Sinners In The Hands Of An Angry God Order Printed Copy
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About the Book
"Sinners in the Hands of an Angry God" is a classic sermon delivered by Jonathan Edwards in the 18th century, warning listeners of the consequences of sin and the wrath of God. The sermon uses vivid imagery and strong language to emphasize the urgent need for repentance and salvation. Edwards' powerful message serves as a reminder of the consequences of disobedience and the importance of seeking forgiveness.
Rich Mullins
Born Richard Wayne Mullins on October 21, 1955, in Richmond, IN; died on September 19, 1997, in La Salle County, IL; son of John and Neva Mullins. Education: Attended Friends University, Wichita, KS, late 1980s.
The talents of Contemporary Christian singer/songwriter Rich Mullins and his work with the group Zion were first noticed by Christian music superstar Amy Grant. The inclusion of his song "Sing Your Praise to the Lord" on Grant's Age to Age album in 1982 soon lead to deals with Reunion Records and the start of a successful career as a songwriter and singer. With nearly ten albums and numerous Contemporary Christian hit songs to his credit, Mullins's career was cut short by an automobile accident that took his life on September 19, 1997, in Illinois.
Raised near Richmond, Indiana, Mullins began writing songs in his head as he drove a tractor over the fields of his family's farm. He taught himself to play the piano at age four and soon mastered a number of other instruments as well, including the guitar and hammered dulcimer. Long before his birth, however, factors over which he had no control were beginning to shape the world in which he would grow up. In Rich Mullins: An Arrow Pointing to Heaven by James Bryan Smith, the singer tells of some family history and how it came to affect his life: "My dad grew up back and forth between Kentucky and Virginia because his father was a coal miner. And when my dad was 14 my grandpa came home and told my grandma to load up the truck 'cause they were gonna move.... And my grandpa said, 'Well, Rose, we're going to Detroit.' And she said, 'Why in the world are we going to Detroit?' And he said, 'Because I don't want my boys to grow up to be coal miners.' And so they got as far as Indiana and ran out of gas--and that's how I got here."
As a boy, Mullins was known as Wayne, his middle name. Although he went by Richard when he went off to college and shortened that to Rich when he launched his music career, he preferred to be known as Wayne by his family. Mullins was particularly close to his mother, Neva, who was raised a Quaker. He admits, however, to having been somewhat embarrassed by his father, who was raised in the heart of Appalachia, "which is a very polite way to say that he was a hillbilly," Mullins told Smith. Mullins said that it was not until he was nearing the end of high school that he began to understand the true meaning of the biblical injunction to "honor thy father and mother." In Smith's book Mullins is quoted: "[I]f you cannot honor your father and mother, then you can't honor anybody. Until you come to terms with your heritage, you'll never be at peace with yourself. That was a real breakthrough moment for me. So, what I needed to do was come to understand the Appalachian life, so that I could know more about my father, who had been a stranger to me all my life."
In 1974, after finishing high school, Mullins attended Cincinnati Bible College in Ohio, working as a youth minister in a local church. A couple of years into college, he formed a band of his own. The band only stayed together for about a year, and during that time it performed Christian music at schools and colleges throughout the Cincinnati area. In the late 1970s Mullins left college to work with Zion Ministries and perform with their band, aptly named Zion. In the summer of 1981 a copy of an album recorded by Zion--made up mostly of songs written by Mullins--found its way to Christian singer Amy Grant. The up-and-coming Grant and her managers were impressed by Mullins's "Sing Your Praise to the Lord" and decided to include it on Grant's next album, Age to Age, released in 1982. Mike Blanton, an adviser to Grant and founder of Reunion Records, signed Mullins to his first publishing deal as well as his first artist deal.
Mullins's first album for Reunion, self-titled, was released in 1986 and includes such songs as "Place to Stand," "Elijah," and "Few Good Men." He followed that in 1987 with Pictures in the Sky, which includes "When You Love," "Be with You," and "Verge of a Miracle." Winds of Heaven, Stuff of Earth, Mullins's third album for Reunion, was released in 1989 and features "Awesome God," "Other Side of the World," and "If I Stand." Also hitting music stores in 1989 was Never Picture Perfect, which includes the singles "I Will Sing," "While the Nations Rage," and "First Family."
In 1988 Mullins moved to Wichita, Kansas, to study music education at Friends University, a nondenominational Christian institution. While studying at Friends, he continued to record and perform whenever he could. In 1991 and 1992, he released two volumes of a compilation entitled World As Best As I Remember It. After completing his studies at Friends, Mullins joined a Compassion International mission to the vast Navajo Reservation in Arizona to teach music to the local children and spread the Christian gospel to whomever he could reach. As part of his work in the Navajo Nation, he formed a music club for some of the younger residents. In May of 1995, he moved to the Navajo Nation, settling into a trailer adjacent to the reservation. He lived there with fellow musician Mitch McVicker, and the two were involved in a project to collect musical instruments for the children of the reservation.
Throughout his career, Mullins has been nominated a total of 12 times for Dove Awards, presented each year to the best in Contemporary Christian music. He never received the award, but close friend Doris Howard told Release magazine that he probably didn't mind. "Nashville didn't own Rich, but then, he cared nothing for the things of this world."
On September 19, 1997, the Jeep in which Mullins and McVicker were traveling from Chicago to Wichita overturned on Interstate 39 in La Salle County, Illinois. Both men were thrown onto the road from their vehicle. A tractor trailer following close behind swerved to miss the Jeep but instead hit Rich, killing him instantly. McVicker, though injured critically, recovered.
Rich Mullins's Career
Joined Christian group Zion, late 1970s; released self-titled album for Reunion Records, 1986; recorded total of nine albums of Christian music for Reunion, 1986-96; wrote several Contemporary Christian hits, including "Awesome God" and "Sing Your Praise to the Lord"; studied music education, devoted time to relief efforts among Navajo Indians of the Southwest, mid-1990s.
The Soundtrack of Heaven
The book of Revelation confuses many Christians. Filled with beasts, angels, living creatures, wars, lightning, thunder, prophecies, and visions, its story can be a bit overwhelming for any of us. Something like a Marvel movie on steroids. Not surprisingly, scholars differ widely on what it all means. Some try to tie it to actual people and events in history. Others assign most of Revelation to the future. Still others believe God is giving us repeated descriptions of what is taking place now in the church age. Wherever we land on the bigger picture, Revelation gives us a series of windows into reality that are both hard to miss and easier to understand: its songs. Woven into the fabric of the book are around a dozen choruses, both spoken and sung. That shouldn’t surprise us given how often in Scripture drawing near to God is expressed and encouraged through singing. But these songs of heaven are unique. They’re written by God himself, and they show us what singing in God’s presence will really be like. And we may be singing some form of these particular choruses forever. Even now, though, they have much to teach us. Songs of Exuberance Let’s admit it. The descriptions of the singing of heaven put the sound of any rock concert or sports stadium to shame, not to mention most churches. Myriads of myriads and thousands of thousands, saying with a loud voice . . . (Revelation 5:11–12) And I heard every creature in heaven and on earth and under the earth and in the sea . . . (Revelation 5:13) And all the angels . . . fell on their faces before the throne. (Revelation 7:11) Then I heard what seemed to be the voice of a great multitude, like the roar of many waters and like the sound of mighty peals of thunder . . . (Revelation 19:6) “The example of heaven challenges the assumption that congregational worship should be reserved and subdued.” Both audibly and visually, we’re confronted with the fact that those who truly grasp God’s nature and what he’s accomplished will be moved to sing. As Dennis Johnson writes, Revelation shows us that “those who dwell with God in heaven constantly break forth in song, overwhelmed with joy and adoration by his perfections in himself and by his awesome achievements in creation and redemption” (Triumph of the Lamb, 330). The example of heaven challenges the assumption that congregational worship should be reserved and subdued. While we cite proof texts, claim to honor tradition, and avoid looking too fanatical, might it be that we’re actually just failing to see how great God’s glory in Christ really is? Songs of Explanation Heaven’s songs give us insight into the character of God, the works of his hands, and why he does what he does. We don’t hear any of the simple, repetitious 7-11 songs (7 words repeated 11 times — or more!) that are so popular today. Rather, the lyrics shed real light on what’s happening in the world and in the heavenly throne room. ILLUMINATING HOLINESS For instance, at the beginning of Revelation 4, John is shown an open door in heaven. He paints a moving picture of what he sees and hears. A throne. An emerald-like rainbow. Flashes of lightning. Peals of thunder. But what does it all mean? Revelation 4:8 tells us: Holy, holy, holy, is the Lord God Almighty, who was and is and is to come! God is thrice holy — righteous, omnipotent, eternal, set apart. The song of verse 11 further explains that God created all things and sustains all things for his pleasure: Worthy are you, our Lord and God, to receive glory and honor and power, for you created all things, and by your will they existed and were created. (Revelation 4:11) UNFOLDING REDEMPTION At the beginning of chapter 5, John hears a new song, sung to the Lamb: Worthy are you to take the scroll and to open its seals, for you were slain, and by your blood you ransomed people for God from every tribe and language and people and nation, and you have made them a kingdom and priests to our God, and they shall reign on the earth. (Revelation 5:9–10) The Lamb could open the scroll because he was slain, a reference to his substitutionary death on the cross. His death ransomed people for God from every tribe, language, people, and nation, a reference to the international scope of the gospel invitation. The ransomed will be a kingdom and priests to God who will reign forever on earth, a statement showing that God’s promise to make Israel “a kingdom of priests and a holy nation” (Exodus 19:6) was fulfilled in the church, made up of both Jews and Gentiles. In short, despite the turmoil and tests of the present age, God will surely have a diverse people for his glory with whom he will live forever. After an outpouring of praise for the Lamb’s attributes (Revelation 5:12), we hear another song, declaring Jesus’s divinity as clearly as any passage in Scripture: “To him who sits on the throne and to the Lamb be blessing and honor and glory and might forever and ever!” (Revelation 5:13). In a similar way, our songs should be filled with the character, nature, purposes, actions, and heart of God. Words don’t get in the way of worship. They give substance and meaning to it. Songs of Encouragement When God gave John the prophecy of Revelation, Christians were already facing varying degrees of persecution, and it was expected to increase. Pressures to conform to a pagan culture, and even to participate in the idolatry of emperor worship, came at Christians from every direction. What would give John’s readers faith to endure and courage to stand against opposition? What would strengthen their resolve as they saw friends and family members taken from their homes and martyred for their allegiance to King Jesus? The knowledge that God’s throne is immovable, sovereign, and eternal. The saints needed to be reminded that, in the heavenly realms, God’s authority and rule are not only affirmed, but celebrated: The kingdom of the world has become the kingdom of our Lord and of his Christ. (Revelation 11:15) We give thanks to you, Lord God Almighty, who is and who was, for you have taken your great power and begun to reign. (Revelation 11:17) Hallelujah! Salvation and glory and power belong to our God, for his judgments are true and just; for he has judged the great prostitute who corrupted the earth with her immorality, and has avenged on her the blood of his servants. (Revelation 19:1–2) How often do our songs both detail the forces of evil arrayed against us and point us clearly to the God who has triumphed over them in Christ? David Peterson asks, Do our hymns and acclamations . . . challenge us to take a firm stand against every manifestation of Satan’s power and to bear faithful witness to the truth of the gospel in our society? It is not good enough to sing certain items merely because they make the congregation feel good! (Engaging with God, 278) “Words don’t get in the way of worship. They give substance and meaning to it.” When we sing together, our strength comes not from aiming to feel and emote, but to see and hear. We want to see God reigning on his throne with absolute justice, wisdom, and power over every terrorist, virus, dictator, and manifestation of evil in our day. And we want to hear and join in the cries of jubilation that are already ascending to the God who can do all things and whose purposes cannot be thwarted (Job 42:2). Songs of Expectation Endurance is one thing. Expectation is another. It’s possible to sing through dark seasons, discouraging outcomes, heart-wrenching losses, relentless opposition, and dwindling resources with grit, resolve, and stoicism. But that doesn’t describe the songs of heaven. Not even close. They’re marked by joy. And that joy stems from a confident expectation that God will accomplish everything he has promised. The final songs of Revelation describe God overcoming all evil, the nations bowing down in worship, and the bride of Christ finally beholding her groom, King Jesus, at a never-ending royal celebration of grace. All nations will come and worship you, for your righteous acts have been revealed. (Revelation 15:4) Hallelujah! For the Lord our God the Almighty reigns. Let us rejoice and exult and give him the glory, for the marriage of the Lamb has come, and his Bride has made herself ready; it was granted her to clothe herself with fine linen, bright and pure. (Revelation 19:6–8) Do our songs help people clearly understand that what’s yet to come is not only certain but worth celebrating now? Do we fill them with anticipation for our glorious future in Christ, when “all the waiting will be over, every sorrow will be healed, all the dreams it seemed could never be will all be real”? Our songs help bring into sharper focus the things hoped for and unseen that God has promised to us. Transformed Through Singing Will our earthly songs look and sound exactly like the songs of heaven? No. But can the songs of heaven motivate us to sing with greater passion, understanding, confidence, and anticipation now? Absolutely. G.K. Beale writes, Is it possible . . . that, as we declared the same truths about God as the heavenly beings do, the same Holy Spirit who is pictured as being before the throne would deepen and transform our understanding of God and his glory in a way that touches our whole being, in its spiritual, intellectual, emotional, and even physical components? (Revelation: A Shorter Commentary, 108) It’s not only possible. It’s God’s intention. So, may we joyfully model our singing after the songs of heaven until, by the grace of God, they are no longer just a worthy goal, but the sound of present reality. Article by Bob Kauflin