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3 min read

The common sense driving local charity

Catherine Jupp and her friends give furniture to those who need it at no cost. Ryan Gilfeather explores what motivates them.

Ryan Gilfeather explores social issues through the lens of philosophy, theology, and history. He is a Research Associate at the Joseph Centre for Dignified Work.

A group of people stand in front of the side of a van marked 'Furniture Friends.
Catherine Jupp and her Furniture Friends.

It will come as little surprise to the UK public to hear that Christians are involved in charity. In times of great need, several high-profile Christian charities offer help. For example, after the devastating earthquake in Turkey and Syria last year, the UK’s Disaster Emergency Committee pooled the resources of 15 leading aid charities to provide relief. Of those charities, four explicitly identify as Christian: Tearfund, Christian Aid, CAFOD, and World Vision. Anyone following these efforts would easily grasp that Christians are involved in large-scale charitable activity that helps those in need.  

Outside of the public gaze, however, are ordinary Christians serving the marginalised in their local communities. Around the country, they are running warm banks, food banks, and other enterprises helping those unable to provide for themselves or their families. Despite how hidden these efforts are, they make an enormous difference to their local communities. The collective impact of all these different groups is vast.  

My colleague, Catherine Jupp is one of these faithful people. Catherine and I both serve our parish church in rural Hertfordshire, I as a priest and she as a lay minister. In her previous life, she taught in a secondary school in a challenging area. Now, alongside her ministry, she and her husband run a local charity called Furniture Friends.  

Their mission is simple: to give furniture to those who need it at no cost. Day to day, this involves volunteers who work with them driving around in a van, collecting beds, sofas and other items from people who have no more use for them. They take calls from a network of social workers around Hertfordshire, asking for particular things for certain people. And, they go and deliver furniture to these individuals and families in need.  

Catherine speaks of the challenging circumstances their clients live in: families living without any furniture. Furniture Friends makes a massive difference to these children who can now sleep on beds and families who can sit on a sofa. One recipient said to them,  

“Yesterday all I had was a mattress and a camping stove, today I have a bed and a beautiful chair. I feel like a queen, thank you so much.”  

A social worker praised their work with these words: 

“I just wanted to let you know what a difference you have made to our families. I visited my client today and for the first time in four years the children were dressed and clean, the house was tidy and organized. Your help and donations have given this family a new direction and a sense of pride in their home which has had a huge impact on the children and their wellbeing.”  

Over the past year, she has shared her concern about the huge increase in referrals as the cost of living crisis sunk its teeth in. From the outside, I see how they have responded to this increasing need. Working as hard as they can, they deliver a significant amount of furniture around the local area. Although they are one small charity, they have a significant impact.  

She also often talks about what drives her to this work. Catherine is theologically trained and taught ethics for years, so she could offer a theologically complex account of her motivation if she wished. However, she has no need to. She simply says that it is the most obvious thing in the world that she ought to do this work. “It’s just what you do,” she says. By this, she means, that it is the clear outworking of her Christian faith.  

I often hear this expression when speaking with Christians leading social justice enterprises and movements. When I dig a little deeper, they tend to say that growing up in Church, they regularly heard in sermons that serving those most in need comes hand in hand with loving God. Christians believe this because the Bible repeatedly expresses that God has a special concern for the poor and that we must too. When one hears this message week after week, year after year, it becomes common sense to us. Hence, when Catherine says she delivers furniture to those who most need it, because “It’s just what you do,” she means that for her, love for God and love for neighbour must always come together. It is for this reason that Catherine does this work, outside of the public gaze, which makes all the difference in the world to the many people she serves. 

 

Review
Culture
Music
Race
6 min read

Beyoncé’s breaking barriers

Cowboy Carter sees the star crack her whip in the temple of the music industry.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Side by side, two rodeo riders on horses trot toward the camera. One is Beyonce, the other a cowboy
Beyoncé at the Houston Rodeo.
Beyoncé.com

I sometimes wake up in a cold sweat with flashbacks of one terrible swimming lesson at school. I had accidentally forgotten to forget my kit, so was forced to face not only the freezing water, but the spouting of ignorant prejudice from my teacher.  

“Kandiah, you’re useless,” he said, as I heaved myself out of the pool at the end of the lesson. “Although I guess it’s not your fault you can’t float like the white children. Your bones are heavier. Look at the Olympics – you never see black and Asian swimmers, do you?” 

I opened and closed my mouth a few times, like the fish out of water I suppose I was, but inside I was seething.  

Being told I couldn’t do something made me all the more determined to do it. Back in I jumped.  

Last week, in another splash aimed at proving people wrong, Beyoncé’s magnificent album “Cowboy Carter” became the first album by a black woman to top the country charts. 

On her Instagram feed she said: “the criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me.” 

It was a brave move. Back in 2016, she had received heated and hate-filled reactions when she performed her song Daddy Issues at the 50th Country Music Association Awards with the country music group Chicks, formerly known as the Dixie Chicks. Many country music fans were outraged, calling it an act of cultural appropriation. One response on social media put it starkly: “SHE DOES NOT BELONG!!”.  

But as a Texan who had been brought up around country music, Beyoncé disagreed. She would spend the next five years planning her response. Cowboy Carter proves her country credentials beyond all doubt. It’s not only about the music. It also does three important things that show the world what can be done when faced with barriers of prejudice and ignorance. 

She honours the past

The album is clearly an act of tribute to trailblazing country artists before her. Beyoncé included notable guest appearances and feature tracks and took the unusual step of sending flowers to all who had inspired her.  

Beyoncé sent flowers to Mickey Guyton, the first black female artist to be nominated for a Grammy Award in the Country category. She also sent flowers to K. Michelle and featured Tanner Adell, Brittney Spencer and Reyna Roberts on the Cowboy Carter track Blackbird, a song that Paul McCartney wrote as a response to the case of the Little Rock Nine, a group of African-American schoolchildren initially barred from attending a previously racially segregated school in Arkansas. It took the direct intervention of then President Dwight Eisenhower in 1957 to make it possible for these children to attend their school. She also included guest appearances from country music royalty Dolly Parton and Linda Martell, who both introduce songs on the album. Dolly’s introduction to Beyoncé’s reworking of Jolene is particularly poignant: “Hey Queen B it’s Dolly P”.  

The song Jolene sticks faithfully to the guitar riff from the original, but the words and the tone of this song are completely different. Dolly’s original Jolene was begging another woman not to take her man from her. But Beyoncé will have none of that. She is full of threat and menace:

“I’m warnin’ you, don’t come for my man… don’t take the chance because you think you can.”  

As Beyoncé pays her dues to the greats that have gone before, she also offers a very different picture. She can recognise the past, and yet not be imprisoned by it. She can appreciate those who have laid the foundations for a new era, unbound by cruel stereotypes.  

She challenges the present 

We don’t have to look far to see the way that western society is splintering. It is becoming harder to find common ground, harder to move from one tribe to another.  Beyoncé’s album is political in that it is deliberately breaking down a wall and smashing a division. She refuses to accept that there are no-go areas for people of colour. The album feels like Beyoncé’s famous baseball bat from Lemonade, but this time it isn’t smashing cars, but preconceptions and prejudices instead. 

There’s anger in this record. The first song is “American Requiem” and includes the line:  

“They used to say I spoke ‘too country’./ And the reaction came,/ said I wasn’t country ’nough / If that ain’t country / I don’t know what is?” 

Full of confidence and rage she asks over a bed of country music guitar chords:  

“Can you hear me? / Can you stand me?”  

Beyoncé does not disguise the ironies. The fresh anger and challenge weaves into classic forms and tropes of country music. The artist that some wanted to exclude from the genre tops the charts. The pop icon becomes an iconoclast.  The smashing of divisions makes way for the building of something new.   

She opens a door for the future

It is within living memory of many that black people were prohibited from sitting at the front of a public bus or drinking from the same water fountain as white people. Beyoncé’s Cowboy Carter is not just a smash hit it is a smash down of the boundaries of genre that had excluded her and others. With this boundary smashed the opportunity is opened for others too.  

For example, there was a recent stand-out performance at the Grammy awards watched by millions around the world – the duet between the country star Luke Combs and Tracy Chapman. Luke, a young white man, is part of a new generation of country singers with a huge following. The legendary black artist Tracy Chapman recently turned 60. The joyful performance was particularly touching as the two of them looked genuinely delighted to be singing together. The video went viral and lead to a huge uplift in Chapman’s sales. The song Fast Car rocketed to the top of the charts some 36 years after it was first released.  
 
Cowboy Carter is Beyoncé using her voice and talent to push back against prejudice and push forward to a new era. She is cracking her whip in the temple of the music industry. She is driving out those who have commandeered the space that rightly belongs to those from any and all backgrounds.  She is righteously angry at the injustice. She is declaring that country music be reclaimed as a meeting place for all nations to enjoy.  

When Jesus unleashed the whip against the tables of the moneychangers in the temple who were excluding the non-Jews the space rightly belonged to, he fiercely declared: “My father’s house is to be a house of prayer for all the nations.” He was not only breaking the barriers of the past but ushering in a new future, a future where everyone could gather together before God on equal footing. Jesus would eventually die on a cross to ensure this free access to God was available to everyone - wherever they were from, whatever they had done and whatever they looked like.  

I welcome this album by Beyoncé in that spirit of challenging prejudices, breaking down barriers, and clearing the decks for a new future equally available to all.  

If only I could have whipped myself into shape, I believe I could have been the Cowboy Carter of the swimming world forty years ago.  

 

Beyoncé in her own words

“Ain’t got time to waste, I got art to make/ I got love to create on this holy night/ They won’t dim my light, all these years I fight.”  

16 Carriages 

“Say a prayer for what has been / We'll be the ones that purify our father's sins / American Requiem / Them old ideas (yeah) / Are buried here (yeah) / Amen (amen) 

 Amen