Adapted from my newsletter column to the church this week at www.vhbc.com:
As I was looking over past writings and came upon this one, from 1994. It still seems useful for now.
“God is our refuge and strength, a very present help in trouble” (Psalm 46:1).
The problem of life is not faith, but fear. Fear of failure can paralyze a talented person from ever trying. The fear of success can explain why many equally-talented people seem to sabotage themselves just on the brink of success or achievement. Psychologists tell us that fear is the root of much procrastination in the perfectionist who can never begin the task until she is a little better prepared.
Fear can keep us silent in the face of evil when we should have spoken. It is the fear of change that paralyzes our wills and reduces life to discontented mumbling against fate rather than risking ourselves to move forward. The fear of death can turn us hollow and brittle, fearful of a misstep and terrified of suffering. Fear grants a thousand deaths to a cowering heart.
Change, all change, brings fear with it. Transitions surpass our past copings and leave us exposed and vulnerable. We are once again where we find ourselves continually in life: thrown back on our wits and facing the unknown.
Every day, every week, we are facing changes as individuals, as the church, as families. The creative possibility is that in the face of change we will choose with courageous faith to trust God’s new life through us rather than fear.
Parker Palmer says that “the core message of all the great spiritual traditions is ‘Be not afraid’…the failure is to withdraw fearfully from the place to which one is called, to squander the most precious of all our birthrights–the experience of aliveness itself.”
As we look at the world around us, it is not a brilliant observation to see that we are in a time of suspicion, distrust and unkindness. The cheapness of life, the anger and fear of our culture, and the rampant selfishness of too many is easy to see. But what to do about Read the rest of this entry
All Americana Night Come on, join in.
Wednesday evening, June 29, 6-7 pm
Vestavia Hills Baptist Church, Birmingham, Alabama 35216
Wednesday evening at 6 pm, at Vestavia Hills Baptist Church, we will have “All Americana Night.” My friend, Keith Elder, and bandmate Don Wendorf, will join me to lead us in singing distinctively American songs from all kinds of “roots” traditions.
Wikipedia defines “Americana” as “contemporary music that incorporates elements of various American roots music styles, including country, roots-rock, folk, bluegrass, R&B and blues.” We want to have fun, sing some songs from the traditions themselves, as well as some originals. Songs for kids to join along, a few hymns and patriotic songs, a little of everything for those who come. Hope you’ll come out.
Keith was at our congregation on a Wednesday night recentlyhere a few weeks back and did a great job on a Wednesday night. Keith has spoken and performed for over thirty years in a wide variety of church, conference, and community settings. After serving local churches in North Alabama as a youth director then as a pastor, he spent a number of years as a songwriter in Read the rest of this entry
“Just a Little Talk With Jesus” is a famous old gospel song. Last night, our band, Shades Mountain Air, had a grand time at the American Gospel Quartet Convention in Birmingham and sang this crowd favorite. I knew that it was a song that black and white audiences in the South had shared since it was written. It’s been covered by just about everybody—Bill Gaither, Elvis Presley, the Stanley Brothers, and innumerable mass choirs, quartets and Sunday night gatherings around the piano in little country churches. (click this link to listen to the song by Shades Mountain Air)
It’s so heartfelt, so soulful—are you in trouble? Look in and up—just a little talk to Jesus will make it right. This song first found me in my seminary church, where I was minister of music and youth (a lofty, long title for a part-time staff member in a blue-collar white church). My church was southern, small-town North Carolina Southern Baptist folk, barely scratching to stay above the black folk in the town—marginal at best. Ever Sunday night we gathered around the piano and pulled out our “Number 8s” our name for the red songbooks we loved full of familiar gospel music. Anyone who wanted to be in the “kwarr” (choir) would gather with us, and people would call out a favorite. “My God is Real,” was the one Mr. Jernigan always requested. “They Tore the Old Country Church Down,” “Whisper a Prayer,” “Troublesome Times Are Here,” Mansion Over the Hilltop,” “If That Isn’t Love,” “Hide Me, Rock of Ages,” and, of course, “Just a Little Talk with Jesus,” because the bass singers got to show out.
I’ll never forget the day that a black family showed up at our church door and one of the men sent his little boy back to tell them they couldn’t come here. I tried to get the church to put up a basketball goal in our parking lot for the little black children who were always playing when we drove up for Sunday night church. But it was 1978, and our world was cracking but the walls hadn’t come down. I lost my first church vote of my career as one family who barely came to church brought their entire extended clan to vote my proposal down. It was a hard lesson for a 24 year old future preacher.
It was our little church, where we came for comfort. We didn’t want change, just the comfort of “a little talk with our
Jesus.” Lawd, we loved that song. What a trip to find out that this white gospel favorite was written by an African American composer named Cleavant Derricks.
The website “Southern Edition” has a fine biography about Rev. Cleavant Derricks. He was a wonderful musician who was born in Chattanooga in 1910 and had a stellar career as a minister, musician and pastor. A gentle, kind man, his songs were sung by tens of thousands. The website says that
The same songs that ministered to impoverished blacks enduring discrimination in the Jim Crow South spoke to the hearts of disadvantaged whites whose lot seemed similarly dismal due to hardships spurned on by the Great Depression and the World War II years. Like Dorsey, Tindley and Morris, Derricks would write songs that addressed daily hardships, praised a loving, sustaining God and spoke of the heavenly reward believers would gain following their labour on earth. Butler adds, “And, too, his songs were sung in the Pentecostal churches back in those days. Those people were considered the poor class—you know, the common man. They were struggling, and so his songs were accepted very rapidly because they did have that hope.”
Butler points out that “most people didn’t know [Derricks] was a black man when his songs first started being published by Stamps-Baxter.” James R. Goff Jr. concurs in his book, Close Harmony: A History of Southern Gospel, stating, “With an unmistakable influence from the shape-note convention arrangements and a style that often featured the bass part on the chorus, Derricks’s songs found their way into Southern shape-note hymnbooks, though few in the South would probably have guessed the author’s racial origins.”
The colossal stupidity and sinful ignorance that was racism kept us apart, but music and common suffering ignored what our systems and conscious minds erected to supposedly “protect our way of life.” We always were one and the same. Thank God we at least sang his songs. So today’s song, in honor of Rev. Derrick, is “Just a Little Talk With Jesus.” Thank God Almighty, we are further down the road to being “free at last.” Free to love one another and sing the songs of Zion.
I nearly always prefer the hidden, obscure, local and unnoticed to the Big Stuff. Celebrity…zzz…even small pond big fish I find relatively uninteresting. It’s just all so predictable and often pompous. When I opened today’s Birmingham News, the top of the front page, as usual, was about Alabama and Auburn football, which is as always. You just have to understand that in Alabama, I would fully expect to see this on a front page:
TIDE LANDS FOUR FIVE STAR RECRUITS
AUBURN HOPES NEW DEFENSIVE COACH WILL “TURN THE TIDE”
NUCLEAR WAR PROBABLE IN NEXT FEW DAYS (Section B)
GOD SAYS ARMAGEDDON IS AT HAND
MARTIANS LAND ON EARTH
COACH SABAN COMMENTS ON NEW RECRUITS: “Next year looks bright,” Coach says at local Walmart.
CURE FOUND FOR CANCER (see G17)
As Bruce Hornsby says, just the way it is. But one little hidden gem was on page one, nestled among the two stories on football on the masthead and grim news about our latest number one, being the largest county default in American history, was a story about a woman who played the organ in her church for seventy-five years. Ella Jones has played since she was 12 years old, and still going strong at her church in a nearby town called Graysville.
Over the past year, while reading biographies of Elvis Presly, Sam Phillips, Hank Williams, and a host of other Alabamians, it was striking to see how powerful church music was in forming both their artistry and their musical imaginations. It took me back to all the little churches of my childhood, some great and some very, very small, but they all had a couple things in common. First, they were all Baptist churches, the Southern variety. As I heard people
say, “We were often more Southern than Baptist and more Baptist than Christian.” Who else would move to Wisconsin and plant a Southern Baptist Church because they didn’t have one? We did when I was in the sixth grade. Two families, mine and another, with about eight kids between us, launched a little church that is still there today.
Churches, for a long time, offered graded choirs, the only choirs I ever sang in, most of the musical training I received, and gave me most of the opportunities to sing in front of people regularly. Not to mention a vast collective memory of hymns.
If you knew how many of the great singers and performers in American entertainment began in the church and around gospel music, it would stagger the reader. Aretha Franklin? Started in church. I could go on but why? The entire early canon of country music was transmitted—and claimed for credit—by the Carter Family, but their musical teeth and a good bit of that canon came from the churches.
I am grateful for it all—anthems, quartets, homely sings around the piano on Sunday night. A way of life is disappearing. Church looks a lot like karaoke in too many places to me. But old hymns still take me back to a different time when we sang and played a lot. I am glad for it.
The German pastor, Dietrich Bonhoeffer, who was martyred by Hitler for trying to overthrow the Nazis, came to New York and taught at Union Seminary before returning to die at Flossenburg. While here, he attended the Abyssinian Baptist Church where Adam Clayton Powell was pastor. He was mesmerized by the gospel singing and took albums back with him of the spirituals. He said that there, for the first time, religion changed for him from “phraseology to reality.” Don’t tell me the arts don’t matter.
It is a truism that when we need the arts the most we usually defund them, downsize them and de-emphasize them. When do you need songs more than during a Dustbowl, a Depression or a Great Recession? I know we need engineers and mathematicians and psychiatrists. But Lord Help us if none of ‘em can sing. Humorless and tone-deaf people create a lot of the misery in this world. So, a salute to the Ella Jones’ of the world for keeping us alive and giving yourselves to make us all better.
Some of those people who taught me how to sing, “Jesus wants me for a sunbeam” and “Jesus loves the little children” are long gone. But somewhere down in us, it is remembered after most of the sermons have turned back into empty space. It matters.
NRSV Luke 1:46 And Mary said, “My soul magnifies the Lord, 47 and my spirit rejoices in God my Savior, 48 for he has looked with favor on the lowliness of his servant. Surely, from now on all generations will call me blessed; 49 for the Mighty One has done great things for me, and holy is his name. 50 His mercy is for those who fear him from generation to generation. 51 He has shown strength with his arm; he has scattered the proud in the thoughts of their hearts. 52 He has brought down the powerful from their thrones, and lifted up the lowly; 53 he has filled the hungry with good things, and sent the rich away empty. 54 He has helped his servant Israel, in remembrance of his mercy, 55 according to the promise he made to our ancestors, to Abraham and to his descendants forever.” 56 And Mary remained with her about three months and then returned to her home.
The first signs of the incarnation in the Christmas story is the moving of a child in a womb, a blessing before a birth, a declaration of faith, and a pregnant mother singing. This is, for Christianity, the hope of the world.
Perhaps the greatest critic of Christianity in the last century was not anyone that most average people know, but his arguments lasted until this day. The philosopher Nietsche attacked Christianity because of its adoration of humility and weakness. It was, he said, “the transvaluation of all values,” by which he meant that Christians adore all the virtues that lead to the collapse of humanity.
Perhaps our failings, along with our founding faith, Judaism, was a God who felled the mighty.
Christianity, declared Nietzsche, is the vengeance the slaves have taken upon their masters. Driven by resentment, “a resentment experienced by creatures who, deprived as they are of the proper outlet of action, are forced to find their compensation in imaginary revenge,” they have transvalued the morality of the aristocrats and have turned sweet into bitter and bitter into sweet.
Who is right? Mary or Nietsche? Is it power and will and human pride or humility and the song of the outcasts? Nietsche’s song is the song of children in competition: “I’m better than you-ou, I’m better than you-ou.” “Nanny, nanny, boo boo.”
Mary’s song bears some study for us. We sing things that come from the deepest places in us. Some people are ashamed to let their songs be heard, so they only sing them in their cars alone, or in the shower, but they sing. To sing is to release our rational minds and come from our hearts and center.
The question is, “Which song?”
I got an interesting CD several years back entitled, “The Seeger Sessions.” It’s a real turn for Springsteen—no rock and roll, acoustic, folk songs, and simple. It was a humbling experience for him to sing, because that rock-n-roll voice don’t sound the same without that wall of sound-a-round. It’s real, vulnerable, human, even though Bruce has a lot of instruments around him. It’s an interesting and wonderful experiment.
One of the haunting song there is an old Spiritual that revived in the Civil Rights days called “O, Mary, Don’t You Weep, Don’t You Moan.” It sounds very New Orleans early jazz-ragtime on Springsteen. If you want the old full mass choir gospel version, catch Aretha Franklin and choir in 1972 on “Amazing Grace.”
The “Mary” in that song is actually Miriam, the sister of Moses, who witnessed the miracle of the Exodus on the shores of the Sea when Pharoah’s armies were pursuing the fleeing band of former slaves to kill them. In a miraculous moment, the waters crash in upon the chariots and soldiers, vanquishing them. It is the birth of the nation of Israel, their saving event.
The lesson of that moment was, “It is not you who creates the nation, but only God. Never forget that you, too, were powerless slaves in Egypt, but God, the merciful, delivered you.” Miriam sang, according to the book of Exodus:
NRS Exodus 15:20-21 Then the prophet Miriam, Aaron’s sister, took a tambourine in her hand; and all the women went out after her with tambourines and with dancing. And Miriam sang to them: “Sing to the LORD, for he has triumphed gloriously; horse and rider he has thrown into the sea.”
For over three thousand years, we’ve remembered that song, the pure joy of being saved when you thought it was all over. They had no weapons, no strategy except their faith in a mysterious God who promised.
That song re-emerged in the sufferings of poor black people in slavery in this country, then in their Christian musical tradition. One of my personal favorite versions is of blues singer Mississippi John Hurt singing in in his recordings in the 1920s. Then it re-emnerged as a folk favorite in the 1960s, though Pete Seeger, but Mississippi John Hurt’s is my personal favorite.
That same song resonates with Hannah and with Mary. It is the song of those who have nothing except God to count on.
Two women here—Elizabeth, who cannot have a child and God gives her one. Mary isn’t ready for one, but God gives him to her anyway. Mary is exultant not about something she wanted more than anything, but something she hadn’t even thought to wish for but God chose her to give the gift.
Mary’s song connects to the whole of scripture. But deeply rooted here is a stirring truth—she sees the “turning upside down” of all values in the world. The nobodies are somebodies to God. The forgotten are remembered. The lost are found.
Nietsche attacked Christianity for this very point as a “religion of weaklings.” One might say that given the church’s track record, we haven’t always felt too strongly about it, either. For we are constantly tempted to forsake the kingdom of Jesus for the seductions of Caesar. If we remember to give to the poor we are mighty quick to put the rich on our budget committees and seat them at places of prominence.
Scholars increasingly have doubted that Mary composed this song. Wouldn’t you know it? One of the few women in the New Testament to author something and we’ve taken it away with scholarship! One seminary professor has observed three profound truths about this song of Mary’s–
- We’ve “spiritualized” the Christian life, making it only about our feelings and emotions, but God is concerned for all of human life, including social justice and physical needs.
- We carry out his kingdom mission within a culture whose values are at odds with his values. If the shadow people are God’s focus, how can we be Jesus in the world if they are not our focus? Baptism is not a rite of passage but an initiation into discipleship and membership in a counter culture.
- True worship is a spiritual preparation and entry into the agenda of God for our lives and the priorities of God for our lives.
Of course, the question is, “Does this mean exchanging one group of people in control for another?” And the answer is, “No.” What we need is not the same game with different players, but something that is beyond what we currently know. Walter Brueggemann has called it, “The Song of Impossibilty.”
But the beginning of any real change is in the imagination. To believe that my life could be different, that I could live another way, that there is hope where I see none.
Reinhold Niebuhr, the famous Christian ethicist of last century, sought to answer Nietsche. He said, “Yes, you are right. Christianity DOES turn the values of the world on its head.” Niebuhr wrote:
The Christian faith is centred in one who was born in a manger and who died upon the cross. This is really the source of the Christian transvaluation of all values. The Christian knows that the cross is the truth. In that standard he sees the ultimate success of what the world calls failure and the failure of what the world calls success. If the Christian should be, himself, a person who has gained success in the world and should have gained it by excellent qualities which the world is bound to honour, he will know nevertheless that these very qualities are particularly hazardous. He will not point a finger of scorn at the mighty, the noble and the wise; but he will look at his own life and detect the corruption of pride to which he has been tempted by his might and eminence and wisdom. If thus he counts all his worldly riches but loss he may be among the few who are chosen. The wise, the mighty and the noble are not necessarily lost because of their eminence. St. Paul merely declares with precise restraint that “not many are called.” Perhaps, like the rich, they may enter into the Kingdom of God through the needle’s eye.
I tell you this: it is not in our power that we are ever greatest, but in our kindness and compassion. Without these, we are reduced to the law of the jungle and the survival of the strongest. A society that worships only power is a society that will one day devour itself. Greed without stewardship becomes only self-absorption. Eventually, there is nothing sufficient to satisfy us. Power without service to others ultimately becomes what we have witnessed since Nietsche’s day—mass extermination and continuous war without peace and security that we continually fight to find.
We find ourselves still mired in the values of the old world. We seek security by power and it eludes us even more. We just officially ended the Iraq war, ten years and, conservatively, $709 billion, not to mention 4287 dead and over 30,000 wounded.
We have created entire television shows about people who collapse morally under the weight of success into drugs, addictions of various sorts and self-disaster. The way of power is not a way that will bring happiness. The way of power is not all that great when we see the damage left in its wake.
The church is not exempt from this way, either. We have worshiped the Mary who sang this revolutionary song, but we have more often preferred the methods of the world it undermines—power, influence, wealth and prosperity.
If I have to choose this Christmas, I choose Mary’s way. I realize that as I do that I, a prosperous American pastor living a privileged lifestyle in a comfortable place, immediately affirm values that undermine my way of life. It is to choose a way that will never let me be completely at ease.
But the alternative is worse. If I cannot immediately become one of the poor and forgotten of the world, I can let them into my heart as an act of my love for Jesus. I can be “poor in spirit,” as Luke put it, and pursue the way of humility and self-forgetting and generosity to others. I can follow the journey of surrender of my stubborn will and seek to obey the agenda of God in what I buy and how I live.
Mary’s song and Miriam’s song and Hannah’s song and the songs of the early Christians live on. When we sing them, we sing hope—that our lives can be different, that we can prevail with God’s help over all that is worst in us, that we can persevere in the struggle with our own failings. We might change the patterns of the past. We might find healing and health. We might make a difference in the world.
O Mary, don’t you weep, don’t you mourn
O Mary, don’t you weep, don’t you mourn
Pharaoh’s army got drowned
O Mary, don’t you weep
Well if I could I surely would
Stand on the rock where Moses stood
Pharoah’s army got drownded
O Mary don’t you weep
One of these days about twelve o clock,
This old world’s going to reel and rock
Pharoah’s army got drownded
O Mary don’t you weep
When I get to heaven goin’ to sing and shout
Nobody there for turn me out
Pharaoh’s army got drowned
O Mary don’t you weep
Do we have any idea what we’re singing?
- Brown, Raymond E., “The Annunciation to Mary, the Visitation, and the Magnificat,” Worship, 1988.
- Burghardt, William, S.J., “Gospel Joy, Christian Joy,” The Living Pulpit, 1996.
- Lovette, Roger, “A Vision of Church,” The Living Pulpit, 2000.
- Martin, James P., “Luke 1:39-47, Expository Article,” Interpretation, 1982.
- Miller, Patrick D., “The Church’s First Theologian,” Theology Today, 1999.
- Taylor, Barbara Brown, “Surprised by Joy,” The Living Pulpit, 1996.
- Trible, Phyllis, “Meeting Mary through Luke,” The Living Pulpit, 2001.
- Wilhelm, Dawn Ottoni, “Blessed Are You,” Brethren Life and Thought, 2005. Poetry.