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Why Should the Devil Have All the Good Music, originally asked by Martin Luther, is still a headline-grabber over 25 years after pioneer Christian rocker Larry Norman used it as the title to his manifesto-song. First-time filmmakers Heather Whinna and Vickie Hunter use it to title a documentary on off-beat Christian rock music chiefly filmed by these "unsaved outsiders" between 2001 and 2003 at Cornerstone Festivals with fill-in at local Chicago venues and appearances by rock music scene experts  Steve Albini, Punk Planet Magazine editor Dan Slinker and The Chicago Tribune chief rock critic Greg Kot. Whinna and Hunter struck paydirt 260 miles southwest of Chicago when they arrived at the event that comprises the heart of the underground Christian music scene. Hundreds of bands and 25,000 or more fans were there to be caught in action on video with plenty of time in this week-long event for thoughtful dialogue.  

There there is concert footage of Pedro the Lion, the Danielson Family, Duvall, Demon Hunter, Living Sacrifice, Steve Taylor, Stryper, Five Iron Frenzy, Cool Hand Luke, Joy Electric, the Detholz!, Celestial Static and MxPx to accompany reasonably in-depth one-on-ones with each band's spokesperson. The OC Supertones, Larry Norman, Victoria Williams, Ballydowse, and The Blamed are among the other bands whose shows fill in the 90+ minutes as well as a handful of anonymous, well spoken fest-goers who are also given some screen time. It is ultimately a very spare piece tightly focused on individuals who help explore what gives this wide-ranging, largely out-of-the-public eye musical movement its identity. Whinna and Hunter ask a lot of the same questions anyone who follows this scene is led to: Is this stuff any good? Why isn't it more popular and well known? What motivates these musicians? Is this just propaganda? Why do evangelical Christians  have an agenda? How do they reconcile this one-way-to-God belief with other religions? What about crossing over to the mainstream? How do artists and audiences in similar styles with different messages, such as Christian metal vs. death metal, get along?

One topic that was skipped was the appearance of these artists--apparently, the filmmkers did not find such things as abundant tattoos, piercings, spikes, and tight leather remarkable. Should this documentary break through to a major audience, surely there is plenty in here to offend anyone with a rigid mindset. The line, "People have a problem with Christian bands because people have a problem with Christians," voiced by outspoken record producer Albini brought guffaws, snickers, and groans from members the second-screening audience. Reactions to shots of "Abortion is Homicide" sweatshirts depended upon the hearts of the beholders. David Bazan of Pedro the Lion's interview probably intentionally challenged a lot of behavioral expectations--three open beer bottles in the frame, heavy cigarette smoke blown almost intentionally across the view while Bazan's vocabulary boosts the film to an R-rating as he discusses his place in Christian music. 

As a long-time Cornerstone Festival booster, I judged the piece to be more than fair to its subjects without pandering or ridicule. They capture the music enshrined there from the silly to the sacred. The concepts depicted are tantalizing enough to overcome being shot in video on average equipment. People who dig underground documentaries will find a compelling, accessible world to explore. Perhaps the intelligent use of the materials (over 200 hours), excellent sound and a logical flow to a piece with no storyline or narrator are award winning. There is talk of touring the movie with some live bands and eventually offering copies for sale, but like all zero-marketing budget low-fi ventures, its audience will have to seek it out.

In the Q & A session, producers/directors Heather Whinna and Vickie Hunter commented on how surprisingly nice everyone they met was and what a pleasant experience the events were; no fighting, no throwing up, no ass-grabbing. They especially noted the generator stages unique to Cornerstone where campers set up gear and play, then walk away to see other shows confident that their gear will still be there when they return. There were no conversions among the filmmakers during the four years they worked on the project, but perhaps some stereotypes were dismantled. The project was undertaken because of friendships developed between community members of Jesus People USA, who produce Cornerstone, and  Whinna, Hunter and other members of their crew through this and other music-related projects.  Perhaps that same mutual respect, captured so well by "Devil," will draw others.

For more information, go to:
www.rightrightright.com
or http://www.newcitychicago.com/chicago/3628.html

Linda LaFianza  8/25/2004