Sometime I will have to gather my thoughts about this breathtaking revolution that has been forced on us in the larger context. Mine is one local congregation of people with whom I’ve been for twenty-seven years come July. Things always change, but this one has been especially momentous. Others have had enough to say, but I’ve observed a few little beams of light in the dark. Consider these:
Churches forced to innovate everything we do. How appropriate that Holy Week would be the big test. And the people are still there. Turns out that little rhyme we did with our hands as a kid had something to it. “Here’s the church, here’s the steeple,” (fingers interlocked and hands folded, index fingers joined in a spire.“Open the door,”and you’d unfold your hands and wiggle your fingers, “and there’s the people.”
I see a lot of cooperation, humility and mercy down here on the ground level.
Leaders rise up in the worst of times. Anybody can lead in good times. Only in the crises can you tell the difference.
Imagine that Christianity in a short while has had to watch the burning down of the Cathedral of Notre Dame and Vatican Square empty except for a blind man singing “Amazing Grace” on Easter Sunday after the Pope stood there alone. But people sang “Amazing Grace” all over the world Sunday.
People sewing, volunteering, sacrificing and praying harder than usual. Constant cheering and appreciation for our medical workers. I often pray when I go to a hospital (I miss that right now), “Lord, we know that you’ve given us wisdom and medical knowledge so that these doctors, nurses and workers do every day and routinely what Jesus did miraculously.” Healthcare is a daily miracle. We just appreciate it more right now.
Being away from people we love makes us yearn for their presence and anticipate the first time we can see one another. You can feel it all the way into prayer.
The earth has been given a sabbath of human activity. Sea turtles in India are flourishing during our quarantine, and people can see the Himalayas from a hundred miles away for the first time in years. We ought to remember what we’ve learned.
For many years, a member of my church who knows my weird tastes in music (if most people have never heard about it, I might have; if mass media doesn’t write about, I will) gives me the annual Oxford American Southern Music Issue. Given my roots and rootlessness around and on the edges of this bizarre and wonderful region (politics=absolutely bizarre; unelected people generally fascinating and gracious; land, music and layer of cultue—wonderful), he knows it lines up with my interests.
The OA is a journal with as colorful and eccentric history to match the region it writes about, but plenty has been written about it elsewhere. Just a few lines to mention the music issue, which isn’t cheap ($12.95) but well worth it. Every year, a particular state’s rich heritage of famous and not-so-well-known songwriters and performers are showcased. Continue reading “Everything’s Bigger in Texas: the Oxford American 2014 Music Issue”→
“…there is a playful randomness about what we find and read. Or rather, what finds us”
When I first rekindled my interest in songwriting and music again, sixteen or seventeen years ago, I began hanging out in music stores, playing the guitar again and digging out songs from my memory and on faded notebook paper from years ago. One day, a worker in the store I frequent most, Fretted Instruments of Birminghm, said, “Are you just starting to explore the discography?” I had just said that “I was getting into bluegrass music” and that was his reply.
I began to delve into just that—listening, going to shows, scooting to Nashville now and then. I bought a collection of Bill Monroe’s music. Over the coming years, I heard a lot of music live—Bruce Hornsby, Ricky Skaggs, Nickel Creek, J. D. Crowe, Earl Scruggs, Vince Gill, as well as a lot of lesser-known but excellent players and singers coming through the Station Inn in Nashville or here in Birmingham, Continue reading “Exploring the Discography of Life”→
“Blue Like Jazz” arrived at selected theaters this past week, an odd stepchild among usual movie fare of aliens, vampires, and things that go boom. Derived from Donald Miller’s book by the same name, “Blue Like Jazz” is a story of life and faith during a young man’s first year of college. Don, the main character, is son of a bible believing single mother who wants to protect her son and an atheist father who is emotionally disconnected, mostly absent, and religiously hostile.
Donald’s Dad wangles an acceptance from Reed College in Portland, Oregon, a school filled with intellectually brilliant and morally unfettered not-quite-adults. After struggling with it, he heads to Reed and Portland instead of the Baptist college his mother wants him to attend. Soon life is filled with Political Correctness, drugs, booze and moral haze. The professors challenge every aspect of life, and students engage in protest and outrageousness as an extracurricular activity.
From that point we follow Don as he struggles with the pain of the life he has left behind but the faith that won’t leave him alone. He is ashamed of that identity, and tries to fit in, but never really does. The church is an ambiguous presence throughout the movie. The childhood church that Don leaves behind is a stereotype of tacky children’s sermons and fear of the world. The youth pastor is glib, a know-it-all, self-assured, and, it turns out, secretly sleeping with Don’s mother, which brings a crisis into his life later in the story. Continue reading ““Blue Like Jazz”: Not Your Father’s Evangelical Movie”→