calvinās preaching was of one kind from beginning to end: he preached steadily through book after book of the Bible. He never wavered from this approach to preaching for almost 25 years of ministry in St. Peterās church of Geneva ā with the exception of a few high festivals and special occasions. āOn Sunday he took always the New Testament, except for a few Psalms on Sunday afternoons. During the week . . . it was always the Old Testament.ā To give you some idea of the scope of Calvinās pulpit, he began his series on the book of Acts on August 25, 1549, and ended it in March 1554. After Acts he went on to the Epistles to the Thessalonians (46 sermons), Corinthians (186 sermons), the Pastoral Epistles (86 sermons), Galatians (43 sermons), Ephesians (48 sermons) ā until May 1558. Then there is a gap when he was ill. In the spring of 1559, he began the Harmony of the Gospels and was not ļ¬nished when he died in May 1564. On the weekdays during that season he preached 159 sermons on Job, 200 on Deuteronomy, 353 on Isaiah, 123 on Genesis, and so on. One of the clearest illustrations that this was a self-conscious choice on Calvinās part was the fact that on Easter Day, 1538, after preaching, he left the pulpit of St. Peterās, banished by the City Council. He returned in September 1541, over three years later, and picked up the exposition in the next verse. Divine Majesty of the Word Why this remarkable commitment to the centrality of sequential expository preaching? Three reasons are just as valid today as they were in the sixteenth century. First, Calvin believed that the word of God was a lamp that had been taken away from the churches. He said in his own personal testimony, āThy word, which ought to have shone on all thy people like a lamp, was taken away, or at least suppressed as to us.ā Calvin reckoned that the continuous exposition of books of the Bible was the best way to overcome the āfearful abandonment of [Godās] Wordā ( Selections , 115). Second, biographer T.H.L. Parker says that Calvin had a horror of those who preached their own ideas in the pulpit. He said, āWhen we enter the pulpit, it is not so that we may bring our own dreams and fancies with usā ( Portrait of Calvin , 83). He believed that by expounding the Scriptures as a whole, he would be forced to deal with all that God wanted to say, not just whatĀ he Ā might want to say. Third, he believed with all his heart that the word of God was indeed the word ofĀ God , and that all of it was inspired and proļ¬table and radiant with the light of the glory of God. In Sermon number 61 on Deuteronomy, he challenged pastors of his day and ours: Let the pastors boldly dare all thingsĀ by the word of God . . . . Let them constrain all the power, glory, and excellence of the world to give place to and to obey the divineĀ majesty of this word . Let them enjoin everyone by it, from the highest to the lowest. Let them edify the body of Christ. Let them devastate Satanās reign. Let them pasture the sheep, kill the wolves, instruct and exhort the rebellious. Let them bind and loose thunder and lightning, if necessary,Ā but let them do all according to the word of God . ( Sermons on the Epistle to the Ephesians , xii) The key phrase here is āthe divine majesty of this word.ā This was always the root issue for Calvin. How might he best show forth for all of Geneva and all of Europe and all of history the majesty of God? He answered with a life of continuous expository preaching. This is why preaching remains a central event in the life of the church five hundred years after Calvin. If God is the great, absolute, sovereign, mysterious, all-glorious God of majesty whom Calvin saw in Scripture, there will always be preaching, because the more this God is known and the more this God is central, the more we will feel that he must not just be analyzed and explained ā he must be acclaimed and heralded and magniļ¬ed with expository exultation.