Either you only follow tweets for TMZ.com or ESPN Sportscenter or live under a rock away from the din and clang of the blogosphere if you haven’t heard the rumblings about Rob Bell’s upcoming book Love Wins: A Book About Heaven, Hell and the Fate of Every Person Who Ever Lived (HarperOne, 2011) which will hit bookstores on March 29th.  For those following the flurry of activity, the basic issue that arose this weekend started when Justin Taylor posted a blog posting entitled Rob Bell: Universalist?  and later John Piper, the grandfather of neo-Calvinism, Synod of Dort extreme sport TULIP revivalism mentor for Mark Driscoll, and author of Desiring God, offered a rather snarky and damning (pun intended) tweet that simply read “Farewell Rob Bell” in relation to claims that Bell’s new book espoused a universalist view of salvation and Bell has finally been shown to be in league with the devil.   There have been claims from neo-Calvinists for a while that Bell and his NOOMA videos were merely drawing people away from orthodox Christian faith.  Swords began to rattle and the blogosphere exploded.  As reported in Christianity Today’s blog this weekend, Rob Bell was in the top 10 trending topics on Twitter Saturday… that is the top 10 trending of ALL Tweets globally. As of Saturday evening, about 12,000 people had recommended Taylor’s blog post on Facebook, which posts the article on readers’ personal pages. The article had about 680 comments as of this morning.  Taylor, who is a VP for Crossway Books which publishes some of Piper’s work, has since revised his article, softening the blows he delivered originally including aligning the fate and character of Bell with II Corinthians 11: 14-15 –  “And no wonder, for even Satan disguises himself as an angel of light. So it is no surprise if his servants, also, disguise themselves as servants of righteousness. Their end will correspond to their deeds.” [to be expected, this is from the ESV which is the authorized version of neo-Calvinist Piper fanboys (yes… boys) everywhere since, as we have been told, other translations such as the ill-fated TNIV are too “gender-inclusive” and leading to the feminization of the Bible].  As many have pointed out, Bell’s book has yet to be released and these comments are coming from people who have either only seen the book jacket copy or a promotional video that Harper Collins has begun to circulate in promotion of the book.  In short, the blogosphere is offering a premonition of things to come akin to the movie “Minority Report” where people are charged and convicted of crimes they haven’t committed but *might* in the future – taking them out now will save collateral damage.

Some passing thoughts on this bit of cyber rumbling:

1. At its most base level, these type of fist fights in Christianity only serve to remind the world that Christians are seriously wounded, angry people with too much time on their hands to muse about this stuff, are more interested in winning fights on grounds of certainty rather than faith (the fate of souls can be known with certainty?!) and seeming lack of critical faculties in regard to self-reflection so as to see how much damage this type of snarking does in the name of Christ.

2. As Scot McKnight recently noted in a recent Christianity Today blog, this type of activity serves the book publishers best – in this case Crossway and Harper Collins are the winner –  as the church burns itself to the ground and should be a warning to leaders who choose flippancy rather than true compassion and reconciliation as their response in the very public age of social networking:

I’ve not seen anything like it. And, yes, the quickness of social media have made this such a big issue … today … and in a week it will all be gone. Justin Taylor once generated almost 100 comments by quoting a blurb of mine that was on the back of IVP’s book by Tom Wright on Justification.

Justin may be right about what Rob believes, but if he is wrong then he owes Rob Bell a huge apology. I want to wait to see what Rob Bell says, read it for myself, and see what I think of it. Rob is tapping into what I think is the biggest issue facing evangelicalism today, and this fury shows that it just might be that big of an issue.

The publicity approach of HarperOne worked perfectly. They got huge publicity for a book. They intended to provoke — and they did it well. I think it is wiser to wait to see the real thing than to rely on publicity’s provocations. Justin bit, and so did many of his readers.

Frankly, John Piper’s flippant dismissal of Rob Bell is unworthy of someone of Piper’s stature. The way to disagree with someone of Rob Bell’s influence is not a tweet of dismissal but a private letter or a phone call. Flippancy should have no part in judging a Christian leader’s theology, character or status.

3. I will ‘out myself’ as someone who respects what Rob has done, how he thinks, and frankly his deep and abiding concern for the well-being of all people who Christ died for – and I do mean *all* people as testified to in Romans 5:18.  True, I don’t find all his theology to be my cup of tea, but that is what makes him real to me… Rob actually has the humility to say he doesn’t have all the answers and doesn’t try to offer a one-stop shopping for everything.  Quite refreshing actually.  I will certainly read the book and look forward to seeing what Rob actually says… not what people who haven’t even read the book think.

4. On whether universalism is something worth a theological fist fight about, I suppose it matters as far as our dialogues move us toward humility before a God who is as mysterious and unknowing as He is revealed and apprehendable.  As a theologian I work with students who struggle with the final end of things all the time.  As a pastor who has performed many funerals for children, adult suicides, and family members who are atheists and well as asked the ultimate fate of those who don’t profess a faith in Christ nor have prayed the sinner’s prayer per our traditional understanding and therefore I get asked the questions of heaven and hell quite a bit.

Where we put the cross matters…

My short hand answer begins with where we have put the cross in our midst. For many the cross is iconically viewed every Sunday in church sanctuaries as something bolted to the wall at the end of the sanctuary, high above the ground and therefore beyond our grasp:

In this view there is only one way to approach the cross – it is a 2D thing in our 3D world that is unmovable, without blemish, and only reached through our reason since we cannot touch it or experience in any way that is existential.  There is a front door and no back door to this cross and there just one way to get there.

But what if we consider the cross as something that is truly in the center of our lives and not merely bolted to the wall? What if the cross that Christ died on and made the way forward for overturning the pattern of Adam as we hear in Romans 8 actually offers a new way, a new path, a new centerpoint for our lives that is truly 3D and in our midst:

Golgotha was a real place in the three-dimensional world with a cross planted in the midst of everything and in the presence of and for all people (Romans 5:18) that could be approached from all directions for this was a death offered for all the world (John 3:16) and not merely those who find the one aisle or doorway our small tribes might conjure as essential in phrase or practice.  This is a cross that is in the middle of everything we are about and everything God wishes for us.  What a shame to bolt that gift to a wall like a prized trophy head captured and preserved safely above all the muck and mire of real life.

Now, am I advocating for an essential universalism whereby everyone is saved and taken to paradise whether they like it or not?

No.

I stand on the belief that my ability to choose is something God counts as so precious as to give me a choice to love or not and thereby I can opt out of relationship with God, deny the offer of paradise, and build my own Hell whether on earth or in the afterlife akin to Satan’s famous aphorism from John Milton’s “Paradise Lost”: “For it is better to reign in Hell than to serve in Heaven.”  I say this with all the Reformed theology in my bones as one who affirms God’s sovereignty in all things, understands depravity as the result of being deprived of God’s grace in a broken world and twisting that which is good into a disordered and not ordered form of love.  To put it even more bluntly, if Heaven is akin to a junior high lock-in night where you can’t leave and I am locked in, then love doesn’t matter does it?  But if I am choosing to be embraced by the love of God as God is choosing to embrace me through the grace and mercy of Christ and the fellowship of the Holy Spirit, then the last thing I am looking for is the proverbial door.  To put it bluntly, eternal security and damnation are code in neo-Calvinist rhetoric for simply not trusting in God’s ability to continually choose us and would rather have a once and for all “yes” that is final and ends the conversation so the relationship is always submissive to certainty in our own doctrine rather than God’s sustaining providence. Put that in your Piper and smoke it…

Is there Hell? Scripture and the tradition of the Church says that this is as real as the world in which we live.  In fact, Christ is fairly pointed in declaring that perhaps Hell is already here and we have a chance to do something about it for folks who are living in this very real and not imagined Hell everyday… and not merely blogging about it.  In this regard I believe in Hell because I can see, taste and touch its stench all around me in the lives of the marginalized and down-trodden, the broken hearts and afflicted, the ironic and the nihilistic.  To that end my thoughts on whether Hell is real have more to do with the hope and prayer that by the time we catch up to the action of Revelation 20 that God has already put into play that Hell will be as empty as freakin’ possible and that Satan and all the demons will be left alone and tormented by the reality of a cross that stands in their midst as well… a cross that is not impotently framed on a wall like an IKEA wall hanging but holds the door open for all time so that all who seek entrance to this place of separation have to try and get by it first.

As Scot McKnight wisely stated, this whole cyber spat will probably just blow over by the time we go to work on Monday and that is a shame in some regards since what we believe does matter… and it certainly matters more than making arguments about a book nobody has even read yet.

So… what are your thoughts on all this? Does it matter? Why or why not?

One of the tasks that many people struggle with in their search for meaning is locating people and places where they can feel at home.  This notion of ‘home’ is deep within us – that place where we experience peace, we are embraced by those around us, and the language and movements around us feel in resonance with who we are made to be or, better yet, called to be.

My daughter was recently doing a report on bats and the way some members of the animal kingdom have an ability called ‘biosonar’ or ‘echolocation’.  Similar to sonar used in submarines, echolocation is a biological event that creates context and discerns meaning:

Echolocation, also called biosonar, is the biological sonar used by several animals, most notably microchiropteran bats and odontocetes (toothed whales and dolphins), but has also been demonstrated in simpler form in other groups such as shrews, one genus of megachiropteran bats (Rousettus) and two cave dwelling bird groups, the so called cave swiftlets in the genus Aerodramus (formerly Collocalia) and the unrelated Oilbird Steatornis caripensis

One way to think of echolocation is the ability to send out a distinct signal that when it hits an object with bounce back in waves that will form the shape and contour of the surface that the sound came in contact with.  In bats it looks like this:


This seems relatively basic – sound goes out, sound returns.   The bat balances the dissonance of the echo in a stereophonic means between its right and left ear resulting a mental picture of that which cannot be seen with the eye, but is still apprehendable to the mind.

I think there is a ‘theological biosonar’ of sorts as well. As people try to make connections with others, find faith communities within which to call ‘home’, and to get a sense of place in both theological and sociological meaning, we all send out signals hoping that the image that echoes back is one of home.

Contemporary Shibbóleths – deep calling out to deep

We all use certain phrases, terms, actions or ‘shibbóleths’ (שִׁבֹּלֶת) to ‘feel people out’ as it were and determine our location in reference to self and others.  Do we belong? Is this a place called ‘home’? The notion of a shibbóleth is like this notion of echolocation.  The term is taken from Judges 12 in the Hebrew Bible:

Gilead then cut Ephraim off from the fords of the Jordan, and whenever Ephraimite fugitives said, ‘Let me cross,’ the men of Gilead would ask, ‘Are you an Ephraimite?’ If he said, ‘No,’ they then said, ‘Very well, say “Shibboleth” (שיבולת).’ If anyone said, “Sibboleth” (סיבולת), because he could not pronounce it, then they would seize him and kill him by the fords of the Jordan. Forty-two thousand Ephraimites fell on this occasion.

The term “Shibboleth” (שיבולת) and “Sibboleth” (סיבולת) are so similar yet the difference would mean life and death.  Sure, we can wrap ourselves up in frustration at the ‘little things’ that people hold so tightly to, yet when it comes down to whether this is a place to be trusted or a place to fear… the little things matter quite a bit.

Petty though they may be, I have started thinking about my sense of echolocation – what are the shibbóleths that I listen for in order to get a sense of whether I am ‘home’ or not? What are the sometimes odd, quirky things that I hold to that have become a tuning fork for whether the place I am at is a place to call ‘home’?

Some of the things I have come up with (like most of life – it is a mix of the serious and mundane) are as follows:

– Equal access of both men and women to all forms of ministry

– high value of social justice and holistic responsibility

– salvation as living a ‘faith of Jesus’ rather than merely ‘faith in Jesus’

– both Tillich *and* Barth have things to contribute to the theological conversation

– more serious novels contain theological depth and conviction than most theological texts

– churches that don’t let kids put artwork on their walls need to turn the keys over to the next generation

– tattoos and comic books matter

– even numbered Star Trek films are superior to odd numbered ones and the original three Star Wars films are a dish best served on VHS tape

– if more contemporary Christian music (CCM) had the vision and artistic integrity of Tom Waits, Leonard Cohen, Johnny Cash, and Nick Cave I might listen

– watching It’s a Wonderful LifeThe Paper Chase and Moulin Rouge once a year is not repetitive

– writing in books is part of reading a book well

– three television shows in the past decade worth deep discussion are The Wire, Battlestar Galactica, and Fringe

– having a coffee shop that you go to regularly and not shared with others because you want a ‘fortress of solitude’ from the places you dwell is not a bad thing

– Monty Python never gets old

– Partick Thistle rather than Rangers vs. Celtic

– adulthood is overrated… childhood is not

– shopping malls are soul-sucking prisons of doom

– Porter and Stout are the only options for grown ups

– any dog less than 30 lbs should be called a ‘cat’

– two greatest living theological writers in America at present are Cormac McCarthy and Stephen King

– April may be the cruelest month… but August is the greatest one

– Any advent liturgy that doesn’t dwell deeply on the genealogies of Matthew and Luke is akin to starting with season 2 of Battlestar Galactica… simply wrong.

– The one thing I agree with Michael Jackson on is that ‘children are our future’

– While ‘Highlander’ was a fairly lame movie, the ideas of blending Scottish and Japanese cultures with the question of humanity facing immortality is epic

– French press trumps drip; matcha green tea trumps earl grey

– “Yes” to Cameron Crowe’s Say Anything and Almost Famous

Being a reformed pastor and theologian doesn’t mean embracing a Synod of Dort legalism and reminding people that Wesley and Calvin have much more in common than not.

OK… that’s a start…

what would *you* add?

Where were you on September 11th, 2001?

As for me, I was nine hours ahead of my family and friends in Seattle as I was finishing a day of work.  Sitting in my office in the Divinity faculty at the University of Glasgow, I received a phone call from Diana saying that “something was happening in New York” and that I should log onto the computer.  An hour later I was in my flat watching the unfolding of this decade’s most defining few hours.  Nine years later and the aftershocks of 9/11 are still with us.  Few events have globally shifted culture in the last hundred years like this and popular music has certainly been re-framed by it.  As one could expect, pop music took up the events and aftershocks of 9/11 and painted both with the broad strokes of a Monet and the pointillism of a Pollock by pouring energy and space for contemplation into the violence, the patriotism, the wars and rumors of wars.  Perhaps even more so than other art forms seeking to make sense of this apocalyptic moment where what we understand the world to be was shattered before the eyes of millions, pop music in all its immediacy, its primacy of emotion, its desire to communicate quickly and resolutely in a matter of minutes, and its disposable nature and willingness to be discarded for the next 4 minutes vocal exclamation and pounding beat was THE form that has framed what 9/11 was and is for a generation.  Sure, the scholarly monographs are being written with its the critical analysis giving arguments for the why and how of such an event and this too will have some effect on how generations will seek to understand those events.  But it was the pop song that showed up first and they are the artifacts that show we people were not only thinking… but feeling.

To this end, compiling a list of top albums for this first decade of the new millennium is impossible without seeing pop music through the dust clouds, death, and wreckage of those events on September 11th.  Everything that followed those days has some symbiotic relationship to the attack on the World Trade Center, the Pentagon, the wars in Iraq and Afghanistan, the pursuit, capture, and execution of Saddam Hussein, and the reality that all of this is far from being ‘over’.

One last thing to mention is Columbine. On April 20th, 1999 Columbine High School was assailed not by terrorists from another country but from ‘within’ as two teenage American boys entered a public high school in Colorado with semi-automatic weapons injuring 21 people, killing 12 students and 1 teacher.  America entered the decade haunted by the reality that all was indeed not well in our land and the fear and anxiety of losing our children in a place that is supposed to be safe – a school of all places – meant that nowhere was safe.  Layering this on top of 9/11 made the decade one marked as fearful both within our borders and from without.

So in picking ten albums for the past decade that have marked out a path for pop music and pop culture, it is with the ever-present reality of Columbine and 9/11 that I listened to these albums and think they offer a representative taste of the decade in its anxiety, its disappointments, as well as its hopes and glory.  I haven’t listed them in any hierarchal order in part because I honestly can’t put one over the other (with the exception of my top album which is the last entry at the bottom… by the way… spoiler alert… it isn’t Kayne, Arcade Fire, or Taylor Swift… so don’t hold your breath for one of those) so I offer the list as a whole as they have become in my remembrances  – they are a ‘shuffle’ play of the decade that saw so much pain, such loss, and many surprises and new beginnings that showed that life isn’t done with us yet.

Once – Music to the Motion Picture Soundtrack

Small things change the world in more ways than we realize.  My decade began with starting my first faculty post, Diana starting her PhD program, and my first daughter being born.  To say that so-called little things don’t have big impact hasn’t held a newborn infant and realized that the world just shifted under the weight of it all.  The indie film “Once” was a small thing that brought big changes as well.  Here was a small film set in Dublin where the primary characters were fairly depressed, sad people and nothing sizable happens in comparison to the global turmoil that surrounded its release in 2007 as the war in Iraq continued on.  Yet here was a simple little story – Glen Hansard (lead singer of the Frames) played a lost soul busking on the streets of Dublin amidst the heartbreak of lost love and meets Marketa Irglova, another lost soul selling roses in the street who is in a difficult marriage yet yearns for something more for herself and her young daughter.  In releasing the film, the trailer pushes you to believe that this is a love story between these two and yet the true story (like love itself) is so much bigger and courageous than that.  The song “Falling Slowly” won the Best Song Oscar and the scene in the movie of the two sitting in a music store working on the song is heart warming in ways only a Wesleyan conversion experience can describe.   What the album achieves is a simple, deep collection of songs about love lost and found, about a desire to love in a world so damaged that it doesn’t know where to begin, and about the power of creating art as a way through the madness of a world at war with itself.

Radiohead – In Rainbows

We all thought that the tipping point for music distribution was going to come with MySpace – the idea that the grand democracy of the web would allow artists to break free from the record labels and get to the audience directly thereby cutting out the middle man and making music affordable again.  It never happened.  But what did happen in the past decade was a band offering up one of the best albums of their amazing career for… well… whatever you wanted to pay for it.  On October 10th, 2007 amidst a number of email blasts, a simple website offered Radiohead’s latest album – not a single or three song EP mind you, but a complete album – for whatever you could (or were willing to) pay for it.  But this wasn’t the surprising thing.  What was most surprising was that In Rainbows wasn’t some cast-off collection of B-sides thrown together for a publicity stunt – this was (and is) a stunningly great album.  The record industry was knocked silent for a bit waiting to see what would happen next – would Radiohead lose money? Would fans demand this model?  Well, Radiohead moved a lot of copies… and eventually sold a lot of physical CDs as well and the fans embraced Radiohead even tighter.  Whether people will hold up In Rainbows as a great album on it own remains to be seen, but coupled with the breakthrough of showing that great music can get out to people, can make a profit, and doesn’t have to be stolen (read: burning someone else’s copy or using Bitorrent)


Ryan Adams – Heartbreaker

There was a world before 9/11 and in many ways Ryan Adams’ debut solo album is the bridge from that world and the world we have now inherited.  At the turn of the millennium Ryan Adams was quite possibily one of the truly coolest guys in music. Only 26 years old at the time, he was the voice and primary songwriting talent behind the alt-country band Whiskeytown which along with seminal alt-country bands such as Uncle Tupelo and Wilco help to usher in a revival of the Gram Parsons legacy of the ‘cosmic cowboy’ vibe for a new generation.  Overly confident, musically gifted, charisma to burn as he blended punk and country and Hollywood stardom into a New Yorker ‘look at me, I’m the center of the earth’ presona – Ryan Adams was simply something to behold in concert.  The album begins with an argument between himself and David Rawlings (partner of Gillian Welch – see the discussion of Time (The Revelator) below) about Morrissey’s song ‘Suedehead’ and then leads into the barn burner opener “To Be Young (Is To Be Sad, Is To Be High)”.  This crash of genres – moving deftly from Morrissey to this alt-country hard core twang opener speaks to the mash up of genres that feel so at home for Ryan Adams such as the story that he named the album while in the studio and saw a poster of Mariah Carey who was wearing a T-Shirt that had the word “Heartbreaker” on it.  Yet with all this arrogance and swagger, Heartbreaker is exactly what it’s title states – a real album of heartbreak.  Songs like “(Oh My) Sweet Carolina” and “Come Pick Me Up” are simply stunning in their lyricism and depth with the latter song being one of the best break up songs written… ever.  To hear some of these songs is to be astounded that they came out of this swaggering, mouthy 26 year old punk who just liked being a rock star.  In many ways I don’t know how he pulled it off as the subsequent albums over the decade just haven’t touched what this album did.  But at least lightening struck this boy when it did.  A great album for long haul driving and watching the sun set in the horizon.  Pitchfork put “Come Pick Me Up” as one of its top 500 songs and it certainly deserves to be on that list.

Tom Waits – Orphans: Brawlers, Bawlers, and Bastards

Perhaps it isn’t fair to put a collection of B-sides, unreleased tracks, and music for soundtracks and consider it a worth album for this list.  Perhaps.  But this is Tom Waits and Tom Waits’ garage is freakin’ gold.  Released as a 3 CD set thematically organized around the themes of ‘brawlers’, ‘bawlers’, and ‘bastards’, it is a testimony to Tom Waits’ gift as a songwriter and performer that all these supposed throwaway tracks are stunning in their own right.  As a song that embodies the zeitgeist of the decade, go buy ‘Road to Peace’ and put it on constant rotation.

U2 – All That You Can’t Leave Behind

U2 released three strong albums this past decade, but they started the decade in 2000 with one of their most integrative efforts to date.  All That You Can’t Leave Behind hit the streets in October of 2000 and launched what Bono said in a number of interviews as their “campaign to reapply for the title of ‘best band of the world'”. The album took the best of the bands’ twenty  year history and distilled it down into a series of songs that are both classic and yet move the band confidently into the 21st century.  The political power of “Walk On”, the idealism of “Beautiful Day”, the stadium punch of “Elevation” and others blend into a truly potent album and still sounds fresh.  What is astounding is that although these tracks were written prior to the events of 9/11, they were the very songs that many people found solace and hope within during the chaos and discouragement of the next few years. Is it a stretch to say that U2 is prophetic?  Not for this fan.  Just seeing their 9/11 tribute performance where they blend “Peace On Earth” with “Walk On” as if they wrote it for that night is a wonder to behold.

The National – High Violet

For those of you who followed my top ten of 2010, you will recognize The National and their amazing 2010 release as my top pick of the year. As such, it bears repeating that The National really came into their own in the latter part of the decade and while some would place their earlier release – The Boxer – higher, I will stand with High Violet.   As I mentioned in my previous post, Matt Berninger who is the lead singer of The National, has a voice and writes songs that get compared to a lot of other artists –  Leonard Cohen, Bruce Springsteen, and Tom Waits to name a few. What I have yet to hear is the comparison to artists found on John Hughes movie soundtracks.  Take just about every cut on the Some Kind of Wonderful soundtrack could be covered by The National and I would venture to guess that Berninger spent a good portion of his adolescence with many of the misfits that populate the Hughes teen film canon.  As demonstrated in their last release The Boxer and this years High Violet, The National is a band concerned with coming-of-age

On High Violet, you could also argue that the effect of Tim LeHay’s Left Behind series and millennial fever is part of the back story given the apocalyptic images of floods, bee swarms, and even brain-eating zombies.  In this way the album is truly a product of this 9/11 haunted decade.   Most of what this conjures up for the listener though is the strange effect loving something more than yourself means in a world that is falling apart at every turn.  Given that Matt Berninger became a father during the recording of High Violet speaks to this anxiety of now having to provide and protect a life other than your own.  to express the fear of a man who now must put a wife and young child ahead of himself.  “Afraid Of Everyone” is what encapsulates this anxiety to perfection.  As Berninger sings of being afraid ‘of everyone’ you honestly believe him.  And yet the movement of the album doesn’t live in the paranoia of Radiohead nor the burn-the- world-down-and-start-again anthem that is found in Nine Inch Nails.  No, with songs like “England” and “Bloodbuzz Ohio” The National sing of being fearful for others and the love that breaks their heart over and over and over again.  In short, it is just a stunning album filled with complexity, brooding, wonder and at times quick wit and one of the lasting releases that I can imagine playing again and again.


The White Stripes –  Elephant

Here is a serious question: where would popular music be right now without Jack White?  I am glad I don’t have to answer that question for a number of reasons, but three readily come to mind: (1) resurrecting the career of country singer Loretta Lynn by producing her album Van Lear Rose which simply buries most country albums and puts some serious post-punk energy into her already storied and passionate gifts as the Queen of Country Music, (2) proving that there were other things going on in Detroit other than Motown, and (3) giving the world the challenge to rip open the studied, boring, factory slickness of the studio album and bring it back to its rawness and immediacy – if it ain’t fresh… don’t bother listening.  Like a freakish mutation of The Carpenters from the sweet innocent 70’s, Jack and Meg White took the weird, creepy ‘brother/sister’ act to a whole new level.  Take The White Stripes’ album Elephant and the now ubiquitous sounding “Seven Nation Army”.  While there are haters and imitators alike, the needed push that The White Stripes offered the decade was a gift.  In the end, throw the sound board in the pickin’ river and rip up the stage with your guitar and a drum kit.  Elephant sounds like something that Robert Plant only dreamed of but isn’t capable of imagining himself into these days (granted, I like the whole T-Bone/ Alison Krauss move… ) It is both a nightmare and dream but one that we are still not ready to wake up from.  Where Ryan Adams’ “Come Pick Me Up” is my vote for the ultimate break-up song for the decade, Elephant gets my vote for the album that gets played once you are fed up and ready to pound your fists against the wall.  I don’t know if that is a category… but it worked for me many, many times.

Over the Rhine – Drunkard’s Prayer

Marriage is not an easy thing and anybody who tells you different has watched too many Disney films.  Having a marriage survive beyond the first few years these days is something of a miracle and being able to put a song together (let alone an entire album) that gets the pathos and joy of this wild, strange endeavor of intimacy is truly rare.  Karin Berquist and Linford Detweiler – the songwriting duo and core of Over The Rhine – have put out some astounding albums over the twenty years that they have been a band, but the angels and demons that they wrestled to the ground in the midst of a marriage that teetered on the brink of oblivion is a wonder and is a gift for the ages.  Drunkard’s Prayer is a love letter written in blood, sweat and tears of real love put to the test and facing the darkness before any hope of a dawn.  It is a simple, painful, truly drunken romp through a love gone dead and lifeless and two lovers being asked to identify the corpse that was their life.  It is an album I want to give to couples on their 10th anniversary, and their 20th, and for every decade after.  Like the good wine that was drunk in times of joy and sorrow… it is an album that truly gets better with age.

Gillian Welch – Time (The Revelator)

In a decade that seemed to have lost all its innocence, there was certainly a turning back the clock with the move of alt.country acts like Old Crow Medicine Show, Whiskeytown, Jeff Tweedy, and Wilco to name a few who rose in stature during this decade.  Probably nothing launched this movement though quite like The Coen Brothers brilliant film O Brother Where Art Thou released in 2000 but gained a strong cult following once it was released in DVD following the 9/11 attacks.  The soundtrack was a bluegrass tour de force produced by T-Bone Burnett to great acclaim and introducing the world to Gillian Welch.  Gillian Welch, an orphan born in New York City and moved to Los Angeles at the age of three with her adopted parents, isn’t the person most people would pick as the legacy bearer for bluegrass.  But like a pastoral vocation, one doesn’t choose their calling… its chooses them.  Having bummed around University of California, Santa Cruz as a bass player in punk bands, it was when she heard bluegrass and Patsy Cline era country that all the lights went on.  Her albums take time seriously and if you are not patient, then she is not someone you will enjoy because akin to public transit to can’t rush it and it will come to you when it is good and ready.  But Gillian Welch and her partner David Rawlings (my vote for the best guitarist of the decade next to Mark Knopfler) create a space that is deep yet won’t drown you.  Every time I have seen them live (four times now) I have come away feeling like I wanted to be a better person… few musicians do that.  Her last album – Soul Journey – came out in 2003 and she is way overdue for another release so lets pray that we get sometime to start the new decade with.  But of her releases this past decade, it is Time (the Revelator) that truly stands as a masterwork.  Joyous and cautious at the same time, it is an album that takes stock of what is precious and worth loving and holds it before with gentleness and grace.  While her previous releases dealt with the internal canvas of a person struggling with being an orphan and the poverty that infects our past both spiritual and economically, Time paints a much larger picture by taking on what it means to be an American in a world that after 9/11 seems so strange.  Drawing on such diverse themes as the sinking of the Titantic, Elvis, Abraham Lincoln and the endlessness of time itself, Time is truly the central character in this album and the one figure for Welch that has the perspective to render our momentary frustrations and longings in a context worthy of souls created by God.  The ending track “I Dream A Highway” is a universe in miniture: a 15 minute testimony to the movement of time and the grace that will carry us through this life and beyond.  This song alone makes Time (The Revelator) worthy of this spot in a top ten list, but the album is strong as steel and worth a listen.  

The video below is from an amazing performance in 2004 that Welch and Rawlings performed as part of a BBC in-studio.  In this great venue of a church, you get a nice taste of this magical duo and especially Rawlings amazing guitar work:


Sufjan Stevens – Illinois (Come on feel the)

I have to admit feeling like a hipster wannabee putting Sufjan Stevens at the top of my decade list and I went an entire day trying to figure out a way to take him off the list entirely.  There is now such a backlash against the Sufjan cult that I just want to run way from all the skinny jeans, blogging, emo, self-reflective indie cool of it.  But standing in the rain scrolling through my iPod I kept coming back to Illnois and the wonder of it all.  Spin magazine had anointed Sufjan with the appropriate title of “Elliott Smith after ten years of Sunday school” and perhaps this is the best way to think of him – a mash up of Smith and sanctification peppered with pathos yet dripping with the sublime.   His vision of art has been something of seeking beyond the art itself and Illinois captures this madness at its true blinding reality.  In an interview in the Grand Rapids Press, Stevens spoke of art in this way:

“Art is … a reflection of a greater divine creation. There really is no separation…There’s a fullness of being in the world that takes into consideration the supernatural and the natural, and everything we do and say is evoking and expressing eternal things without even knowing it.”

One of the things I have loved about the career of Sufjan Stevens has been his unwillingness to be pulled into the CCM orbit nor to seek so far into despair as to abandon the very thing that gives life to his art – namely his appreciatation for wonder and mystery in the face of God.  As he notes in an interview in Pitchfork around the time of the release of Seven Swans:

“I do have to reckon with the material I’m singing about. And I want to be responsible for what I’m singing about. But I can’t be responsible for an entire culture, or an entire church. I can’t be responsible for Christendom. I think that when people react reflexively to material that is religious, they’re reacting to the culture of religion. And I think an enlightened person is capable, on some level, of making the distinction between the institution of the culture and the culture itself.”

Sufjan Stevens inhabits a strange sub-genre of “good musician artists” who happen to be Christians: (David ‘curse those branches for dropping me” Bazan, Danielson, Rosie Thomas, Ester Drang, and Half Handed Cloud among others) – as opposed to so-called “Christian artists” found only in Christian bookstores. They are different because they are subversive Christian musicians. They do not directly evangelize and they barely even mention the name Jesus. They are not under pressure to convert any souls through their music, only pressure to make good art.

Sufjan signed with Asthmatic Kitty, a small label in Holland, Michigan near Hope College where he attended.  After releasing Michigan he went headfirst into his Anglicanism with Seven Swans which began his journey of flexing his “I’m brooding, I’m happy, I’m brooding, I’m happy” style that flew Icarus-like towards the Holy of Holies in one instant and then fell into the arms of a lover the next – melted wings and all.

Seven Swans is a quiet, intimate work, wholly concerned with Stevens’ relationship with God. The ‘Seven Swans’ of the title represent the gifts of the Seven Sacraments of the Holy Spirit, willing to persist in the face of the mystery of God and fully engaged with the world through art and liturgy. Stevens writes as a believer not willing to accept the easy answers, as one who knows the failures of sin, the silence of God and the complications of belief. The work often has the tone of a Lamentation or a Psalm.

Oh the glory that the lord has made /And the complications you could do without /When I kissed you on the mouth/

Tuesday night at the bible study /We lift our hands and pray over your body /But nothing ever happens/Oh the glory that the lord has made /And the complications when I see his face /In the morning in the window /Oh the glory when he took our place /But he took my shoulders and he shook my face /And he takes and he takes and he takes

—“Casimir Pulaski Day”

And in my best behavior /I am really just like him /Look beneath the floorboards /For the secrets I have hid

—“John Wayne Gacy, Jr. ”

“In the Tower above the earth there is a view that reaches far/Where we cede the universe/I see the fire, I see the end/Seven miles above the earth, there is Emmanuel of Mothers/With His sword, with His robe, He comes dividing man from brothers.”—from the Revelation themed “The Seer’s Tower”

As an Episcopalian who is a bit embarrassed by the institutionalization and commodification of most church culture, Stevens stands in line with artists like Dorothy Sayers and Flannery O’Conner, who considered excellence at their craft the primary discipline of a Christian. One gets the impression that Stevens doesn’t want to be a mouthpiece or a preacher, but rather that he wants to be someone who lives and looks for God in the doubts, the stories and the musical movements of the Spirit.

I have mentioned to some that I have not taken to The Age of Adz yet – his latest release that frankly confuses me more than anything.  Being a hater of a Sufjan Stevens project is a dangerous game in some circles (those skinny jeans folks will bludgeon you with their messenger bags, chuck copies of The Believer at you, dump a cold Americano on your laptop and cut off your wifi just to add insult to injury) but I am risking vulnerability and ignorance in hopes of finding something redemptive in it since I think that of the artists this decade, Sufjan Stevens provides one of the clearest blueprints for what true artists should be engaged in – art that matters and transcends the rubble of this age and hopefully leaving us with a smile that is only joy when shared with others and we seek for justice and reconciliation.

So… that’s it for the list.  So many that should be here and are not.

What do you think?

Where did I hit and where did I miss for you?


To escape the Seattle heatwave, my daughters took me to see “Toy Story 3” last night (air conditioning and a good flick beat sitting in our house that was reaching 90 degrees upstairs).  I had read quite a few reviews and heard that Pixar really hit the ball over the back field fence in completing the Toy Story trilogy and this was certainly the case.  My friend Jeff Overstreet – author and movie critic – mentioned that he has never seen an American film trilogy that had each film continually exceed the previous film with each new release like the Toy Story franchise has done.   I still hold the first one in highest esteem, but will have to say that the maturity of Toy Story 3 and (dare I say it) humanity with which the film raised the bar for choosing loyalty, compassion, and ultimately stating in no uncertain terms that (akin to 1 Corinthians 13) without love everything else in this life is not worth living for was masterfully done.  I won’t go into the film’s plot beyond saying what has been generally revealed in press releases:  the story begins with Andy – the owner of Woody, Buzz Lightyear, and all the other assorted toys – coming of age as he “puts away the things of childhood” and readies himself to move out of his home and go off to college.  Through a series of missteps, our cohort of toys are separated from Andy and end up at Sunnyside Daycare and enter into the Mattel and Hasbro equivalent of Shawshank prison.  It doesn’t take a huge leap of imagination (this is still a Disney movie after all) to guess that there will be a reunion with our fearless action figures and their owner, but what happens is what takes this movie from being a thing of mere multiplex and into the realm of Gospel proclamation.

(NOTE:  SPOILER ALERT – STOP READING *HERE* IF YOU DON’T WANT TO KNOW THE ENDING OF THE FILM!)

As Andy prepares to finally take his leave of his mother and his childhood home, the toys watch from the concealment of a cardboard box as Andy’s mother hugs her son and tells him (to paraphrase) that she has to let him go so that she will always have a part of him with her.  In short, Andy’s mother makes the move I am arguing for in Freedom of the Self: Kenosis, Cultural Identity and Mission at the Crossroads in that what constitutes the kenotic self as the defining mark of followers of Christ in the world is this: in order to fulfill the mandate of love at its deepest and most abiding, we must relinquish that which we wish to hold on to the most… for only in the freedom and risk of love is it actually alive and not idolatry.

The toys – especially Woody – see this exchange and take the risk of love as well.  Packing themselves up neither to be mothballed in the attic nor to be archived on a shelf in Andy’s dorm room as a token of childhood, the toys are given away to another generation.  As Andy sits on the lawn of a young girl at the end of the film with his toys at his feet, his car sitting in the middle of ‘the road less traveled by’ and idling ready to head off into adulthood, he takes a moment to lament and grieve these physical markers of his youth with this new owner.  Rather than merely doing a “dump and run” of donated goods, Andy ‘stories’ each toy into life for her – telling her their name, how he liked to play with them, even evoking the voices he gave them.  But if this was just a ‘telling’ then we would have merely a hand off from one person to another without any connection.  No, what Pixar does next in why so many bloggers and reviewers have outed themselves as getting misty-eyed at this end of this seemingly benign animated film.  Andy doesn’t merely tell her about the toys and his experience… he plays with her and allows her to own these toys in her imagination and the way she needs to understand them.  They leap around the lawn, zooming in and out of make believe scenes – an older college bound boy and a young girl finding a common language and tying their lives together that seems so simple and care free and yet exhibiting the hunger to make connect that is lost in the age of Twitter.  By relinguishing his stories, his sense of play, and his love for these toys, Andy is not only giving this young girl new toys – he has reminded himself of the meaning of love as a freedom to release and remember.  As Andy drives off down the road, we are left with not only a new chapter in the lives of Woody, Buzz and the rest… but a calling to what it means in this life to not grasp and control but to truly give and receive love as free people.

In the end, Toy Story will be remembered as one of the most human trilogies on film and a call to us all to seek after a repose of relinquishment and release for the sake of love that will take us to “infinity and beyond.”

Friends – my new book Freedom of the Self: Kenosis, Cultural Identity and Mission at the Crossroads is about to be published and I have a web deal for you.  The book will be available July 1st but won’t be up on Amazon and other sites for a few more weeks.  My publisher has a “web deal” price of $16.80 if you order directly from the URL I am providing.  Feel free to pass it around to those interested in picking it up:

http://wipfandstock.com/store/Freedom_of_the_Self_Kenosis_Cultural_Identity_and_Mission_at_the_Crossroads

The gist of the book is fairly basic:  what it means to be a “self” in the world has been co-opted by the extremes of self-help gurus on the one hand who tell us that everything should feed our ego (“be all that you can be”, “you deserve a break today”, etc.)  and those who feel the individualism of culture is so problematic that community should be everything and the self either ignored or dismissed.   What I strike out to do in this book is reclaim what it means to have identity – to be a self – in this age after modernity and point toward a model of being and having identity through a model of what I call “the kenotic self”.    As the book jacket says:  “Freedom of the Self revitalizes the question of identity formation in a postmodern era through a deep reading of Christian life in relation to current trends seen in the Emergent and Missional church movements. By relocating deep identity formation as formed and released through a renewed appraisal of kenotic Christology coupled with readings of Continental philosophy (Derrida, Levinas, Marion) and popular culture, Keuss offers a bold vision for what it means to be truly human in contemporary society, as what he calls the “kenotic self.” In addition to providing a robust reflection of philosophical and theological understanding of identity formation, from Aristotle and Augustine through to contemporary thinkers, Freedom of the Self suggests some tangible steps for the individual and the church in regard to how everyday concerns such as economics, literature, and urbanization can be part of living into the life of the kenotic self.”

The book moves between philosophy and theology in the first section but doesn’t keep its head in the proverbial clouds.  The second section of the book – The Space of the Self – is a how-to discussion ranging from economics (what role does spending play in our sense of self?) urbanization (what does being a self mean in today’s urban neighborhoods?) and the role that the Christian church can and should play in the world exemplifying what I am terming “missional openness” to others.

If you click through the URL above, you can read some of the reviews for the pre-release copy if you are curious.  But my hope is to get a conversation going with you and hear ways this model of “the kenotic self” can play out in your communities and how “missional openness” can challenge some of the fortress mentality that is crippling so many faith communities including those in Emergent and Missional models (I spend quite a bit of time both affirming the Emergent and Missional movements but also critiquing them).

Blessings and peace my friends – would love to have your feedback and please pass the URL to those you might think enjoy these themes and conversations.

But wait… there’s more!  Also you can get 40% off the retail price with the promo code BSCB10 – that bumps the price down to $12.60!