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About the Book


"The Tree And Your Ministry" by Dag Heward-Mills explores the concept of ministry through the analogy of a tree, highlighting the importance of growth, maturity, and bearing fruit in one's spiritual journey. The book encourages readers to reflect on their own ministry and personal growth, offering insights and practical advice for effective and impactful service in the kingdom of God.

Keith Green

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.

Are You a Friend to the Poor

God’s heart is for the least of these: the suffering, lost, and lonely. "Do you know the name of a poor person?" a young man in his twenties who was sharing about his experiences as a missionary in Moldova posed the question to me in church. His phrase was tricky because if he'd said, "Do you care about the poor?" I might have tossed it in that drawer where you keep all the stuff you've heard a million times and are supposed to ponder but probably won't do much with. When he asked if I knew the name of a poor person he exposed a glaring gap in my Christianity: Whose name did I know? Not whose face had I passed on 21st Street on my way to grab coffee; not what homeless man had I handed a dollar for the paper he peddles at the stoplight; not what anonymous tsunami victim had received an online donation I'd made. Whose name did I know? I was left to consider this very important question because if I didn't know the name of a poor person, I didn't really know a poor person. (This is one of the biggest problems with going to church — the possibility of getting all convicted and stuff.) I always knew that if God's heart was for anything it was for the least of these: the suffering, sick, needy, uneducated, foreigner, lost, lonely — this much was clear. And it's true that these were people I cared about, prayed for, and on whose behalf I tithed, but how many of them called me friend? Who had my phone number, been to dinner at my house, or sat beside me at church? Without condemnation, I had to recognize that I was someone who cared for the poor mostly from a distance but who had yet to intimately involve herself. My first step: Learn a name. In the Law of Moses God commanded the Israelites to leave their extra sheaves, olives, and grapes for the alien, fatherless, and widow — for all the people who didn't have what the Israelites had and who didn't have the means to get what they had. At the end of this recurring command the Lord gave His people an intriguing reason for why He required this, "Remember that you were slaves in Egypt. That is why I command you to do this" (Deut. 24:22, NIV). Didn't God want them to leave their excess food for the poor and outsider because these people were hungry, because they needed community, because they couldn't provide for themselves, because He loved them? Wasn't that why? Oh I'm sure those were all reasons, but I believe God first had to deal with that sneaky mind-set, the one that tries to trick us into thinking that when we step over a stalk of wheat to leave it for the poor we're doing something really noble, plain over-the-top gracious. That we're going above and beyond by giving away what is rightfully "ours." The Lord was staving off this kind of thinking by saying, "Hold your fancy horses. Remember you used to be slaves too! Don't forget to tap into what that felt like." The Israelites were no strangers to poverty, oppression, or powerlessness as ones who had once been enslaved in Egypt. It was only because of God's deliverance they were now free, only because of His goodness they were blessed with flourishing fields and bursting branches. By remembering their once low estate, they were poised to welcome the foreigner, fatherless, and widow, not out of self-righteousness, guilt, or duty, but out of the love God had shown them. Last night I served dinner to an Iraqi couple and their 2-year-old daughter, a family some of my friends and I have gotten to know. I'd hoped that chicken, broccoli, and couscous were safe selections to serve these well-dressed Middle Easterners, though I sensed I may have been pushing it with the hot apple cider. I was going for the American autumn experience, and judging by their first and only sip, this went over moderately. As we settled around the table I asked them why they'd left Baghdad to come to America. The husband replied, "Because there are less car bombings here," and then he broke out into hysterical laughter. (Safwat's a sanguine.) His wife was less buoyant, confiding that the war had been devastating and that they'd fled here as refugees hoping to find jobs but so far without any success. My eyes welled up as she spoke because her suffering was not that of a nameless Iraqi, but it belonged to her, a real-life woman with a name, Rida. As the adults carried on, Rubaa fingered the icing on her cupcake and tapped her shoes on the hardwood floors, just like any other baby girl in a bright red dress who wanted the room to be enchanted with her — some things are the same everywhere. When it was time for them to leave, Safwat shook my hand, Rubaa blew me a kiss at her mother's urging, and Rida kissed my right cheek, left cheek, and then back to my right cheek again (it's that third one I always forget). As we said our good-byes I realized what a privilege it was to know their names, because knowing their names meant I was getting to know their stories. And knowing their stories reminded me in deeply spiritual and emotional places that I, too, was once a foreigner outside of God's kingdom, but because of Christ, I am now a daughter. Kelly Minter

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