Small Things with Great Love - Margot Starbuck

God wants to separate us from what divides us.

Small Things with Great Love: Adventures in Loving Your Neighbor

Author: Margot Starbuck

Foreword: Tony Campolo

Publisher: IVP Books (www.ivpress.com)

Pages: 239

In Small Things with Great Love by Margot Starbuck one thought summarizes what makes her voice fresh: “We don’t have to add lots more overwhelming activity to what we’ve already got going. Rather, the regular stuff of our lives―the commute to work and the potlucks and home improvement projects and errands and play dates―are the exact places in which we express and experience God’s love for a world in need” (20).

If some Pharisees in Scripture were known for laying on heavy burdens without lifting a finger to help, Starbuck is just the opposite. Her whimsical, humorous viewpoint makes the work of reaching those on the margins less frightening. Perhaps unknowingly her style echoes that of Jesus when he said, “Come to me, all who labor and are heavy laden, and I will give you rest. Take my yoke upon you, and learn from me, for I am gentle and lowly in heart, and you will find rest for your souls. For my yoke is easy, and burden is light” (Mt. 11:28-30 ESV). I appreciate her gentle spirit, which does not burden readers but seeks to release them into a richer, fuller life.

She lightens the load by being transparent about her own struggles and showing through stories how readers can take baby steps. It is a wonderful primer for those who want to know God’s heart for the poor and move from an insular environment to one that is more open. It is far too easy to become separate from the ones that God loves. This book is a start to bridging that gap.

Along the way Starbuck addresses the many different places in which we find ourselves. One of my favorite chapters is “Introverts.” I found it liberating because it affirms the type of person that I am by temperament and points to ways of loving God and neighbor appropriate to it. It makes a point reiterated throughout the book. We can be ourselves in engaging others.

In keeping with the spirit of whimsy, this book can be read creatively in a way that considers our various differences and roles. At the end of each chapter readers have the option to skip to a section relevant to them. At the end of “Introverts,” if you are female, you can turn to page 75 to read “Women.” If you are male, you can keep reading into the next chapter, “Men.” And so it goes at the end of every chapter. Readers in every walk of life are addressed, and they can follow this adventurous path if they choose not to read straight through. It’s all so good that those who skip around might want to go back and catch the parts they miss.

One part that troubled me comes toward the end where the author discusses the impact of our choices. How we spend and consume has an impact on the rest of the world, and it is right to consider this. It’s not that I disagree, but I wonder if there is more to consider than choosing to pay more so that we don’t support cheap labor. I am simplifying, but I wonder what God would have us do. I have a friend that out of necessity buys cheap jeans. I live in an area where unemployment is typically above the state average. Some people, and I am now one of them, depend at least in part on the meager income they gain from working at big box retailers.

After being denied entrance into our community several years ago, Walmart is getting ready to open in a location that was abandoned after another store that was popular locally went out of business. As I am sure is the case in most places, there will be more applicants than job openings. Even though many local residents strongly oppose this retail giant, others will welcome the low prices. Perhaps an obvious solution is for retailers like Walmart to act responsibly and improve their record in relation to all involved in the manufacture and sale of a product. Loving your neighbor precludes exploiting him. Let justice roll down from the upper echelons to the lowest in every endeavor. What a difference it would make, not to mention the hope it would engender. Do these corporations and the people that manage them have the will to make changes?

If the answer in part is to avoid shopping at big box retailers, their employees might lose their jobs and be forced to find new ones in a scarce environment. Is this a cost that our nation needs to bear to move toward a more just society? It would be interesting to know more of what Starbuck and others think. I don’t have the answer.

What troubles me is wondering if these issues are more complex than we realize. Then again, maybe part of the answer is, as much as possible, to be simple in the sense of not complicating how God would have each individual respond. That in part is what makes this book endearing. Normally, it’s not a matter of doing great things, but small things with great love. 

Athanasius: The Life of Antony of Egypt

Antony embodies a holy belligerence to evil that still inspires.

Athanasius: The Life of Antony of Egypt

A Paraphrase by Albert Haase, O.F.M.

Foreword by Shane Claiborne

Publisher: IVP Books (www.ivpress.com)

Pages: 128

Is there such a thing as holy belligerence? The Life of Antony of Egypt by Athanasius shows that an aggressive attitude toward Satan and heretics can be appropriate. Antony reminds me that though our ancient foe seeks to work his woe, he is no match for Christ and those who have found refuge in him. “We conquer the enemy with godly thoughts and hope-filled feelings. Such thoughts and feelings expose the demons for who they truly are: worthless kindling for the eternal fires of hell,” (60) Antony said.

He continually exhibits a holy disdain toward anything that opposes God. He does not mince words when he believes the truth is at stake, “Stay away from the schismatics and the Arians, as I have, because they are heretics and enemies of Christ. Form your community around the Lord and the saints so that, after you die, they will recognize you as old friends and walk hand-in-hand with you into the heavenly mansion prepared for you” (98).

The fantastic stories scattered throughout read like legend. Whatever the truth, Antony’s life is inspiring. He is extremely devout, yet like the author, Athanasius, he is humble and intensely practical. There is a wealth of wisdom pertaining to spiritual formation, battling demons and living the Christian life.

This encourages deeper devotion without advocating a slavish following of Antony’s practices. We are all different, and God’s dealings vary with the individual. Antony’s asceticism, though foreign to our modern culture, which has gone to the opposite extreme, encourages discipline. Aside from his example, readers can gain from a godly perspective. The righteous disdain for Satan and his forces is revelatory. It’s not some crazy ranting; it’s the mature perspective of someone who lives by the truth of Scripture.

The editor provides occasional context and instruction in shaded boxes that appear in the text. One particularly illuminating insight pertains to the “noonday devil”: “Within the desert tradition, acedia was often referred to as the ‘noonday devil’ and is better translated as ‘throwing in the towel.’ The hermit would begin his life and spiritual and spiritual formation in the desert with enthusiasm and gusto. However, by midday (figuratively speaking; hence the name ‘noonday devil’), the sun would be beating down upon him and he would become discouraged and want to give up the entire challenge of spiritual formation. And so he would throw in the towel and return to his former way of life” (54-55).

The book includes three pastoral letters written by Athanasius. The last, which is a fragment, covers the canon of Scripture. Haase writes, “This Easter letter fragment, of which there is a shorter version found in Greek and a longer version found in Coptic, is the first written documentation of the ‘canonical’ books of the Christian Scriptures. Athanasius’s list simply records the unofficial consensus of the church which would be subsequently endorsed by church councils in Rome (382), Hippo Regius (393) and Carthage (397)” (117). This also touches on what are known as the apocryphal books and how they are viewed by various groups. Athanasius does not see them as authentic and authoritative Scripture.

Haase makes this ancient classic easy to read and his comments are helpful. The stories about Antony are fascinating, which makes this engrossing. This can be read quickly, but as the editor suggests in relation to Scripture, far more can be gained by “treasuring” and “pondering” the passages that speak to readers.

Velvet Prince - Mike Johnson and friends

Along with The Artist/The Riddle, this is an overlooked Jesus movement recording.

Velvet Prince

Artist: Mike Johnson and friends

Label: Born Twice Records (www.retroactiverecords.net)

Length: 10 tracks/36:10 minutes

For those interested in music with roots in the Jesus movement of the late 1960s and early 1970s, Mike Johnson’s Velvet Prince and The Artist/The Riddle have been remastered and released by Retroactive Records.

I wish that contemporary Christian music (CCM), the industry that grew up around the music of the movement, had followed some of the highlights found here. CCM is by definition message-driven but has been lacking at times in the raw inventiveness of the early Jesus music. It has suffered from a narrow focus and being overproduced and homogenized. That pristine quality is one of the benefits of an old recording like the Velvet Prince.

It’s raw, a little ragged, but earnest in exhibiting a broad array of styles and subject matter. It also has an underlying sophistication that reflects Johnson’s background with heralded groups like the Mike Bloomfield Blues band, Electric Flag and the Paul Butterfield Blues Band. One standout track where you can hear that influence is the Dylanesque blues-rock of “On to L. A.”

On the lighter side is “Your Health Food won’t Get You into Heaven.” It’s not just the comical words; what makes this funny is an old-timey country style combined with most-important-song-in-the-world singing. I enjoy natural food as much as anyone, but I appreciate the hilarious reminder that “yogurt ain’t got no savin’ power.”

“Something’s Goin’ On” is a satirical “the end is coming” rag, complete with kazoo. For those who might remember him, it is reminiscent of Country Joe McDonald.

On the more somber side is the mournful “Standin’ at the Station,” perfectly suited to the feeling of being abandoned. The sparse, gentle instrumentation make this hauntingly beautiful.

The title track is a hard-rocking allegory that closes with wild feedback. Johnson also employs this literary device effectively on The Artist/The Riddle. If allegory and humor are scarce and a lost art in music today, it is a shame since both are powerful tools. With all the heaviness in the world, the need for humor has never been greater. Allegory remains a creative way to convey meaning to those who might be turned-off by a more didactic approach.

“Would You Believe” is a signature song reworked here into light jazz from Johnson’s self-titled Exkursions recording. The Exkursions were an early group for Johnson. Their concerts featured mainstream music without any Christian witness until the end when they closed with one invitation-to-faith song, normally “Would You Believe.” Johnson then shared his testimony, and Anglican minister John Guest preached. Johnson believes that this “low-key” approach was the secret to their success in ministry.

Velvet Prince follows in that legacy. The Christian witness on most songs is less overt. The appeal is in the careful craftsmanship. It might hold more interest for those whose first attraction is the music. Along with The Artist/The Riddle, this is an overlooked early document of an artist creatively expressing his Christian convictions.

The Artist/The Riddle - Mike Johnson

A first love faith gives birth to a childlike simplicity, wonder and creativity that are often missing today.

The Artist/The Riddle

Artist: Mike Johnson

Label: Born Twice Records (www.retroactiverecords.net)

Length: 10 tracks/35:15 minutes

Back in the late 1970s I remember seeing The Artist/The Riddle by Mike Johnson in my friend’s large LP collection of early Christian music. A smiling Johnson with a sparkle in his eye is in the foreground while the background of the album cover reflects the peace and tranquility of Christ’s future millennial reign.

It was a remarkable time with artists like Larry Norman, Keith Green, Randy Stonehill, Phil Keaggy, Barry McGuire, the 2^nd Chapter of Acts, Nancy Honeytree, the All Saved Freak Band, Love Song, Children of the Day, and many more singing of their faith in a contemporary music context. Like the move of God that preceded it, bringing many in the counter-culture to Christ, it was new. There was no established Christian music industry like there is today.

A first love faith gave birth to a childlike simplicity, wonder and creativity that are often missing today. As that early movement became an industry the music and content became more homogenized losing some of its freshness. It makes me thankful for artists that create something new and different. With so many talented Christian artists inside and outside the industry, how wonderful it would be to see original expressions of faith blossom again.

Mike Johnson was one that I overlooked when I started listening to the music of that era. It may be because he never achieved the same popularity as the more well-known artists. But that was not for lack of talent. He was an original member of the Mike Bloomfield Blues band and went on to become lead guitarist for Electric Flag and the Paul Butterfield Blues Band. His background shows in music that is slightly more complex than what is found on some of the early Christian releases.

One of the remarkable features of The Artist is the diversity of styles. “The Artist” starts off with gentle folk sounds, but when this allegory shifts to the work of the enemy, the sound becomes biting. Johnson repeatedly uses story to convey biblical truth.

The other title song, “The Riddle,” is more renaissance with the use of flute and recorder. “I Met a Man” is a humorous rag depicting the futility of trying to find life outside of Christ.

“Lord Doctor” is a favorite with its lyrical guitar, reminiscent of Phil Keaggy and vocals that sound a lot like Terry Talbot, another early pioneer in this genre.

“Jesus loves you” may be cliché but it sounds fresh to me on “Little Boy,” where a father confesses to a son that God loves him more than he ever can.

“The Witness” extols a person who would otherwise be unknown but for his faithful testimony, which changed lives throughout his town. This depicts true significance.

It’s interesting that the last three tracks, though varied in style, all relate in some way to Christ’s return. “The Sound of His Returning” is regimented marching band music. Something similar to this could have been used many years ago by the Salvation Army as they marched and sang like a banner of Christ waving through the mean streets of London.

“The Wedding” draws heavily on Jewish marriage custom with music to match. The closing “We Want You to Return” combines those words at the end with a winsome melody. I appreciate the second coming emphasis, which does not seem as prominent in our day.

I missed this when it was first released in 1976, but the remastering is excellent, making the production closer to today’s standards. It is a worthwhile addition for fans of the artist and any who are interested in music from that special time. For mature Christians, it can be reminder to cultivate again that first love.

Louie Giglio: the Essential Collection, DVD

Giglio highlights God’s wonders, from the furthest reaches in space to the human heart.

Louie Giglio: the Essential Collection, DVD

Publisher: sixsteprecords

Length: 5 DVDs; each over 40 minutes

I want to share it! That is how I feel about Louie Giglio: the Essential Collection, DVD. Giglio’s primary audience may be college-age youth, but this is relevant to most age groups. I want to share this with my mom, a friend and the person who does not know Christ.

Giglio is an excellent communicator, which is one reason I am comfortable recommending this to a wide variety of people. He is passion personified and has the knowledge and experience to make each subject relevant to real life. He is winsome but does not sugar-coat the topics. He acknowledges that inspirational speakers often resolve conflict and tension with a satisfying conclusion. I appreciate his desire to avoid being untrue to the way God works. Perhaps it is a reminder that whatever relief we experience now is only temporary and partial. God does not right every wrong in this life. He is moving toward something that defies imagination, when time shall be no more.

Giglio sees this big picture. He imparts a vision that inspires people to live for God rather than themselves. Those who need a more expansive view of God and what he can do in their lives will be well-served by the encouragement found here.

This is especially true of the talk “Hope: When Life Hurts.” This gets beyond everyday trials. Where do you turn when your life is shaken so badly that you wonder if God is even there? This is a message that one could return to repeatedly when going through life’s worst moments. 

Giglio draws attention to the cross, which is not just for salvation, as important as that is. Much has been said and written about the cross of Christ, but it can still be a challenge to comprehend what it means to the Christian in suffering. Giglio connects the dots in a clear and unforgettable manner.

This third talk is comprised of two complete messages even though it is counted as only one of five talks. Here Giglio tells the story of Ashley, a University of Florida student, who is nearing graduation. Though exposed to Christianity growing-up, Ashley chose the party lifestyle and sided with her atheist father. Giglio tells the story of how her life intersected with his in a way that has impacted people all over the world. He tells it in these two parts and in “Fruitcake and Ice Cream,” the fourth talk in the series.

Giglio is probably best known for the first two talks, which are older, “Indescribable” and “How Great is Our God.” Here Giglio’s love of astronomy helps viewers get a sense of the greatness of God. After seeing this one could say that the word “awesome” should be reserved for God alone. It will be a challenge for anyone to watch this and not come away with a larger view of God.

Passion conferences are known for worship music. I would have liked to have seen performances of the songs from which these early titles come in the form of bonus content, even though they are available in other formats. It would have been like icing on the cake. On the other hand, I recognize that the production on these earlier talks is slightly inferior and that this might have carried over to any music videos. I was more than pleased, however, to see Chris Tomlin leading a special song at the conclusion of “Symphony (I Lift My Hands),” Giglio’s latest talk.  

This is a beautiful ending to a fitting finale. If the first two talks extol the greatness of God, and the next two grace for salvation and suffering, this last message is about our response. It recognizes God’s centrality not just in our lives but in the universe, which in itself amazingly offers ceaseless praise. Giglio provides a taste of it. Since I like surprises, I will say no more so as not to spoil it for viewers.

Again, this is suitable for any age, except for young children, in an individual, group or even church setting. A discussion guide is included. This was my first exposure to Giglio, and I was not disappointed. This inspires hope and noble aspirations.

Remedy Drive - Resuscitate

Remedy Drive survives breakup to sound more alive than ever.

Resuscitate

Artist: Remedy Drive (http://www.remedydrive.com)

Label: Centricity Music

Length: 10 tracks/36:43 minutes

The difficult road to Resuscitate by Remedy Drive began when lead singer David Zach’s brothers decided to leave and pursue other options. This was not a band on life-support but in the throes of demise. That such a solid release has emerged, one that must rank among their best work, is a tribute to Zach’s persistence and the synergy he has with the new members.

As Zach affirms in a couple of the songs, losing our way does not make us a lost cause. Crisis serves as a setting for the brokenness and hope that inform the lyrics.

On different note, if Coldplay helped bring the piano back to rock, Remedy Drive benefits from that legacy. The creative use of keyboards woven into the fabric of many of these songs is striking. They are the first sounds that you hear on the opening, “Better than Life.” They continually add a subtle and satisfying beauty to the well-crafted pop/rock found throughout.

I enjoy the latter and normally don’t gravitate towards heavier fare. Even so, the hard rock heard on the title track and “Make it Bright” are strangely beguiling. The raw energy makes these tracks explosive and compelling.

But have you heard the story of Elijah, the Old Testament prophet? God was not in the strong wind, the earthquake or the fire, but in the sound of a low whisper, a thin silence, which brings me to “God I Hope So.” It is not the sound of quiet desperation, but rather a hopeful longing. It’s an honest cry that yearns for a better day. It carries even greater weight than the heavier sounds in the aforementioned tracks. I appreciate the uncertainty because that’s what life is like. We can be certain of God but not much else.

Remedy Drive move toward modern worship on “Crystal Sea” and “Glory”. If the band was ever dead, this is life from the dead. They add their voice to that mighty throng that stands by the crystal sea.

The theme of the closing “Hold On” reminds me of the words from “Rock of Ages,” “Nothing in my hand I bring, simply to the cross I cling.” When all is stripped away, we must depend on God.

Blue Like Jazz, DVD

Blue Like Jazz provides something better than quick resolve: the beginnings of a genuine faith.

Blue Like Jazz, DVD (www.bluelikejazzthemovie.com)

Publisher: Lionsgate

Time: Approximately 107 minutes

In Blue Like Jazz, a Steve Taylor film based on the bestselling book of the same name by Donald Miller, jazz is a metaphor for the complexities and unresolved issues of life.

A willingness to explore fallen human nature without rushing toward an obvious conclusion sets this film apart from others that are marketed to Christians. The filmmaker was not afraid to skewer evangelical subculture, which should not surprise those familiar with Steve Taylor, who frequently employed satire in his music. If the movie exaggerates, it is only to show just how wacky and hypocritical church life can be.

This is not a “come to Jesus” movie. There are no altar calls. This has little in common with Billy Graham films or Sherwood Pictures, the makers of Facing the Giants, Fireproof and Courageous. As good as those films may be, to use the words of Paul Metzger in praise of the book, the movie Blue Like Jazz is “honest, passionate, raw … real.”

That is not to say that the other films are not. It just seems an apt description of a movie that has an indie/art-house feel, whereas the other films are more standard fare. “Christian” films typically take fewer risks and are not as creative. They appeal primarily to Christian audiences. Skeptics, seekers and unbelievers may be more at home with the content of Jazz than Christians, who may have their sensibilities offended by the debauchery depicted, which is mild by the world’s standards, and the language used.

By the way, if some Christians are put-off by the trailer, they might consider that trailers can be misleading. Scenes ripped from their context can communicate a different meaning than what is in the film. Suffice it to say that one quip from the trailer can be unsettling until one hears the complete thought.

Perhaps we Christians need to further educate ourselves in how we evaluate movies. A movie like this requires patience. There is no quick resolve with jazz.

Author Donald Miller uses the film to briefly show viewers the elements of story. It provides clues as to where we are in the movie. This might sound rather wooden but leave it to Miller and Taylor to be wildly creative. Don’t be surprised if one moment you see a bit of animation and the next you are watching someone floating untethered in space. The latter is an apt metaphor for a young, sheltered Don losing his way in an anything goes environment.

It’s not just cloned Christians that are exposed and get lost before the camera. Political correctness run amok is also a target. The left can be just as predictable and stereotypical as the right. Neither is a good scenario if the kind of jazz you hope to create is marked by creativity and authenticity.

The characters are well-cast and likeable, even if, sadly, many Christians might shy away from their counterparts in real life. Early on at liberal Reed College Don befriends a fellow-student, who is a lesbian. They support each other through difficult moments. Penny, Don’s romantic interest, is introduced as somewhat of a radical protester, but as it turns out with many of these characters, there is more depth than is first apparent. Penny somewhat hides a significant part of her life until later in the story.

The intriguing DVD cover image comes from the scene where Don learns from Penny that Portlanders do not use umbrellas. I enjoyed the interactions between Penny and Don, and true to the jazz metaphor, there is no easy resolve, but both deepen as they improvise.

The story, of course, is based on Miller’s life. I am not sure how much is factual. The book is a series of essays rather than a biography. Miller and Taylor had the challenge of making it into a compelling narrative, and for the most part, they succeed.

Miller makes a cameo as an author speaking in a corporate bookstore that becomes the target of a protest.

Danny Seim of Menomena produced the soundtrack. He met Taylor in a record shop. The music also includes snatches of “All I Ever Get for Christmas is Blue” by Over the Rhine and “I Hurt Too” by Katie Herzig. And what would this movie be without some music from jazz-great, John Coltrane? I like the scenes where Coltrane records are in view and where a needle is gently placed on spinning vinyl.

One could point to examples in the past, but here is a modern day film made by Christians for the irreligious. Believers can appreciate it too if they can get past the irreverence. There may not be any resolution in jazz, but this movie earns its satisfying conclusion: the beginnings of a genuine faith, something that anyone can relate to.