Supertramp and Benatar were opposite sides of the same cassette, and they were particularly helpful in keeping me writing. Clearly, they were different. Supertramp was better when I needed to formulate an argument. Early in the day stuff. Even in The Quietest Moments, Can't Stop the Loverboy, Long Way Home. But when I had the argument and just needed to crank, it was Benatar. To the beats of Never Wanna Leave You, Heartbreaker, and Hit Me With Your Best Shot, I wrote about Elias Smith and post-revolutionary American Christianity.
So, as I prepare to drop into a concentrated dissertation mode, I ritually prepared by making three playlists. I needed some new music, something that would keep me interested enough to sit on one place for awhile. So, playlist one consists of a mix of some of my new favorites from their most recent cd's--DMB, Avett Brothers, Jakob Dylan, Wilco, Pearl Jam. The second playlist is the muse cd, when I'm searching for the writing line. It's soothing stuff, and as it turns out all female voices. Sarah McLachlan, Rachael Yamagata, Kim Taylor, Over the Rhine, Lucinda Williams, Brandi Carlile. And then there's the rocker, the get it done, crank it outm finish the footnotes, cd. Tom Petty, Kings of Leon, Gov't Mule, Raconteurs, M. Ward, Spoon, Black Rebel Motorcycle Club. And for a touch with the summer of '84, Benatar's, Never Gonna Leave You and Supertramp's, Give a Little Bit, made the lists.
So, now that I have avoided actual dissertation work by writing about my playlists, back to congregational soteriological imagination.