Christmas brought music, some of it new, some of it old. I'm digesting the Avett Brothers cd, I and Love and You. Thanks to my cousin Hugh and Craig Jenkins for the tip here. But with a bit of leftover iTunes money I went old. I bought the Trinity Sessions cd by the Cowboy Junkies, circa 1988. This purchase comes at a time where there are so many others on my want list. So, its selection is a pretty big deal.
Sunday, December 27, 2009
Cowboy Junkies on a Sunday
Christmas brought music, some of it new, some of it old. I'm digesting the Avett Brothers cd, I and Love and You. Thanks to my cousin Hugh and Craig Jenkins for the tip here. But with a bit of leftover iTunes money I went old. I bought the Trinity Sessions cd by the Cowboy Junkies, circa 1988. This purchase comes at a time where there are so many others on my want list. So, its selection is a pretty big deal.
Saturday, December 26, 2009
Top Ten CD's
Sunday, December 20, 2009
Dylan on a Sunday
The curse it is cast
The slow one now
Will later be fast
As the present now
Will later be past
The order is
Rapidly fadin'.
And the first one now
Will later be last
For the times they are a-changin'.
I see the burning of the stage,
Curtain risin' on a new age,
See the groom still waitin' at the altar.
Ring them bells, ye heathen
From the city that dreams,
Ring them bells from the sanctuaries
Cross the valleys and streams,
For they're deep and they're wide
And the world's on its side
And time is running backwards
And so is the bride.
This apocalyptic language is also present in his later music. One of my favorite Dylan songs is Summer Days which I'm convinced carries echoes from the book of Jeremiah. The song describes an age of opulence that cannot possibly be sustained. Their singing songs to the king as if summer will last forever. But this is a world coming to an end. The end/beginning is also found in songs like the Levee's Gonna Break and Thunder on the Mountain.
There's a ruckus in the alley and the sun will be here soon
Today's the day, gonna grab my trombone and blow
Well, there's hot stuff here and it's everywhere I go
Mean old twister bearing down on me
All the ladies of Washington scrambling to get out of town
Looks like something bad gonna happen, better roll your airplane down
I'll plant and I'll harvest what the earth brings forth
The hammer's on the table, the pitchfork's on the shelf
For the love of God, you ought to take pity on yourself
Wednesday, December 16, 2009
What's Better Than Jesus?
Sunday, December 13, 2009
Dylan on a Sunday
Sunday, December 6, 2009
Dylan on a Sunday
Sunday, November 29, 2009
Springsteen on a Sunday
This is more properly a David Brooks on a Sunday. But he's not cool, hence the Springsteen tag. Brooks is smart. And he's a good writer. He tends to be more conservative than I am, but he writes thoughtful articles that come from a variety of sources. So we will use his love of Springsteen to highlight his writing.
Sunday, November 8, 2009
Dylan on a Sunday
Its like having a favorite pew at church. I don't have a pew per se at St Matthew's Episcopal, where I attend when I'm in St Paul. But I do have a section. Just back of half-way on the right nearer the wall as you face the altar. There I kneel and stand and pray for others and read and pass peace and pretend to sing. There I respond to the liturgist's "The Peace of Christ be with you," with "And also with you."
And there's something like that at Dunn Bros as well. I'm in there enough (its my primary office when I'm at Luther Sem) that all the coffee shop employees know me. Most call me by name. Today, a young woman who only works on the weekends was there. She is a college student at the U and nearly always has a concert t-shirt on. One day we were both in there wearing a Bob Dylan concert t-shirt. This mutual recognition began a little liturgy between the two of us. Something for us to say to each other that connects us, honors our common humanity. I don't know her name, and I doubt she knows mine, but we are connected through this liturgy.
Today she could hardly wait to begin. "I have tickets to Tegan and Sara," she said enthusiastically. For this is what we do. We tell each other about concerts we have attended or are going to attend. She often is going to see bands that I have only barely heard of or don't know at all. She mostly makes me feel old, but also young because she assumes I will know her bands. I was thankful today that I knew Tegan and Sara. (And also with you). I had heard that Tegan and Sara live in Portland (the Hawthorne district, along with Death Cab for Cutie and other alt bands) and asked her if she knew whether or not this is true. "I think that's right," she said. "They're orignially from Canada."
"I saw U2 in September," I offered. "Wow," she said, "how awesome is that!" The Dunn Bros equivalent of "The word of the Lord." "Thanks be to God." She pours my medium coffee, dark roast, in a "for here" mug with no room, without asking. And sometimes, like today, she will go back into the back as I read and put Dylan's greatest hits in the cd player. "Your sins are forgiven."
I heard Miroslav Volf speak yesterday. It was great. He was brilliant, and funny, and self-effacing. And he wore jeans. My kind of theologian. And he talked about why he currently worships at an Epsicopal church, having grown up a Pentecostal. "Wine and God," he said. He reported that on his coming to America, while at Fuller Seminary, he went to evangelical churches that served communion in trays with juice in what he called "shot glasses" (I know this arrangement well). Now, Volf likes a shot glass as much as the next guy, (more than a lot of the next guys I hang out with), but not with grape juice. He asked where he might find real wine to be shared from a common chalice. "Oh, you'll have to go to the Episcopal church for that." So, he went.
That might get one to the Episcopal church, but not keep one there. What kept Volf there was the liturgy. He was lamenting the lack of the gospel found in the preaching in many churches, the Episcopal church being no exception. "But its there every Sunday, in the liturgy."
"The peace of Christ be with you."
"And also with you."
This was my last Sunday at St. Matthew's for awhile (unless I fail my comps and have to come back). I told the rector as I left, "I need a few more Sundays of this." She's a good preacher, but that's not what I'll miss. It's the way the liturgy makes me feel welcomed, the way it connects me to everyone else in the room, and everyone else in the world, and Christians through history. I love the prayer time for the church and the world. And the words of welcome around the table speak the gospel to me every week.
I feel welcome at most Churches of Christ because I've been doing it my whole life. I'm a third generation preacher in this tradition. I'm bona fide. And most of the time, people there know me before I walk through the door. How could I not. But this is a luxury that most do not have as they visit in "free" churches. I wonder how it is they might feel welcomed. (I have often felt excluded at places where I am not known, precisely because they rely on intimacy, not liturgy to connect them to each other).
No one knows me at St. Matt's. They have no idea what a Bible lectureship is, much less that I directed one. Nancy was far more famous at St Matt's than me. But I felt profoundly welcomed and a part of things, primarily because of the liturgy.
Being at both St Matt's and the coffee shop today reinforced how powerful symbolic action and ritual is in creating a sesne of belonging and community. Wednesday night I will celebrate with friends who have already completed their comps, and others who soon will. We have developed a repertoire over the last few years that marks our common life. We will go to our place, Town Hall, and will toast the promise of our common life. And the sharing will be so thick with the repeated pattens of our life, we will have to wipe it from our eyes. Liturgy.
Sunday, November 1, 2009
Dylan on a Sunday
It's one of those songs that has grown on me over time. It's rolling and fun. I love both Dylan's version and the cover by Karen O and The Million Dollar Bashers on the I'm Not There soundtrack. The whistles (outrunning the law), the oddball lyrics, the smiling vocal, all give you a sense that your on the lam from reality, which is what any good road trip ought to be.
I love the scenes from the Dylan documentaries when he's composing on a typewriter (ask an old person), and its just rolling out of him, stream-of-consciousness, onto the white paper. And this song feels like that. Words running over the dotted lines, fenceposts flying past your doors. Who knows what could happen? The life you still might have is out there.
Oh God said to Abraham, "Kill me a son"
Abe says, "Man, you must be puttin' me on"
God say, "No." Abe say, "What?"
God say, "You can do what you want Abe, but
The next time you see me comin' you better run"
Well Abe says, "Where do you want this killin' done?"
God says, "Out on Highway 61."
Well Georgia Sam he had a bloody nose
Welfare Department they wouldn't give him no clothes
He asked poor Howard where can I go
Howard said there's only one place I know
Sam said tell me quick man I got to run
Ol' Howard just pointed with his gun
And said that way down on Highway 61.
So great. (I love this version of the Abraham story. It could've happened this way on the road, on Highway 61).
The road is one of those big recurring music themes. Every good musician has a road song, and for many its a signature song (Springsteen, Thunder Road, Doobie Brothers, Rocking Down the Highway, BB King, Riding with the King, Jackson Browne, Running on Empty, Clapton, Further Up on the Road, Tom Petty, Running Down a Dream, the list could go on). The road is full of promise. It's adventure and possibility. It's a way to be free just for awhile of those things that tie you down, that make your arms heavy and your head sore. You never know what you might see. Think how many stories begin with the phrase, "I was driving once between Abilene and Dallas, along the backroads, and... ."
The road is Jack Kerouac, Thelma and Louise, Homer, Clark Griswold, Bill and Ted, Hope and Crosby, Harry and Sally, Bonnie and Clyde, Brando and James Dean. And the road is made up of actual roads all with their own stories. My world has been marked with long stretches frequently traversed, an eye-ful of life. Abilene to L.A three different ways, or to Portland five different ways. L.A. to Portland. Abilene to Dallas or Austin or San Antonio. Portland to the Coast or Seattle or the Wallowas or north through Spokane into Montana and the Dakotas, St Paul to Detroit. I've driven a 68 mustang, a subaru station wagon, my brother's vw beetle, a jetta, a sciorroco, a 24 foot u-haul with my father-in-law's cadillac in tow, a mercury marquis, a bmw 318e, a jeep cherokee, a lexus, and other lesser cars hardly worth mentioning. Warriors all. And in each case with the stereo blaring.
No road trip is right without some cranking music. Middle of the night. Cruise control. Led Zeppelin. Boston. Heart. Lenny Kravitz. Queen. More than a little head bobbing, fake keyboards on the dash, drum solo on the steering wheel and rear view mirror. Music and the road, the road and music. They just go together. And so today, Dylan is calling me into the freedom of the road. I'm on the lam, for just a few minutes, from comps. Wanna go?
Well Mack the Finger said to Louie the King
I got forty red white and blue shoe strings
And a thousand telephones that don't ring
Do you know where I can get rid of these things
And Louie the King said let me think for a minute son
And he said yes I think it can be easily done
Just take everything down to Highway 61.
Now the fifth daughter on the twelfth night
Told the first father that things weren't right
My complexion she said is much too white
He said come here and step into the light he says hmm you're right
Let me tell the second mother this has been done
But the second mother was with the seventh son
And they were both out on Highway 61.
Now the rovin' gambler he was very bored
He was tryin' to create a next world war
He found a promoter who nearly fell off the floor
He said I never engaged in this kind of thing before
But yes I think it can be very easily done
We'll just put some bleachers out in the sun
And have it on Highway 61.
Monday, October 26, 2009
Good to Great?
The book, Good to Great, has received high marks for methodology and results. This came from real social science research--grounded theory to be exact--and its conclusions are both apparent and surprising (the mark of any good study of this sort, it seems to me). And there is certainly much to commend the book, especially if you're an alpha dog running a major corporation. Seriously, if I was running a major corporation being evaluated by the bottom line, I would use this as my Bible.
But the author and lead researcher, Jim Collins, claims more for this book than business application. This book is not about business, he tells us, but about organizations, any organizations. And it is within all of them to be more than good. In fact, for Collins, good is the enemy of great, and all human organizations have the capacity to be great.
One of the keys here is knowing that one thing at which you can be the best. The paper company, Kimberly-Clark, for instance, got out of the paper mill business and focused on toilet paper and diapers because they could be the best at that. Apparently, and this is a quote, they had a real passion for diapers. God bless them.
These companies (only 23 out of the Fortune 500 list qualify) also have heroic leadership of an underdog sort. Humble-but-driven types who put the good of the organization ahead of their own ego needs. They make sure that the work gets done without taking any of the credit for it. Moving from good to great just depends on finding one of those persons--who, by the way, should also be brilliant. Otherwise, you're stuck with good, or worse.
Now I like this on the surface, because this rips the notion of the outside gunslinger who comes in and sets everything in place. Slow and steady, it seems, wins the race. The big flashy guys are often more trouble than they are worth. And Collins' book also blows up the myth of compensation driving excellence, i.e., without a big bonus structure, leaders simply do not perform. Not a factor, says Collins.
But as someone who coaches congregational leaders, I am overall discouraged by books like these. While Collins thinks that the principles apply meta-organizationally, the truth is it works only when an organization's identity can be boiled down to one thing simply stated. Great diapers. But there are some human organizations, congregations among them, that aspire especially to things that cannot be reduced so easily. A concept, like shalom, for instance, which should animate a congregation's life, is complex and holistic. It has to bring many things together. So, shalom refuses reduction and bears tensions which cannot be resolved easily as favoring one over the many (one of the marks of "great" is being able to get rid of dead weight quickly, even if its your brother-in-law).
It's got to be embarrassing for Collins at this point to have Fannie Mae as one of his exemplars. Doh!
Which brings up the question of criteria for evaluation. How does one measure greatness? Is it only internal to an organization? Would, for instance, a company that refused exponential push toward internal satisfaction for the sake of a better world be greater than Fannie Mae? In other words, how can one evaluate an organization apart from the conditions of the world around it, conditions that they both exploit (in good and bad ways) and create? Fannie Mae has left all of us in a helluva mess. How does society as a whole factor into evaluating something like this? And might a concept like the Kingdom of God lead to a different group of "greats?" Maybe some of these organizations still make it, but maybe they don't.
Don't get me started here. My frustrations are numerous with this book. I will stop with one last one (to keep me from getting started). I'm guessing that most church leaders, not to mention most business leaders, would look around the room after reading a book like this and either fire the preacher or give up. Again, I like some of the principles here. The bit about freedom and responsibility is very helpful, if not a little prosaic. But they are all stated in aspirational terms--things we would aspire for. And aspiration beats the snot out of most of us, paralyzing many of us, and sending the rest of us off on a never-ending, neurotic quest for a messiah. Collins is convinced there are more of those just lying around than we think, but my hunch is that most groups of elders would look around the room and disagree.
Here's the good news (perhaps even great). Churches are invited into strategies that do not pretend to words like "great." We are invited, all of us, to embody words like "leaven" and "mustard seed," words that know power in something other than big and awesome. And we are assured that even with pathetic little faith, God can still be revealed. This is no excuse for shoddiness. But it is an invitation to begin where we are with what we have because that is the point. God can be seen even in that--especially in that.
Because this too is an expression of human potential--the potential to welcome one another as we are, not for how great we might become. And most congregations have more real hope there than they do in the pages of Collins' book.
As I read Collins' book, I kept thinking of all the people who taught me things about being human who had no capacity for "making the leap to great." The chronically ill, the mentally challenged, the hopelessly awkward. They shall inherit the earth. And that's pretty great.
Sunday, October 25, 2009
Dylan on a Sunday
But here's the point today, quick and easy because I have books to read. I started the Dylan on a Sunday thing on a whim thinking it might be a few song lyrics for a few weeks. But its turned into something way more. The reason for the productive vein? Well, Dylan is a fascinating figure. There's plenty to comment on. But more is that I'm listening to Dylan while immersed in a life of interpretation. I'm constantly reading and thinking about things, and Dylan crosses the path of that imagination often. This is called intertextuality. Multiple texts interpreting each other, creating new meaning in the process.
Thinking about Dylan has produced blog posts on phenomenology, eschatology, apocalyptic, narrative, and love. Hmmmm, things I've also be reading about.You can't do this with everyone. Brittney Spears on a Sunday is probably a week or two max. Dylan's texts are sufficiently thick to cross literary boundaries at several places. But this is the way meaning occurs, thick description of multiple texts.
Sunday, October 18, 2009
Dylan on a Sunday
I got a text from my friend, Richard Beck, the other day. "Christmas in the Heart. Spoof or on the level?" He is referring to the new Christmas cd released last week by Bob Dylan. This is not a question that would be asked of Andy Williams, or even Sting or Bono. The very idea, however, of Dylan singing Winter Wonderland is a little jarring. A Christmas album requires a certain level of melodic competence and sentimentality (namely, crooning) that aren't often associated with Dylan. I haven't yet bought the cd, but the 30 second snippets on iTunes confirm the initial impression, "jarring."
And so the question. Is Dylan dealing from the bottom of the deck here? Does he know that this is a different animal than Amy Grant's Christmas album? Is he winking at us all? Or is he playing it straight, adding his voice to the chorus of great performers who have done Christmas albums (Jim Neighbors, Motown Christmas, A Chipmunk's Christmas are some of my faves)?
Rolling Stone's reviewer detects an earnestness here and the review in the Chicago Sun-Times reminds us that the Ray Coniff singer stylings found on this album have always held a certain fascination for Dylan. They think he's on the level. But as a ministry friend of mine used to say, once you learn how to fake sincerity, ministry is a breeze.
(Contrast this with Slate's hilarious review. "Mommy, Santa's scaring me! Just in time for Halloween, Bob Dylan's Christmas album is here, its arrival harkened by the 68-year-old legend's fearsome wheeze—a sound more Beelzebub than Jolly Old Elf. Christmas in the Heart is being called a goof, the latest of Dylan's many efforts to épater la bourgeoisie, confound his worshipful fans and exegetes, and generally mess with people's heads.").
This question is not just a question to ask about Dylan's Christmas album. It's a question that blankets his entire career (which was my response to Richard's text). For some, Dylan has always been a fraud (Robert Zimmerman), inventing himself (telling stories about crossing the country with hobos in box cars) in calculating and outrageous ways to make sure that everyone is looking at him. Others take Dylan's poses as the necessary invention to go along with out-of-the-ordinary gifts. This, it seems to me, matches Dylan's own public statements. Listening to his radio in Hibbing, MN, he felt born to the wrong family, that he belonged to a life other than the one he had inherited from his parents. But even in those statements, there's enough of a combination of earnestness and mischievousness that you're just not sure.
Dylan reminds me of the story, Big Fish, where the Father has told such outrageous stories about himself that all of us are convinced he's putting us on. Turns out in the end, however, that while there were massive embellishments, the stories carried the truth of his life in ways that more straightforward accounts simply couldn't. It's not just that Dylan has lived into the stories that he has told so that they are now true in that they accurately deliver him to us (though I think this is certainly the case). It's that they are connected in some way to a core that is really Dylan. They are ultimately believable, even in their clearly fictional elements, because they share a riciprocal relationship with something irreducibly authentic. There was something in him big enough to pull this off. I'd like to think that if this weren't the case, we'd all be the wiser.
Richard chooses to accept this offering on the level (in his own words, he's sappy that way). I think its probably both. Dylan has to know this is not Bing Crosby, but he's gonna sing the Bing Crosby songs anyway. There's some mischief here and he knows we can't look away. But this is who he is and what he does. He just might pull it off, and I'm pretty sure he thinks he has.
Monday, October 12, 2009
Israel and the Scope of Salvation
While this is true of many things, I have in mind here our notions of salvation. I have been bushwhacking at this for awhile now. And I've been staring at this picture long enough that every detail looks different to me now. And this new picture recommends itself at the level of fit (the pieces hang together in a more inclusive manner), of strong biblical attestation that brings more of Scripture into play, and it can be found in the tradition, even if at times as a dissenting or minority voice. It has the added benefit of bringing the question of God into a more satisfying relationship with human suffering. And that ain't small potatoes.
At its most basic level the shift can be said this way: salvation is about God and the renewal of all of creation. Which is to say, salvation is not about the eternal status of my skinny backside. This is not to say that there is no benefit to the individual within the scope of God's work on behalf of all creation. There is enormous benefit, including forgiveness of sin and eternal life. But this is one piece of a much larger picture that has God at its center.
The reach of this shift is enormous. I have written about many of the aspects from time to time here. It changes how we view God's engagement with the world, how we define gospel, understand eschatology, interpret the death of Jesus, and learn to recognize the Spirit of God. That's a big enchilada.
Equally as impressive as the magnitude of this shift is the stubbornness of the old perspective, the one that equates salvation with my personal destiny without remainder. And I have been searching for therapies, ways of interrupting this imagination long enough for something new to take root. Which means, I am constantly bracketing aspects of this phenomena so that it can appear in its force and complexity. And today I had another little aha moment.
I am reading NT Wright's book, Justification. Wright certainly is sponsor of my interests along these lines. And Justification, is a response to John Piper's push back against the "new" directions being charted in Pauline studies. Central to Wright's reading of Paul is the relationship between Jesus and Israel. Jesus is not God's plan B when the Israel thing didn't pan out. Jesus is the representative Israelite, the Israelite who fulfills Israel's calling in the world.
Now this is important for all kinds of reasons (not least of which is that it makes Romans 9-11 the high point of Paul's theological argument in Romans, not an embarrassing parenthesis). But at a far more fundamental level, it keeps Israel as an indispensable part of the story of salvation. Let me explain why this is significant.
I read a paper at a conference a few years ago arguing for an approach to theology that took the rich variety of biblical perspectives as its methodological starting place. I was challenged by an evangelical scholar who wanted to collapse all biblical narratives under an overarching scheme, namely creation-fall-redemption. Similarly, I have had a professor the past few years who uses this three-fold scheme as shorthand for the biblical story related to salvation. I resisted at the conference and in class (though to myself in class. I was, after all, being graded) and reading Wright today confirmed my sense of resistance. And here's why (all that to say...).
This three step shorthand cuts too easily from the Fall to Jesus. From this perspective, the problem is too easily summarized in individualistic terms. Adam sinned. Adam needs to be saved. What is at stake is individual guilt.
In contrast, Israel's calling in the story of Abraham, Isaac, and Jacob is not so easily reducible to individual salvation. God chooses a people to live together a particular way of life that has as its goal the blessing of all creation. It defines salvation from the first word as social, political, and ecological, without neglecting the burden of human sin (which is certainly also social, political and ecological). They are all of one piece. Jesus is not plan B. Jesus is plan A fulfilled, in continuity with God's saving purposes in the covenant made with Israel. He is Jesus Messiah, the representative Israelite.
My professor, Pat Keifert, told me once that a person's theology is determined to a large degree in relation to the place assigned to Israel. I wonder if this is what he had in mind, at least in part. The larger point is that I think the exclusion of Israel as a necessary part of our shorthand version of the salvation story might be one of those places that both reveals and reinforces our individualistic assumptions regarding salvation. The creation-fall-redemption schema fails to adequately interrupt our a andropocentric soteriology. As NT Wright puts it, "God is not circling around us. We are circling around him." Or as my former student, Jarrod Robinson, put it, "Salvation is not so much getting God into my life, but getting us all together into God's life."
Sunday, October 11, 2009
Brandi Carlile on a Sunday
The new Brandi Carlile cd came out this past week. I discovered her about four years ago when a friend sent me KINK (a Portland, OR radio station) Live cd consisting of performances done in their studios. Brandi's song was my favorite in that particular collection of songs.
I loved her last cd, The Story. I saw her in concert summer before last in St Paul at the state fair where she played some of the material that would be on her new cd. It was great, and I've been anticipating its release ever since.
This cd lives up to the anticipation. It's different than The Story in some ways. It doesn't have as much of the rocker sensibility that you have with songs like The Story or My Song (a little bit in I Have Dreams and the bridge of Before it Breaks) , two of my Brandi favorites. Not much growling on this cd. And I miss that. Some of my favorite moments in the concert in St Paul were covers of Fortunate Son and Folsom Prison Blues. Brandi can flat rock and she has the band to pull it off (she is backed primarily by twins who play guitar and bass and who are great vocalists in their own right). Not much of that on this cd. Some reviewers, in fact, have placed it in the country genre.
(Another favorite part of the concert in St Paul was when Brandi played about 10 opening verses to country standards that she grew up hearing. She can do the country thing. She knows how to slide into a note).
What this work does feature is the piercing clarity of her voice and portrayals of the tenderness of life, especially with regard to desire for the other. These two things, her voice and tenderness, go very well together. She has two qualities in her voice that make it striking. It has an edge to it. It's textured and distinctive. But it is also clear as a bell, especially as she slides into falsetto. These things don't often go together. You're either Bonnie Raitt or Sarah McLachlan, not usually both and even both in the same phrase. This gives her songs a great emotional depth in performance.
In Pride and Joy, for instance, the of resignation and loss is captured perfectly with the break at the edge of her tone: "The time of day I can't recall, the kind of thing that takes it toll... all in all it wasn't bad, all in all it wasn't good." No less moving, however, is when her voices opens up in the longing chorus. With plaintive transparency she sings, "Where are you now? do you let me down? do you make me grieve for you? do I make you proud? do you get me now? am I your pride and joy?" A perfect fit.
It's worth noting here that Rick Rubin is the producer of this cd. I buy almost any cd when I know he is the producer, regardless of the artist. (Though I have resisted the latest Neil Diamond cd). Rubin has a way of isolating the voice of the performer, finding just the right setting (usually spare) to bring out all the textures. The most vivid example of this is the multi-cd collaboration Rubin had with Johnny Cash toward the end of Cash's life. Cash's voice, wavering but proud, fills the space completely that Rubin leaves for it. And some of the same Rubin trademarks are in play here. To go back to Pride and Joy, there are piano accents that don't carry the melody but give it a certain pounding gravity. And as the second chorus reaches its climax the strings come to the fore and swell the lilting longing of the song. Pretty great.
There are several good to great songs here (love Before it Breaks, but I can't get around Caroline, performed with Elton John). The song I keep coming back to, though, is Oh Dear. It may not ultimately prove to be my favorite song on the cd, but it is the one that has grabbed my attention through the first few listens. It has a Beatles-esque quality to it, espcially in the call and response sections. The ukulele and the harmonies are perfect (thanks, twins, someone help me with their names). And the vocal is sublime. No one moves from full throat to falsetto more brilliantly than Brandi, and this song showcases that ability. "Together you and I forever... It's only you that my heart desires, only you alone can break my fall." Beautiful.
Brandi sings about the desire of love, and often of love that is just out of reach. Her voice is built for longing and this cd is a perfect fit. Another Rick Rubin cd, Jakob Dylan's most recent effort, features the lyric, "my line of work suits me fine." That's a wonderful thing to find and beautiful to behold. Fit, vocation, meaning. Brandi's line of work suits her fine.
Friday, October 9, 2009
Love, Freedom, and Causality
Sunday, October 4, 2009
Dylan on a Sunday
You know you're a particular kind of nerd when you get excited to find a biblical scholar singing a Bob Dylan tune. I'm that kind of nerd. Of course, Dr. Tom is singing vintage Dylan, Blowin in the Wind, a social conscience song. Impressive, but predictable. It might have been a little more exciting to hear him sing Rainy Day Women or Positively Fourth Street. Still, thankful to hear this particular cover.
Richard Hays, another NT scholar, spoke at a conference that I directed a few years ago. We were hanging out in my office before it began, and he picked up my guitar (which I occasionally took to the office) and began to play--and play very well. Turns out he played in a rock band in high school and worked his way through Yale as an undergrad by playing in pubs throughout New England. Before a Q&A time at the conference, I asked him if he would play my guitar and sing for the conference attendees. He played and sang the old Buddy Holly tune, "You're Gonna Miss Me When I'm Gone." Awesome. He brought the house down.
So, I've decided that I'll know when I've arrived as a conference speaker if they ask me to play my guitar and sing. I'm thinking A Hard Rain's Gonna Fall, or maybe maybe I'll plug in and go Tweedle Dee and Tweedle Dum. I'd have to take up smoking to sing that one.
Friday, October 2, 2009
Gospel and Cultures, 6
A few weeks ago I suggested that because the gospel is related to the kingdom of God, a future reality that is breaking into the present, surprise is always a category of the gospel. The church stays in the mode of news by attending to surprises, particularly those related to hope.
But not all surprises are good surprises. Not all of them are connected to the in-breaking of God's future. This requires a certain judgment related to a particular way of seeing. Paul calls this way of seeing "the word of the cross." This "word of the cross," he says, "is foolishness to those who are perishing, but for those being saved it is the power of God" (1 Cor 1:18). This word is not obvious to all. It is a scandal to both Jews and Greeks--not a way of seeing at all. But for those who are being saved, it is the wisdom of God.
But what is this "word of the cross?" For Paul, it seems to be the capacity or ability to see the patterns of death and resurrection at work in life. "I am crucified with Christ, nevertheless I live..." "I want to know Christ and the power of his rising, share in his sufferings, conform to his death..." "We carry in our body the death of Jesus, so that the life of Jesus may also be made visible in our mortal bodies..." The death and resurrection are not for Paul simply a formula whereby we experience forgiveness of sins and a home in heaven. Death and resurrection is a script for our lives whereby the powers of sin and death are overcome. Death and resurrection is a way of life, a way of participating in the life of God which is coming for our salvation. It is a being saved, a way of living and seeing that has transformative power.
And this way of living and seeing produces a specific wisdom, a wisdom not of this age or of the rulers of this age, but a wisdom of the age that is continuously coming. It is a way of seeing through the things that belong to the future--faith, hope, and love. By attending to the world through faith, hope, and love, the hidden rule of God becomes manifest both in God's movement in the world and in our lives. We learn both to recognize and enact pictures of God's coming future.
To the extent that this discernment (discrimination, judgment) produces a unique wisdom, the church remains in the mode of news. The gospel is not another way of saying what already is the case. It is not simply a particular way of naming general human experience. The death and resurrection of Jesus, and all that surrounds the eventfulness of this way of God's being with and for us, is new. It is a resistance to the powers that be, a refusal of the status quo, and the embrace of hope, the possibility of a new, coming world, ordered by different powers.
This does not mean that other wisdoms based in other criteria of judgment are pointless or powerless or even evil. The news of God's way of being with us in death and resurrection is not an obliteration of all other categories, but a conversion within them. The strategy of the new age is not to overcome other perspectives through force or power. Rather, the power of the new age always comes through leaven and mustard seed, God's victory hidden in death, in the unsuspecting, and through passionate identification with what is passing away. The new comes not through obliteration, but through passionate, suffering engagement. The way of death and resurrection is not a way to avoid the world until heaven arrives, but a way of entering the world more completely with different eyes, serving different powers. God's desire, after all, is not to forsake creation, but to fill it, to be all in all, to transfigure it. Those who live through the resources of the new age, the word of the cross, learn to recognize the signs of God's coming and announce it as newsworthy.
Sunday, September 27, 2009
Dylan on a Sunday
But would he go the other way, away from the high Christmas hymns? I can't imagine Rudolph the Red-Nosed Reindeer, or I Saw Mama Kissing Santa Claus. That would scare the kids. Maybe a monotone, I'm Dreaming of a White Christmas or Winter Wonderland.
Maybe it will be a collection of originals. Bob spent 30 minutes writing 20 new Christmas songs. Herod Knows Where You Live, Lost My Shoes in Egypt, Not Hard to be Wise in Bethlehem, That Star Won't Hunt, Holy Ghost Came Callin, Jesus was a Department Store Santa. You know, some sideways take on the story that mixes irony and hope without committing too much in the way of belief. Records them all in one take, no rehearsals. I would definitely buy that record, and even start playing it the day after Thanksgiving.
Hope never reads the story straight off the page. Hope isn't what's at the end of how things might work out anyway. The "new thing" isn't simply the unfolding of the story as we know it, which is why a bit of irreverence, some anachronism, and a little typological playfulness is the way to best communicate hope. Sounds like a Dylan Christmas cd to me.
Monday, September 14, 2009
U2 on a Monday
Last night I was in Soldier Field in Chicago for the second night of U2's 360 tour. It was a spectacular night, one I will always remember.
I am a huge U2 fan, but was somewhat skeptical that a stadium show could scratch my U2 itch. But once the concert started, I was so inside the experience that it just wasn't a factor, at least not negatively. In the words of "Put on Your Boots," the boys from Ireland "let me in the sound." I was close. But on the positive side, it was simply an amazing thing to be with nearly 100,000 people moving with one energy. Even leaving the stadium at the end of the concert, with all those people being pushed through a very limited space toward Grant Park, was a great feeling. We have all experienced something significant together.
But how do you describe the concert in words. The stage was enormous and quite the spectacle (the photo from a set done by Snow Patrol before U2 came on). A multi-media/giant spaceship that moved and lit up and displayed things on an enormous, expandable screen. It was a character in the U2 drama, and most of the time a positive one. The space/future theme of the stage was underscored by the opening as the band walked into "Major Tom" and by the ending as they left to "Rocket Man."
There is simply nothing like live music. The thumping bass in your chest. The ear splitting guitars. The energy of live performers, especially someone like Bono. The surprise of an innovation in lyric or melody or rhythm. This show had everything that makes live music great.
And of course with U2, you're looking for meaning, and Christian meaning. And last night's meaning was hope. This space ship was not 2001 a Space Odyssey, the future as an ominous darkness where technology threatens us. This future was hopeful and full of justice. Gone were some of the darker images related to society (e.g. Bullet the Blue Sky). This was God's future pressing on us.
My favorite U2 song is "Still Haven't Found What I'm Looking For," which has not been a regular on their concert playlists on recent tours. This is properly an eschatological song. There's still something coming, the kingdom come, "where all the colors bleed into one. You know I'm still running." It was their 6th song this evening, right on the heels of Magnificent and Beautiful Day. It was worshipful, and it was not lost on Bono that we were gathered on a Sunday.
The best part of the evening for me was the first encore. The band had left the stage and the first thing we saw to open the encore was an amazing video from Desmond Tutu. He said that the same people who fought for civil rights in America were the same people who fought Apartheid in South Africa and who continue to fight injustice in the world today. He was animated and joyful as he designated us gathered that night as the same people--the very same people who had fought in all of these places. And he promised us that the wind of God's justice would be at our backs. At the video's end, the band played "One." Perfect. And then Bono played his guitar and sang a soulful verse of "Amazing Grace," which led into the properly eschatological, "Where the Streets Have No Name." All we needed was the eucharist. (The people down the row from us had their own elements, an incense all its own).
This was what worship should be. A diverse group moving as one. Pure bliss and joyful embodiment. Praise accompanied by acknowledgement of the world as it is (with not a little complaining and lamenting). And hope for what the world will one day become in the grace of God. A call to belong to that day. Perfect.
Set list
1.Breathe
2.No Line On The Horizon
3.Get On Your Boots
4.Magnificent
5.Beautiful Day / King Of Pain (snippet) / Blackbird (snippet)
6.I Still Haven't Found What I'm Looking For
7.Elevation
8.Your Blue Room
9.Unknown Caller
10.Until The End Of The World
11.Stay (Faraway, So Close!)
12.The Unforgettable Fire
13.City Of Blinding Lights
14.Vertigo
15.I'll Go Crazy If I Don't Go Crazy Tonight / I Want To Take You Higher (snippet)
16.Sunday Bloody Sunday / Rock The Casbah (snippet)
17.In the Name of Love
18.Walk On
1st Encore
19.One / Amazing Grace (snippet)
20.Where The Streets Have No Name / All You Need Is Love (snippet)
2nd Encore
21. Ultra Violet (Light My Way)
22. With Or Without You
23. Moment of Surrender
Saturday, September 12, 2009
Moltmann And the Father of Jesus, the Son
Moltmann is 83 years old. His life is an amazing story (you might want to read his autobiography, A Broad Place). He was a German soldier in WWII, taken priosner, and found God in a Sottish prison camp. Amazing story, and consequently his career as a theologian finds few parallels. His work has sounded the themes of hope, justice, and ecology, all in the pursuit of knowing the God of Jesus Christ. His work is important for my dissertation in many ways. I am currently immersed in his books as I prepare for my comprehensive exams in a few weeks. I am richer for this engagement, by a long ways.
Here's the one thing you should know about Moltmann (from my perspective). HE refuses to think about God apart from the human experience of Jesus. Which sounds kind of obvious to many of us Bible-believing type folks. But Moltmann shows that for most of us, this simply is not the case.
Most of us begin with a version of God based on certain assumptions that we inherited from the Greek philosphical tradition. For God to be perfect, God must be simple, free, unchangeable, impassable, independent, etc. This is sometimes called classical theism, and Moltmann suggests that this view of God results inevitably in a kind of monism--God as a single acting subject and everything else as an object. Christian theology in the West has often assumed this view of God. God was thought of as a single substance, identified with the Father, and the Son and Spirit were sometimes thought of as modes of this one substance. The beginning assumption is the unity of God, the three persons being the hard thing to explain.
Now, here's the deal. There are a lot of problems one gets into when accounting for the real problems of the world if God is thought of as as single acting subject. For the Greeks, the problems of monism were expressed in the problem of theodicy. If God is all powerful, and if God is good, then how can bad things happen? Either God is all-powerful, and not good. Or God might be good, but not all powerful. There are current forms of Christian theology that opt to begin with the assuption that God is all powerful and the goodness of God will work itself out in the end. The tornado that swept through the Twin Cities a few weeks ago was God's punishment for the ELCA's decision to ordain homosexuals, says John Piper, the most prominent voice in the new Calvinism that explains every event as an event under God's providential control. But as Moltmann suggested yesterday, such a God is a monster.
In milder forms, Christian monism simply puts the world on the receiving end of all of God's stuff. The world is perpetual object to God's perpetual subject. All the arrows point one way, and the church is often thought of as being on God's side of the arrows. We've got all the good stuff. The world is simply our target, our strategic concern. This leads easily to mission as a kind of imperialism, or benevolence and evangelism as a kind of paternalism. This is the implication of the criticism Moltmann brings to Barth's theology. (God is a single-acting subject in Barth's theology, from Moltmann's perspective).
Moltmann does not begin with the assumptions about God located in classic theism. He begins with Jesus as the Son of the Father. We know God as the Father of Jesus, the Son. It is in this relationship of mutuality that we begin to understand God. This is true also of the relationship between Father and Spirit and Son and Spirit. God is not one substance in three forms, or one acting subject in three modes. God is three persons who each have centers of action and have a dynamic and reciprocal relationship. And in any relationship, any reciprocity, there is need and vulnerability. There is openness to the other.
In fact, it is this openness to the other that constitutes God as love. And it is this love that makes room for creation. And it is this love that leaves space for a free creation. And it is this love that marks itself as suffering, enduring love. As Moltmann said yesterday, God's power is not expressed by the fact that he controls all things (the opposite of love), but in that he bears all things and suffers all things. This is a game changer in so many ways.
At the conference yesterday, people talked to Moltmann about how his book, The Crucified God, gave them a lease on life--new hope--in the most tragic of circumstances. The loss of an infant son, the persistent struggle of disability, the opression related to class and race and gender. That's a pretty hefty theological legacy. I doubt that Piper's theology has many stories like that. The answer to why in Piper's theology is always God, and that causes more problems that it solves. For Moltmann, there is no answer to the question why and if there were it would not satisfy us. But in the crucified God there is a who and a where and a when related to suffering. There is a God who suffers all things, who lashes himself to the world on a cross, and whose resurrection will not allow suffering to be the last word.
Sunday, September 6, 2009
Wilco on a Sunday
This morning is a cup of coffee and the new Wilco. I like Wilco. It's smart stuff, both musically and lyrically. The new cd, Wilco, the Album, is perhaps more modest than their previous cd's. It doesn't have some of the jagged, experimental edges of their earlier work. But that makes it more immediately inviting to me. And so, coffee and Wilco this morning is a pleasurable thing.
Wilco refuses the happy face, the easy ending. Jeff Tweedy sings often with tongue planted firmly in cheek, rolling around in the irony of it all. The title track to the cd offers comfort to world weary listeners. Wilco cares, Tweedy sings, and will offer you a sonic shoulder to cry on--in my case comfort from an itunes download.
Wilco touches for me that feeling related to the complexity of life. Whatever it is we think we're up to gets lost too easily in the thick and bewildering nature of things. Even the offering of one's life for another, dying "alone like Jesus," gets lost in the sweep of generations and the numbing pursuits of daily life. We forget. The grand gesture is lost.
Still, there is somthing about bringing all this brokenness together in one place--this refusal of the easy happy. The fact that all of us are one wing short of being able to fly throws us all together under the same aching need. And there is hope there, in the commonness of our ache and pain.
I've been reading Jurgen Moltmann this week, preparing for my comprehensive exams which are coming up sooner than I need them to be. Moltmann sees the world as the history of God's suffering. He is following the minority theological tradition that begins not with a catlogue of God's attributes, but with the passion of God, his willingness to suffer and his openness to creation. Sorrow is the mark of God's evelasting love, the only place we can accurately attribute to God all power.
So, the paths of my reflection crossed over coffee in the Wilco song, Everlasting, Everything. In all the irony, Wilco still sings of hope.
Everything alive must die
Every building built to the sky will fall
Don't try to tell me my
Everlasting love is a lie
Everlasting, everything
Oh, nothing could mean anything at all
Every wave that hits the shore
Every book that I adore
Gone like a circus, gone like a troubadour
Everlasting love forever more
Everlasting, everything
Oh, nothing could mean anything at all
Oh, I know this might sound sad
But everything goes both good and the bad
It all adds up and you should be glad
Everlasting love is all you have
Everlasting, everything
Oh, nothing could mean anything at all
Everlasting, everything
Oh, nothing could mean anything at all
Sunday, August 30, 2009
Great lyrics on a Sunday
Sunday is a day for words. I am currently missing the liturgy around the Lord's table that our congregation in St. Paul used each week. I wanted to live in the world described by that slice of the liturgy. Words can provide a merciful place to live.
In a similar way, a great song lyric is gold. Usually, a great lyric is made by more than a clever turn of phrase. It's great if it sounds great when its sung. So, melody and rhythm and attitude have a lot to do with it as well. So, some of my favorite lyrics from an ipod genius playlist today, not in any order of greatness or in any sense exhaustive.
"But let me tell you I got some news for you
And you'll soon find out it's true
And then you'll have to eat your lunch all by yourself"
The last phrase is the clincher here. That will show you, you'll have to eat your lunch all by yourself. And Glen Frey sings it perfectly in the Eagles rendition. My understanding is that this is a Jackson Browne song, which brings us to the next lyric.
"Doctor, my eyes
Cannot see the sky
Is this the prize for having learned how not to cry"
This whole song is an amazing lyric. Browne is one of the best, I think. So, another verse from a great song, The Pretender.
I'm going to rent myself a house
In the shade of the freeway
Gonna pack my lunch in the morning
And go to work each day
And when the evening rolls around
I'll go on home and lay my body down
And when the morning light comes streaming in
I'll get up and do it again
Amen.
Say it again
Amen.
Great use of the amen. Which brings us to the use of halleljuah. No lyricist can match Leonard Cohen.
You say I took the name in vain
I don't even know the name
But if I did, well really, what's it to you?
There's a blaze of light
In every word
It doesn't matter which you heard
The holy or the broken Hallelujah
Hallelujah...
Finally, great lyric from a great Dixie Chicks song.
How long do you want to be loved?
Is forever enough? Is forever enough?