Making a Case for Christian Rock

Dear Editor:

This letter is in regards to Pastor Nelson's sermon during second service on Oct. 4, when he shouted, "Christian rock music is an oxymoron!" He supported his point by stating that scientific research shows that a certain kind of drumbeat and guitar sound stimulated human sexual senses and in some cases, violent thoughts. He also said that rock music was originally intended by the devil to draw people closer to a secular world and away from God. Furthermore, he stated that Christian camp songs (i.e. "Side by Side" and "I Love You Lord") are acceptable since they are more Christian-like tunes and do not carry a so-called psychedelic drum beat and a guitar sound.

According to him, an appropriate way to praise God is through a choir, traditional hymns and Christian camp songs, rather than by contemporary Christian rock music. My biggest question is this... what is written in the Bible about music? How did the Israelites worship God? I have summarized these two questions in three main parts.

1) Israelites praised God with a "shout." Psalm 66:1: "Make a joyful shout to God, all the earth." Isaiah 12:6: "Cry out and shout, o inhabitant of Zion..." These verses are just a few examples among many others, but in any case, the Israelites seemed to enjoy shouting to worship God.

2) Israelites worshiped God by clapping and raising their hands. Psalm 47:1: "Oh clap your hands all peoples! Shout to God with the voice of triumph." Psalm 134:2: "Lift up your hands in the sanctuary and bless the Lord." When was the last time someone told you to lift your hands up in the sanctuary? Again, verses listed above are just a few examples of many other similar texts in the Bible.

3) Israelites used a number of instruments to praise God. Psalm 150: "Praise him with the sound of the trumpet, praise him with flute and harps. Praise him with the timbrel and dance. Praise him with strings instruments and flutes! Praise him with loud cymbals! Let everything that has breath praise the Lord, praise the Lord!"

There are endless quotes about how noisy these people were when they worshipped God with clapping and dancing. So what happened to the churches today? Why did we change the style of worship from shouting and dancing with cymbals in our hands to listening to a pipe organ? As we all know, the Roman Catholic church took a great place in the history of Christianity. They changed the focal point of worship from "Shout, dance and sing praises to the Lord with anything that makes noise" as described in the Old Testament to, "Hush! You must quietly be seated" style of worship.

"Why did we change the style of worship from shouting and dancing with cymbals in our hands to listening to a pipe organ?"

Unfortunately, this tradition is still carried on to this day even in the Adventist churches who are supposed to be pioneers in following the biblical teaching. Because of this influence by the Catholic church, Christians followed the tradition as described before for too long of a time. Satan took advantage of this situation and turned the original intention of so-called "loud" instruments to make his music. I honestly believe that since we live in the last days, it's about time to break this tradition and worship God as it was originally intended and written in the Bible.

I'd also like to challenge Pastor D. Nelson's statement that Christian Rock music portrays a "pop God" rather than a "majestic God" seen through "majestic music" (choral, orchestral music, camp songs, etc.). He stated that Christian camp songs are acceptable in the church as mentioned earlier. However, when I had a conversation with him after the sermon, to my amazement, he did not know about the origin of some of the Christian camp songs. For example, songs like "Side by Side," "I Love you, Lord" were originally pub songs written by non-Christian artists and performed with, of course, non-Christian lyrics. I highly suspect that when these songs were played in the pubs, people considered them as pop songs and by no means will they fit the portrayal of a "Majestic God."

The crucial point is not the song itself, but the intention of the music. I've seen a number of people (including myself) emotionally moved by singing "Side by Side" forming a circle around a camp fire. But I did not feel the same effect when I heard the original version with non-Christian lyrics (exact same tune) played for some commercial program in Japan. Webster Dictionary defines "rock music" as popular music played on electric instruments characterized by a strong beat and much repetition. It seems that the only thing Israelites did not have is the electical outlet to plug their instruments. Rock music by definition only refers to a music created by using such instruments. Presently, Satan has pretty much controlled these instruments under his hands. However, if you really study the Bible, these very same instruments were intended to praise God. If the modern version of a chariot is a car, could guitars and drums be what used to be the harps and the cymbals? Of course, there are some Christian rock bands that I don't like and sometimes I think they might be a little bit off-the-wall. But just like there are some bad people in the churches, there will be some bad Christian rock bands as well.

I wish Pastor D. Nelson would have addressed the issue by saying "there are some aspects of some bands in Christian rock music that I disagree with..." instead of generalizing "christian rock music is an oxymoron." I once heard a saying "Conservative people are going to have a hard time adjusting in heaven since there are going to be all kinds of loud music in heaven!"

I am not saying that everybody should listen to Christian rock music, but I believe that it has its place somewhere in a Christian ministry. Maybe for some people, overhearing Christian rock music from a distance may be the only way to ever hear about Jesus. It is my genuine prayer that we as Adventists try to be more sensitive and perhaps reevaluate the issue in-depth rather than just turning our ears against it.

Yoshi Abe

sophomore music/religion

url: Student Movement Archives

October 8, 1997

Is Christian Rock an Oxymoron?

by Matt Lee

Music is an issue very close to most people's hearts. I know that it is dear to me. It is an issue that Pastor Dwight raised this past Sabbath, and it's one that I feel needs to be addressed. A fair warning: I am very liberal as far as my music goes, but I will proceed with a guarded tongue because this is a very sensitive issue and one needy of discussion, not argumentation.

To summarize how I understood Pastor Dwight's view: anything with drums or a strong beat is of the devil, and rock & roll is just about sex and drugs. As he put it: "Christian rock is an oxymoron".

God is a big God. He is the creator of all things. He is the supreme musician. Even though Lucifer was the head of the heavenly choir, nothing he did was on his own strength. Satan can only pervert the things that God has created. God blessed us with rhythm and beat; these weren't Satan's creations. Has he used them? Of course, but he has also used preaching and writing. I don't see anything as inherently evil, because in my picture of God it all flows from Him. I go so far as to say that God gave Marilyn Manson his musical ability, however Satan has greatly, greatly, let me say it again, greatly perverted it. No beat, harmony or melody can be singled out as being "evil", but the lyrical content and the intentions of the song can.

The issue of beat is really insignificant in comparison to the issue of purpose. Christian rock can exist. It is just music, newer music, aimed to glorify God. What is the goal of Christian rock? I can't make generalizations. There are bands that definitely don't care at all about Christ and just want to put out an album, and there are bands who are passionately in love with Jesus and are doing all they can to spread the good news. In this case one rotten apple doesn't spoil the whole bushel, and one good apple doesn't mean the whole bushel should be sent to market either. There is Christian rock, and it does glorify God. My closest experience with God, where I could almost feel his very heart beat was at a Christian rock concert. Everything the band did was for God's glory, I could see nothing but the fire of Christ in their eyes. It was a powerful outreach to me and I know it touched those around me. They put on a relevant, original, sincere performance that is reaching a generation for Christ.

Music is very, very, very personal. Many people would have been disgusted had they been at that concert because it wouldn't fit their picture of Christianity, but for me it was exactly what I needed. Hymns meet the needs of many church goers, but I can barely stay awake through the third or fourth verse. Condemning a type of music is about as possible as condemning a race of people. There is something out there for everyone. What God uses to reach me, God won't necessarily use to reach you.

How can we limit God? How can we say that He only works through a certain style of music. Our God is a big God, with room enough even for ska (the much modified predecessor of regae) fans like me. He can and does work through everything. We must exercise caution in what we listen to and be aware of why we are listening. There is Christ-centered rock out there; original, inspired rock too, not just the standard cliché words and tunes. This music is reaching a generation for Christ and is bearing the fruit of many souls. Souls that might otherwise be left to Satan.

Matt Lee, a freshmen theology major and editor of Crosstalk.

url: Student Movement Archives

October 15, 1997

Christian Rock in Worship?

by Lilianne Doukhan

When Student Movement features editor Tyson Thorne contacted me to write an article on the appropriateness of Christian rock in the church, I hesitated a long time before accepting that challenge. Not only because the topic is so controversial and sensitive, but also because the definition of Christian rock is rather ambiguous, and means so many different things to different people. Musically speaking, rock in general includes a great variety of musical styles; it is actually easier to define it in regards to a common spirit and environment, sociological and political, than it is in regards to its musical features.

Since the debate started within the context of the issue of worship, I choose to limit my discussion specifically within that context. From my experience in teaching church music and chairing both worship commissions at PMC, I understand that the real issue is not Christian rock in general, but Christian rock within the worship service. Is it appropriate to use Christian rock in a worship context? If yes, what type of rock? What are some of the issues that come up in the use of Christian rock in church that we need to consider or to reconsider? I would like to interject a few questions, such as appropriateness, intelligibility, and association, and encourage especially those involved in the Christian rock scene, to think about them objectively and sincerely, and to try to find honest answers in relation to a given circumstance.

I have read the various reactions to pastor Dwight Nelson's sermon in the Student Movement, and I was touched by the sincerity with which those writers defend Christian rock. Indeed, the positive role of Christian rock in the spiritual experience of many young people cannot be denied. However, it appears to me that we need to distinguish between the use of Christian rock for private enjoyment or as a witnessing tool, and as a means for congregational worship. We all agree that the music we listen to during weekdays and the one we use to worship God should reflect similar values; yet, there are different styles for different occasions. The same was true already in Old Israel. If we read the Scriptures carefully, we find that the loud celebrations with shouting, drums, and dancing consistently take place in out-of-doors celebrations such as processions (1 Chro 15) or national festivals, which were of course all of a religious nature, but still had a strongly popular character to them. On the other hand, the temple services featured specifically prescribed instruments and liturgies (see 1 Chro 25:6; 2 Chro 5:12-14; 7:1-3; Neh 12:27). And the latter ceremonies never implied shouting, clapping, and dancing; instead, the people fall on their faces in awe. The Scriptures indeed show that the style of music changes with the occasion.

"There is a place for the old and the new, for the traditional and contemporary."

The difficulties with Christian rock arise from a discrepancy between the nature of true biblical worship, and certain elements inherent in Christian rock style. Christian rock is generally understood as a means of praise to God. With its upbeat character, its level of energy and stimulating, sometimes electrifying effects, it lends itself well to create an atmosphere of celebration and to express praises to God "with loud voice" accompanied with bodily movement. Performers and participants alike tell of their joy, and at the same time experience an enjoyable moment. The experience is primarily emotional.

However, worship means more than just giving praise. It is giving praise to God. Praising God implies the acute awareness of a God who is characterized by grandeur and holiness. This is not a popular view of God nowadays, but it happens to be the biblical one. An authentic encounter with God will depend on our consciousness of our finiteness and sinfulness, which in turn leads to repentance and confession, gratitude, change, obedience and service. These different steps of our spiritual experience are accompanied by various moods which range from contrition to dependency, from meditation and listening to God, to thankfulness and praise. We cannot praise God for salvation without previously passing through the other stages. So the question remains: is Christian rock, beyond its stimulating and energizing action, able to foster these various worship moods and to sustain genuine spiritual growth? Regardless which one among the many Christian rock styles is considered for use in worship, one constantly needs to consider and re-evaluate all its elements as for their appropriateness to the occasion. This requires a critical eye on the meaningfulness of words and music, the style of playing and singing, the appearance and attitude of the performers, etc. Such an examination will require a filtering out of elements which would distract from the desired purpose or send mixed messages. The latter also include a number of features inherent in secular rock styles that are show-oriented and geared towards the spectacular. There is a risk that these characteristics be imported into the worship scene. On the other hand, some other features of the Christian rock style are worth being exploited, such as the freshness of melody, the dynamic flexibility of the language and the words, all these producing new musical idioms.

Another difficult issue to consider with regards to Christian rock is that of the intelligibility of the words which represents the intellectual aspect of our faith. Due to the predominance of the musical element on the level of activity (dense texture) or intensity (amplification), or due to a particular style of singing or distortion of instrumental parts, the words are often barely audible. If we want to advocate the holistic character of the worship experience, both emotions and intellect need to be involved. Remains the issue of associations. We do not worship as individuals but as a whole congregation, a body of believers; we need, therefore, to consider the worship experience of our fellow worshiper. For people who witnessed the beginnings and developments of rock music with its different sociological, political, and moral implications, or individuals who had immersed themselves for a certain time in the rock scene and its accompanying manifestations, the reminiscences are still so powerful that it is almost impossible for them to associate a given style of rock with a worship experience.

The message of Christian rock may become ambiguous not only for the above-mentioned individuals, but also for the younger generation, because it contains features of a secular style which advocates and actually reflects the rejection of traditional moral and sociological values. It is interesting to notice indeed that both rock and the Gospel advocate counter-cultural values. There is, however, an essential difference: while the rock community advocates rebellion against the traditional values of the Christian society, the Gospel endeavors to re-establish traditionally cherished values of the Christian society through obedience to the word of God. This ideal does not imply a frozen and static style of worship. From the outset of the Christian church and throughout its history, religious musicians often brought change in the worship services. These changes did not occur without resistance as they strived to introduce popular melodies in order to assure active participation from the congregations.1 Ultimately, new songs were adopted following the classic process from rejection, to tolerance, and finally acceptance. Thus, e.g., many of the hymns in the official SDA hymnal, especially the gospel hymns, originated in the popular tunes of the day. The adoption process, however, did not take place in an inconsiderate manner. Most of the reformers (Luther, Wesley, etc.) worked closely together with professional musicians who adapted and transformed these popular songs to the new context. Besides, the introduction of new elements did not mean the abandonment of the old ones. These reformers understood the value of considering their roots, and the urge to create new works went along with the necessity to provide continuity with their forefathers. There is a place for the old and the new, for the traditional and contemporary. Through the history of the music in the Christian church, styles of worship changed from one generation to another, according to the variations of cultural environments. This was also true of the SDA church who, in its beginnings, featured lively services. But under the influence of new cultural circumstances, and in reaction to abuses which resulted from these "charismatic" manifestations, the SDA church as well as other denominations moved away from this type of worship.

Where are we headed today in our churches? I believe we are in a time of transition, a time of intense activity in renewing musical styles of worship, as well as in renewing our hymns and our style of singing them. As usual, time will sort out the chaff from the good grain, and only the best will be remembered. It is, then, the responsibility of song writers and performers to contribute to this "best part" through increased skill and professional training--as it is done on the secular scene. Our church needs new talents in poetry, composition, and performance, individuals who join to their technical skills a true understanding of the nature and scope of worship, and of their own role and responsibility to provide spiritual growth.2 The professional musician should play an active role in this process and participate with the young artist in the new production; this cooperation will certainly enrich both efforts as it will provide the qualities of technical skills and experience along with the values of creativity and relevancy. This experience has already taken place here at PMC where both the professional and the young work hand in hand in providing a service that blends the contemporary with the traditional. I personally believe that there is room for change in the future of the SDA church, and to a certain extent Christian rock may play its role in it. But I also believe that this will only happen if those participating in it will do it thoughtfully and responsibly, considering all the issues thereby implied.

1 I have dealt with this topic, as well as with the question of the introduction of modern instruments into the church, more in detail in the article "Historical Perspectives on Change in Worship Music," Ministry, September 1996, pp. 7-9, 28.

2 To those who take an interest in Christian rock--in favor or against it--I recommend the excellent discussion of the topic by John M. Frame, Contemporary Worship Music: A Biblical Defense (P&R Publishing, Sept 1997). The book will be available at the Andrews Bookstore.

Lilianne Doukhan is associate professor of Music at Andrews University. She holds a Ph.D. in musicology and occupies the Oliver S. Beltz Chair of Church Music. She teaches various Music History classes at the music department, the worship and church music class at the seminary, and chairs the worship commissions at Pioneer Memorial Church.

url: Student Movement Archives

October 15, 1997

The Controversy Over "The Controversial Angel"

Feature Article Response by Dwight K. Nelson

I've been asked by the Student Movement to respond to some of the responses to my most recent sermon at Pioneer Memorial Church, "The Controversial Angel (and the Repentance of Billy Joel)." Perhaps the angel turned out to be more controversial than anyone first imagined!

But then controversy has always dogged the heels of any discussion of rock music, hasn't it? And inserting the adjective "Christian" before the words "rock music" has hardly quieted the debate!

In that context who could be surprised that the conviction I expressed in this sermon--"Christian rock is an oxymoron"--should end up being so hotly discussed and debated in some circles? Though frankly, I am grateful for the intellectual energy with which the subject is now being examined.

But irrespective of our personal convictions on the subject (and I've been asked to reiterate mine in this column), there is a pivotal truth we shared that Sabbath that bears repeating: Personal conviction must never become the basis for judging someone else. We must not judge each other. Not in regards to Christian rock. Not in regards to anything. The spirit of Jesus' life and teaching forbids all such judgment. Period.

Are there Christians then who have come to Christ through a Christian rock concert? Yes. Are there Christian musicians who sense their fulfillment of God's calling to ministry through their compositions of Christian rock? Certainly. Then God uses Christian rock to save some people? If the answer to the first two questions is Yes, a third Yes is certainly mandated as well. But beware of the "God uses it, so that makes it right" kind of logic. Just because God uses something or someone does not make it normative for the rest of us. God used Balaam's donkey to save a life, which is hardly a veneration of donkeys for later communities of faith. And Paul himself observed, "It is true that some preach Christ out of envy and rivalry...[They] preach Christ out of selfish ambition...But what does it matter? The important thing is that in every way, whether from false motives or true, Christ is preached. And because of this I rejoice" (Philippians 1:15-18 NIV). Which hardly sanctifies envy, rivalry and selfish ambition as a means of salvation, even though God was able to use the very avenues the Scriptures warn against (see Galatians 5:20,21).

I repeat the key point: Debating the use of Christian rock in Christian worship must never become a forum for judging the spirituality or character of Christian musicians or Christian worshipers (or anyone, for that matter).

So why did I share my conviction, "Christian rock is an oxymoron?" Because in our fall Sabbath journey toward a new (or "re"newed) vision of God's majesty and glory and holiness, we cannot sidestep the issue of how a contemporary community of faith should worship this majestic and sovereign Lord. And so for three Sabbaths in a row, I shared the story of a woman who approached me this summer with the observation: "Pop music portrays a pop God. Sentimental music portrays a sentimental God. And majestic music portrays a majestic God." She obviously could have gone on to state, "Relational music portrays a relational God. Warm music portrays a warm God. Etc."

"Why worship the Redeemer through the methods of the Enslaver?"

But her line about majestic music portraying a majestic God became the catalyst for my own personal reflections this past summer. Have I lost a sense of God's majesty and glory? Have we as a contemporary community lost our sense of awe and wonder and reverence for God's sovereignty and holiness? In our earnest efforts to focus on God's "up-close-and-nearness" (what theologians call His immanence), have we forgotten about His "high-and-lofty-exaltedness" (His transcendence)? In pursuit of the answers to those questions, we've begun our fall pulpit journey, "Mine Eyes Have Seen the Glory."

And in that context the issue of music in worship is inevitable. For, what kind of music best captures and expresses our reverence and awe and loving gratitude for this God who is "bigger" than the universe yet longs to live within our hearts? How can a contemporary community of faith best express itself corporately and musically in worship before this awesome and glorious God we call Father and Friend?

The children of Israel were faced with that same decision. And when Moses remained too long up on the mountaintop with God, they turned to Aaron and begged him to let them embrace the worship methods of Egypt and "transform" those methods into a "new" worship expression to the God who had delivered them from bondage. And you know the rest of the story--how they rose up and sang and danced before the golden calf in imitation of the worship style of their Egyptian taskmasters, how Moses heard the commotion of their revelry in worship and hurried back down the mountain, and how he threw God's freshly engraved tablets of the Decalogue onto the valley floor. We've grown up with that story.

My question on Sabbath was simply, Is there a lesson for us today in that ancient tale? A moral that could inform our own quest to lead a new generation to God? Can we learn from their misguided efforts to worship God, when they mimicked the worship methods of the very enemy who had held them in bondage for so long? Why worship the Redeemer through the methods of the Enslaver?

You don't have to be a rocket scientist or a musician to know that the medium of rock music, both past and present, is heavily identified in secular circles with the drug and sexual and occult countercultures of America and the West. Anybody who's watched MTV for an extended period is quick to recognize the latent themes of death, suicide, violence and promiscuity. Nobody's saying that everything on MTV or everything in the venue of rock music is riddled with these themes. But if it could be shown that even 10 percent of the medium or the venue were contaminated, why would we choose to "baptize" the medium into an agent of salvation for Christ or worship before God?

Because, you might respond, we've got to reach this generation by giving them what they're familiar with and used to. And I certainly agree with the premise that the Good News of Jesus needs to be communicated in the language of the culture or generation we're seeking to win to Him. But who says that rock 'n roll is the only musical language this generation understands or accepts? Who says we are beholden to communicate the glory and majesty and holiness and love and mercy and forgiveness of God through the pounding rhythms and pulsating decibels of rock music? If God is calling an entire generation out of the enemy's bondage in the subcultures of drug addiction and sexual promiscuity and occult dabbling, then why would we seek to embrace the musical genre or style of that counterculture in order to point them to the One who can free them from its bondage?

Most troubling of all, wouldn't it be sobering to discover that in fact the very framework of rock music we had been using to surround the truths of Calvary and salvation and the character of God, that very framework in fact effectively neutralizes the portrait it surrounds? "Fear God and give glory to Him, for the hour of His judgment is come" is not a message about panicking before God, but an earnest contemporary appeal to discover in reverential awe the glorious truth of God's liberating power and triumph through the cross over every entrapment and enslavement of the devil. It is the very good news that the victory of Jesus is for this generation! "Come out of her, My people." That cry once called the children of Israel out of the land of their bondage. Is it not also the passionate cry of God to a generation of young adults living at the edge of eternity?

Dwight K. Nelson is the senior pastor at Pioneer Memorial Church.

url: Student Movement Archives

October 15, 1997

Christian Rock at Andrews? Three Campus Bands Share Their Perspectives

by Tyson Thorne

Big Face Grace

Members:

Tim Gillespie: vocals, guitar, gourd

Roy Ice: percussion, vocals

Michael Knecht: guitar, dulcimers

Big Face Grace (BFG) is probably the best known Christian rock band on campus, in part from all the posters advertising their October 25 concert and album release, and because they've been around the longest.

BFG front man Tim Gillespie says the band is in a great position to witness because they have access to many people. They're able to talk about God at their concerts, and their albums include study guides to help bring people closer to God.

"We see our music as evangelism," Gillespie says.

The band describes itself as Christian rock, but hesitates to make comparisons with other secular or Christian bands.

"Some people have said (our music) sounds like Rage Against The Machine, but then the next song might be a praise song," Gillespie said, "I don't know, I like it."

Gillespie is concerned with the criticism Christian rock has taken, and says he thinks there's a place for their music in the church.

"Sometimes I feel like we're fighting the wrong battles. We end up talking about the two-four beat instead of the people that we can reach through this music," Gillespie said.

He says that most of the younger generation has grown up with rock music, and that's what they relate to. "I think if the music is done with integrity... it's valid," he says.

Look for BFG in concert October 25 at the Berrien Springs Middle School. Doors open at 7 p.m. They will also release their second album, a self-titled five-song e.p. at the concert.

Journey II Jesus

Members:

Yoshi Abe: vocals, guitar

Ken Reinhart: bass

Scott Orsburn: guitar

Kevin Bhookun: keyboard

Bogdan Kovachev: drums

Charity Glass: violin

Romil Daquila:

Journey II Jesus is a seven-piece band led by music and religion major Yoshi Abe.

Abe writes the bands tunes which, for the most part, focus on verses and stories in the Bible. "We are very far from grunge," says Abe, who describes the band's music as being somewhere between pop and rock.

Journey II Jesus has had several concerts in the area, including a slot in the Grand Rapids music festival, and they have recorded a demo. Abe describes his experience with secular rock music as being somewhat negative. However, his opinion is that Christian rock can be an excellent witnessing tool.

Abe said "There's just not enough research to say that Christian rock is misleading."

He says that when the devil feels threatened, he always works harder to destroy it. In this case, "it" is Christian rock. According to Abe, "it" is here to stay.

Neusyte

Members:

Erica Nelson: violin, vocals

Bogdan Kovachev: vocals, rythmn guitar

Hans Figueroa: bass

Jason Boger: drums

Jason Hutchinson: lead guitar

Band member Bogdan Kovachev describes how Neusyte came together as something that "just happened."

While at Andrews Academy, Kovachev and some friends played together at the school's annual talent night. After that Kovachev says they just sort of stayed together.

"Maybe it was the Holy Spirit working through us," he said.

Whatever it was, it was meant to last because the band continues to play together, and has even recorded a demo CD.

Kovachev describes Neusyte as being like Jars Of Clay because they both use violins. In a broader sense, Kovachev describes his band as Christian alternative.

"What we do is totally from God," Kovachev says.

Neusyte's philosophy is to let God lead their music. So far they haven't charged for concerts and they say God has taken care of them. "We do it for God," said Kovachev .

Neusyte has found that Christian rock apparently does have a place in the church. They play for the "Blue Rock" Sabbath school each week at the Village Church, in the youth chapel, at 10:00 a.m.

url: Student Movement Archives