John Stancil: Scripture, Sex, Success

John Stancil--IBLP Board Member

A little history

Curtis Hutson was a mailman who started preaching revivals in his free time. When he was just 22, he preached at Forest Hills Baptist Church near Decatur, GA.  The story goes that by the end of the week the pastor had resigned and the church had called the kid mailman with no formal training to replace him. Inspired by a message by Jack Hyles, Hutson eventually quit his post office job to focus on evangelism full-time.

Hutson pastored Forest Hills for twenty years, bringing the membership to nearly 8,000. (His lack of education did not prevent Hutson from serving as president of Baptist University of America from 1974-1980!)
  
John Stancil was 14 when he "trusted Christ as his personal savior" and joined Hutson's church. Young John worked his way up from janitor to director of the bus ministry, which brought in over 2,000 attendees on a given Sunday. He also married Brenda Cannon, with whom he had three children. The couple wrote a booklet on bus ministry (Busing--the Real Bring) which was published by Sword of the Lord in 1975.

1n 1978, Dr. John Rice invited Curtis Hutson to come to Murfreesboro, TN, to help edit "Sword of the Lord". Hutson edited the publication from 1980 until his death in 1995. Hutson also tapped his friend John Stancil to join him in Murfreesboro. The Stancils moved to Tennessee where John worked as Sword of the Lord's conference director and circulation manager for several years.

Scandal

In 1988, John and Brenda Stancil divorced. Five months later, Jack Hyles himself officiated at John's marriage to Yullie (Yuok) Chong, a Korean student at Hyles-Anderson College.

According to one source:

Brenda said she later learned that "he had been seeing Miss Chong in Indiana for quite a while before his divorce became final and that he had spent Christmas of 1987 with her and her family after telling our children he would be home alone. She was in Murfreesboro on at least four occasions . . . ." All this was while the Stancils were still married.

One of those visits calls attention to an even more unfortunate and unsavory matter. Since college regulations called for Miss Chong to stay with someone else while at Murfreesboro, arrangements were made for her to visit in the home of Mrs. Doris Roberts, a Sword employee of long standing and Stancil's secretary, business manager and close confidant. Conveniently, the latter was given a plane ticket to visit her son in Florida at that time, leaving Miss Chong without proper chaperone.

A lady who went to the house to meet her and get acquainted relates, "When I got to the door, I found she and John there alone making love on the sofa." (She defined "making love" as "lying fully prostrate, clothing in disarray, with movement, stroking, kissing, and bodies touching"; she said she could not "say for certain if sexual intercourse was occurring or had occurred," a matter that seems immaterial when considering the fact Stancil was still married to another woman.) The lady watched for a while, then left and went to a friend's house nearby and asked her to return as a witness, finding "the two were still on the sofa." The lady placed her business card on the window of Stancil's Mercedes-Benz and left.

The affair made waves in the wider Independent Fundamental Baptist community. John Stancil's career as a Baptist conference speaker was over.

Buses and Music

Months after their wedding, John and Yullie Stancil took stock of their their marketable skills. 
Buses. Religious publishing and marketing. Music. 

They bought their own bus and began conducting charters for schools and churches around Murfreesboro. They called their new company Anchor Trailways & Tours. By 1995, their fleet had grown to about ten buses and they were ready for the big-time. They moved their company to the Nashville area where it has grown to a fleet of more than sixty vehicles. 

Stancil is reported to have “a doctorate in transportation” and calls himself a “stickler for detail.”  Fort Campbell in Kentucky, home of the 101st Airborne Division, is Anchor Trailway’s largest account.

On the side, John Stancil also runs his own IFB publishing/evangelism company--Anchor Bible Concepts. ABC sells King James Bibles (including the Scofield Bible) and soprano Yullie Stancil's three musical recordings.  One of these albums was produced by IBLP's offshoot Principle Music in Indianapolis, with orchestration composed by Loren Elms and Tracy Ann (Collins) Biddle. The album was released in 2002. According to the IBLP website, Yullie Stancil "has a beautiful singing voice and uses it to promote Godly music." John Stancil currently serves on Bill Gothard's Board of Directors at IBLP. 

Another of Yullie's albums was produced by The Crown College of the Bible in Powell, Tennesee. John Stancil is also chairman of the board of Crown College, which was founded by Temple Baptist Church's pastor Clarence Sexton.  Sexton, a speaker at Bob Jones University's Bible conference last year, has been criticized for praising Jack Schaap, who is now serving prison time for having sex with a minor.

On a happier note

John's ex-wife Brenda Cannon Stancil became a reporter for The Examiner in Beaumont, TX. As an award-winning journalist, she writes with compassion and grace. She has championed single parents, battered women, those treated unfairly by the justice system, and others--offering them hope. After years raising her three children alone, Brenda married Ted Henley in a shipboard ceremony.

Just for fun

I am personally amused by this photo of John Stancil donating a $10,000 check and bus services to a country music charity concert.  Apparently Anchor Trailways has a close relationship with the Nashville music scene, frequently shuttling artists to shows in Muscle Shoals, AL. This despite the strong stance taken by IBLP and Stancil's conservative church against music with a backbeat!

Circling the Christianity Buffet, Part 3

In Which I Learn I am Not a Baptist

Now we were Baptists, or nearly so. Some of the men in suits were my Dad’s clients, successful businessmen in the petroleum industry. One man managed our grocery store, another the Christian radio station. Another dad sold computers at the local store. A retired public school teacher led the congregational singing, but many of the musicians we heard at church were professionals, some even affiliated with an internationally-renowned arts center.

I was mesmerized when a guest harpist performed one week. My heart melted when the pastor’s son accompanied his own voice at the piano on a visit home from college. The sound guys could have turned off the microphone when one of the deacons played a trumpet solo, but for the most part, Baptist music was crisply timed, properly rehearsed, and perfectly orchestrated. Only once did a soloist break down in the middle of her song and let the soundtrack run on without her.

The morning service, recorded and aired on a local radio station at night, ran on a fixed schedule. There was no open-floor "quiet time" and prayer was not spontaneous. The opening song was always cheerful, the closing song always introspective. Even altar calls were predictable, unless someone actually went forward and we had to sing another verse of the hymn. Personal testimonies and hymn requests were reserved for the evening service.

The Baptists were very sure about some things that we had previously left open. Jesus would return AFTER the Tribulation, and salvation was a permanent deal, unless you didn’t get the genuine article the first time. Baptism had to be by immersion, not for salvation, but as proof of salvation. They knew that God didn’t use "speaking in tongues" anymore, though they still prayed for healing for a long list of sick people on Wednesday nights. And their pastor had to write three sermons a week!

We finally left Bible Baptist because Bill Gothard had convinced my parents, who convinced me, that songs with a backbeat—even songs about Jesus—were tools of Satan. The elders were tolerant of our beliefs for a while, but they came to look with disfavor on a family of nine standing up and filing out of the sanctuary during the soloist’s "ministry of music" week after week, even if we returned to our pew for the sermon! It was a mutual break-up in the end, because the church introduced a "contemporary" early service, with a drum set up front, and my parents could not attend a church that resembled a rock concert.

So it was back to the church search, though we knew our options were very limited by now. Two other homeschooling dads in our town were followers of Bill Gothard (and members of his ATI program). One was the pastor at a Church of Christ, but their doctrine was suspect. The other attended a tiny IFB church close to our house. We started visiting there, and there was nothing offensive about the music if you didn’t care about quality, or the lyrics. The hymnal we used had been edited by John R. Rice, and the songs we sang were almost entirely of one genre (and almost entirely written between the years between 1850 and 1950). Here, there was an uncomfortable divide between the Gothardite homeschoolers (only two families now, but we made up more than half the minors in the church) and the rest of the congregation.

The pastor left shortly after we started attending, so we sat through repetitive interim preachers, guests, substitutes, and prospective young men interviewing for the position. In the end, the other ATI dad was "called" to the pastorate, which was convenient since his family was already living in the parsonage. He was a layman with his own audio-visual business, and it was odd thing all ‘round. My parents were not part of whatever voting process landed him the church, as they were waiting for the new pastor before they officially joined.

The new "pastor" ruled with a heavy hand. We didn’t know he was an abusive man at home—that would come out years later when two of his daughters escaped his house. We only knew he wore a somber suit and tried to make people feel guilty. We sat uncomfortably in those pews for two more years. All the normal people disappeared, leaving only the most rigid fundamentalists—and us. Since the former pianist had gone, I played the Gospel songs for the southern-style worship that emphasized sins, blood, and dying Lambs. Being a novice accompanist, I had some input on the song list, but the male leader had the final say, and his whims determined how many stanzas we sang. He typically announced, " e’ll sing the first, second, and the last!" I once told him I would hate to be a 3^rd verse in a Baptist church.

Much as we looked the part in our long, homemade dresses with our KJV Bibles, we weren't really fundamentalists. We were tolerant of dispensationalism, but not sold on it. We watched Billy Graham movies at home (sometimes skipping objectionable songs), we prayed with Presbyterians, we visited gloomy Lutheran Lenten services, we once attended Mass with our Catholic cousins, I read a New Testament paraphrase, and we didn’t think the evangelicals building the huge complex down the road were on the path to hell. Dad even read us a book about glossolalia—stories about people praying in tongues that were supposedly unknown to the speakers but recognized by others within earshot. Stories that directly contradicted the pastor’s sermon series on Acts.

At home, I dug out a songbook from the 70’s with familiar guitar tunes from the days of the Home Fellowship group and the Sunshine Inn. After Sunday dinner, I would play stormily, pounding out my frustration and wounded spirit in haunting minor chords. I sang "Our God Reigns", "God and Man at Table Are Sat Down", "You Are my Hiding Place", and eventually drifted to hymns like "Be Still, My Soul" and "Blessed Quietness".

One day the pastor and the one remaining elder asked my dad not to come back anymore. It was both a relief to me and a deep sadness. Other might talk of their "church home", but we were spiritual refugees again: too "Pentecostal" for the Baptists, too "plain" for the charismatics, and too "Baptist" for our Mennonite friends. Too full of emotion to know what to say, I wished I could pray in tongues.

Part 4: In Which I Return to the Beginning

Chapter 5: Cognitive Dissonance

Continued from Chapter 4: The Lord's Song in a Strange Land

I kept playing the piano for the itty-bitty Baptist church until the pastor (another ATI dad, who was abusive to his family though I didn't realize it then) kicked us out. Our doctrine allowed us some flexibility regarding denominations, but we weren't Mennonite and already knew no other local churches would meet our exacting musical standards.

We visited farther afield for months, finally settling on a small fellowship of families that met in a school library in a neighboring county. The pastor was also an ATI dad, but he was gentle and kind and helped heal our wounds of rejection. So many years before, I had roller skated to Michael W. Smith tracks with his daughter, and I had taken my birthday Walkman to their house.

Indianapolis Training Center

I often played the piano for Sunday morning services. I taught myself to sing harmony. Now in my twenties but still living under my father's authority, I traveled to IBLP's Indianapolis campus to take several courses in music. I even composed a few sacred songs of my own.

One Sunday a nice older man in our church group led the "worship". During "communion", he started quietly singing in the back of of the room with an accompaniment track he'd brought along. It was mellow by contemporary standards and should have created a peaceful mood, but I was highly sensitized. I started shaking and weeping. I went up to him and asked him to please turn off the tape. Seeing the state I was in, he was quick to oblige. A click of the tape player and the room went silent. Poor man wasn't even a Gothard follower; he just got broadsided. He must have been so confused.

* * * * * * * *

I went away to work for Gothard's organization: first in Oklahoma City, then in Indianapolis, and finally at the IBLP headquarters offices in Oak Brook, Illinois. Spunky, casual, curious, and tenacious, I wasn't Gothard's type. The aging stature-challenged bachelor with a penchant for bluegrass, who dyed what was left of his pompadour, had a decided preference for quiet willowy brunettes or blondes who looked good in blazers. Being neither, I only saw him at staff meals and staff meetings I couldn't avoid. (Oh, and I rode with his entourage on one road trip, during which I assured him I would never grow a beard.)

I thrived on the camaraderie at IBLP, especially at the more relaxed Oklahoma campus. I sang all the time, added to my personal hymnal collection, and joined the staff handbell choir. My new friends introduced me to all kinds of fun music--Broadway show tunes, Celtic folk melodies, Hollywood soundtracks, and even gentle jazz--but we dutifully skipped the tracks that were at all questionable, particularly when certain people might overhear.

I played the piano for fun, for staff meetings, and sometimes for a retirement home. Gothard's brother-in-law even took a group of us to Pacific Garden Mission, where I sang 19th-century Gospel hymns to the "lonely, empty, sin-twisted, neurotic" men on Chicago's Skid Row, just like the Unshackled broadcasts, or a scene lifted from In His Steps.

And then, on a warm night in June, Gothard called my parents to collect me and my things and take me home. I was gone by noon, with little explanation and few goodbyes.

After a few months of aimlessness, I finally applied for part-time office job in town. At the interview, I explained to the owner that the radio kept on low volume in the office area would be a problem. If they wanted to hire me, the radio would have to be kept off on the days I worked. A pious Catholic himself, he agreed.

* * * * * * * *

I drove my parents' truck to work. It was a 20-minute drive through familiar territory. With ten siblings at home, I wasn't used to being alone, especially in a vehicle. To keep myself company, or to drown out my thoughts, I sometimes listened to cassettes. Stopping at the Christian book store on an errand one day, I picked up an instrumental praise album that offered to connect the dots between the church songs I sang as child and the musical style I embraced as a teen. The sound was as shimmeringly beautiful as an Impressionist painting, but my antennae stood up when I detected, even through the background noise of the V-8 engine, the slightest backbeat. Oh, no!

That tape caused me so much consternation over the following weeks. I loved it, I was ashamed of it. It soothed me, I needed to be rid of it. I thought about throwing it away, but I didn't want my parents to know about it (thanks to my little brothers, there were no secrets in our garbage!). By now I was a 24-year-old woman and this was a decision I would make for myself.

I stuffed the tape in my purse and took it with me to work. Then I would stand indecisively in front of the trash can in the ladies' room, holding the cassette over the opening. To drop, or not to drop? The tape always made its way back into my purse, as if protected by otherworldly forces, its fate postponed until my next scheduled work day when I would repeat this bizarre bathroom behavior.

One morning I turned the radio on instead. I hadn't turned on a radio in ages, not since Mom coerced me into signing a paper that said I wouldn't. I was only familiar with two or three stations. Would it be secular public radio, or Christian WLJN? I was already breaking a promise, or disobeying an authority, or stepping out from under my umbrella of protection, no matter how you looked at it. I flipped on WLJN.

And caught my breath.

The song was familiar. It was the beautiful new one we'd recently learned at church. But it sounded so different with the rich orchestration, the drums keeping time, the soloist belting the lyrics out effortlessly. I shut it off. I would have to think about this. It was the horrible music that Gothard and David Noebel and Inge Cannon and Peter Peters all said was "music from hell", a weapon of Satan. He wanted nothing but to steal, kill, and destroy. If I allowed myself to "vibrate in sympathy" with this sound, I would be vulnerable to his attacks, no longer protected by my spiritual "umbrella". I might even have a car accident this morning!

I switched the song back on, to be sure, and then back off to ponder some more. Yes, it was the same song I had sung many times with a simple piano accompaniment, and yes, the original version had an unmistakable rock beat. Listening to it would violate all kinds of rules and commitments. On the other hand, the lyrics were praise to God. The artist could be described as a modern-day David. Could a fountain yield both salt water and fresh?

Determined to tease out the truth, I commenced an experiment. I would listen to WLJN, or even the adulterated praise album on my way to work. Only for a few minutes at first, as my anxieties would get the better of me. Then for longer periods, and nothing bad happened. I arrived just as safe and sound as when I conscientiously stayed under the umbrella of protection. I began to suspect that things were not quite as I had believed.


Read Chapter 6: Finding Harmony

The Power of Music

Came across an old piece today. Something I wrote nearly three years ago. Decided to stick it up here as a point of reference. Those who grew up in ATI may relate to bits of my experience.

January 8, 2010

Played the piano for the last hour. First time in a long time that I've sat down and played like that. Now I know why. Nearly dissolved into tears twice. The music took me back to some very emotional places, both good and bad...

Ironing Dad's shirts and listening to praise tapes, with the choral worship songs of the early 80's. (Praise Six, "Come and Sing Praises", Maranatha/Word Music) They are still a part of me now. The songs, not the shirts. 

Growing up attending Church of the Living God with its enthusiastic praise style. Then wondering what exactly rock music was and why it made it us leave that church. We used to sing "and blessed be the Rock" there to much clapping. Shortly before we left Living God, a lady taught us a peppy new Scripture song. "In Him we live, and move, and have our being". I suspected that was the offensive song, but I found Paul referring to it later in the book of Acts. 

The wonder and awe when the grand piano with the inlaid roses was delivered to the OKC Training Center, the stunningly beautiful answer to our prayers. Anything in tune would have suited, but it seemed God had just decided to spoil us. Spending many hours worshiping with my hymnal, entertaining myself, or accompanying old-fashioned hymnsings. The thrill when a man I admired told me I sang like an angel. Also, our frustration when the same man asked one talented youth not to play recent sacred compositions but to stick with the old styles. Aaron more than made up for that limitation.

Learning said "recent compositions" at Springdale Alliance Church on Sundays. "Blessed Be the Lord God Almighty". Looking forward to sermons for the first time in my life. Feeling my faith and understanding grow. Being blessed by Pastor Ken Nesselroade and others.

Graham Kendrick. His songs have been meaningful to me, but more so since I learned that he is British. Somehow singing about "this land" and "the nations" feels more catholic now.

Singing out hymns like we meant it on weekends in Indianapolis. The rich harmony, the grand pianists we had, the giggles over the more "daring" selections. "God of Concrete, God of Steel", anyone? "Wonderful Grace of Jesus", with enough men's voices to carry the parts. The feeling that we in our crisp white shirts were right, and important.

Precious solitary piano worship between classes at UND in Grand Forks. In the open-air meeting hall in Nasuli on Mindanao. Or on the "homemade" piano in my generous neighbors' house. Learning new songs and digging out old ones. 

Coming home from Bay Area Baptist "Church" full of outrage week after week. Digging out [Christian] music that would be offensive there and playing it in rebellion. Like a praise songbook from the 70's, or a recent Catholic music issue stolen for me by my aunt when we attended Mass with her. Figuring out how to play chords from music intended for guitar or cantor. Discovering Bernadette Farrell. Fiercely pounding out songs about dancing, fellowship, grace, or unity. The melancholy "God and Man at Table Are Sat Down" was particularly satisfying. 

Many of my favorite albums (both sacred and instrumental secular) disappearing from the family collection overnight. Some to be repurchased gradually a decade and more later when my parents' religious views of music altered yet again. Being asked to evaluate recordings of instrumental hymns with a critical search for a "backbeat". 

Hours spent at the piano when I was a single living with my parents. The anguish I would pour out on the keyboard many nighths as I asked God the hard questions. He never would explain himself, but He would soothe my soul so that I could sleep. The old Appalachian tunes in minor keys, looking forward to Heaven. Ron Hamilton's "Rejoice in the Lord", and "Not My Will, But Thine, Lord". I was ready to die for Jesus. It would have been easier, actually.

Many a weekend hour at the piano in the basement of Brook Manor. I sought out ancient songs during that period. Like the Shield of St. Patrick. I needed to feel that our faith was much deeper than what I could see. I enjoyed all the music around me, though. My horizons were expanding. "Because He Lives" still reminds me of Derek LoVerde leading staff meeting. Philip Raymond led our handbell choir. Phil Garvin played traditional "Gospel piano". Hinsdale Baptist introduced me to the very latest church songs. Life was hard on us, but at the same time it was too good to be true. And then it seemed like it had ended, and again I was back at my "own" piano.

Visiting my mom's friend when I was a kid and listening to her daughter play the piano. Hannah was close to my age and very talented. She played "Isn't He" and the beauty blew me away. I longed to be able to make sounds like that. Today I realized that I can.

Trying to sing hymns with my mom and siblings to tapes of Alfred B. Smith. Wow. That was rough. But a few of those tunes are favorites today. Some of the old hymns seemed shocking then, and still amaze me. Like Frederick Faber's "There's a Wideness in God's Mercy". Faber traded the Calvinism of his youth for the Roman Catholic Church, becoming a theologian and writing the (ana-)Baptist favorite, "Faith of our Fathers". I used to think "dungeon, fire and sword" was talking about things like the Inquisition, but apparently not. 

***********************
There’s a wideness in God’s mercy,
Like the wideness of the sea;
There’s a kindness in His justice,
Which is more than liberty.

There is no place where earth’s sorrows
Are more felt than up in Heaven;
There is no place where earth’s failings
Have such kindly judgment given.

There is welcome for the sinner,
And more graces for the good;
There is mercy with the Savior;
There is healing in His blood.

There is grace enough for thousands
Of new worlds as great as this;
There is room for fresh creations
In that upper home of bliss.

For the love of God is broader
Than the measure of our mind;
And the heart of the Eternal
Is most wonderfully kind.

. . . 

It is God: His love looks mighty,
But is mightier than it seems;
’Tis our Father: and His fondness
Goes far out beyond our dreams.

But we make His love too narrow
By false limits of our own;
And we magnify His strictness
With a zeal He will not own.

Was there ever kinder shepherd
Half so gentle, half so sweet,
As the Savior who would have us
Come and gather at His feet?

Strange to read this again. I rarely play the piano anymore. I've tossed half of my hymnal collection. I've found new favorite songs and musical styles. I don't "worship", though I still have intense emotional experiences while singing with my favorite vocalists in my car. Perhaps if I'd been taught a gentler Jesus from the beginning, I'd have more patience with religion now?