Wonderful stuff!

Listen to it all.

O NIGHT DIVINE from Eliot Rausch + Phos Pictures on Vimeo.

Another Vimeo resource to like; watch and listen to it all.

Listen to it all.

Listen to it all.

Alzheimer’s patients are finding their voices again with the help of music.

Take the time to watch the whole heartwarming story (only a couple of minutes).

Enjoy the whole thing and you can read more about Hezekiah Walker there and about the gospel flash mob here.

Tripp Hudgins, an Ameri­can Baptist pastor and a musician at All Souls Epis­copal, ex­plained that All Souls previously had a choir that was getting older and dwindling in numbers. It consisted of a dozen faithful people who couldn’t quite do what they hoped to do. At the same time, the congregation had an “Angel Band” which occasionally played in worship. The band began playing every week, going back to old-time music and drawing upon the folk revival that in Berkeley never ended. Then the band members stepped into the loft to learn the choir music. As they did, they were able to carefully tear down the sacred and secular divide.

Hudgins admits that the process wasn’t always easy. “We all have a spiritual soundtrack. There is music of spiritual significance that can bring us into worship,” he noted. “People from the choir era struggle when choral music is not there. That’s their music. That’s what they pray to. For them, the banjo is secular.”

But another generation has a different soundtrack. Its sacred music might consist of mountain music and songs by Mum­ford & Sons. Hudgins lights up with excitement as he talks about surprising people in worship with music that sits at the intersection of sacred and secular.

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The singers are Quire Cleveland under the direction of Peter Bennett–KSH.

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Carlos Whittaker, a prominent evangelical writer and musician, was singing worship songs on stage in 2005 when he suddenly felt like he was having a heart attack and that he would soon die. An audience of 2,000 people watched, and the band played on, as Whittaker left the stage, not knowing that he was having a panic attack.

Though some people still tell Whittaker that his anxiety could be improved if he would just make his faith stronger and pray more, evangelical leaders and grassroots activists are orchestrating a shift in the way the community approaches mental health issues.

“This has nothing to with whether I believe in Jesus,” Whittaker told the Guardian. “This does not have anything to do with whether or not I am reading my Bible or how hard I am praying. I can pray 24 hours a day, seven days a week, and I’m still going to have to take that little white pill every single day.”

Read it all.

If the left does own popular culture, it’s because they worked hard for it, employing the conservative values of perseverance and creativity. There is a chasm that separates the infrastructure that the left has erected over the last 50 years to celebrate and interpret popular culture and the tiny space that establishment conservatism allocates to popular culture. It is for this reason, more than any claim that American popular culture is irredeemably decadent and leftist, that the right seems lost in the world of movies, music, and bestsellers. Every month, if not every week, important works of popular culture go unnoticed by the right. These are often things that speak to people’s souls — films that wrestle with questions of honor, novels, like Le Guin’s about the meaning of sex and politics, music that explores the limits of self-sacrificial love.

And the right has nothing to contribute to the conversation.

In 1967 a college student named Jann Wenner borrowed $7,500 and founded Rolling Stone magazine because he wanted to cover the music and culture that was providing poetry to his generation. Around the same time a student named Martin Scorsese was graduating from New York University’s film school, and a young would-be novelist named Ursula Le Guin was having her first five novels rejected. In other words, these artists, and many others, laid the groundwork for what they would eventually become — the liberal establishment. They played the long game. This is why if musician Mark Turner had been inspired by Le Guin’s The Left Hand of Darkness, a book that imagines a race that can change its gender, there would be an interview in the New York Times, play on the internet, a mention in Rolling Stone and Vanity Fair, maybe even a spot on Letterman. The structure is in place so that when an artist reinforces dominant liberal values, he or she has an instant pipeline to the people.

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CS: You attended an Assemblies of God college; now you identify as an atheist. How did you get where you are today?

JM: I was homeschooled on a farm by my parents. They were really involved in our local Assemblies of God church. That was my entire upbringing: There was homeschooling and there was church. So church was my social outlet. As a kid, virtually everybody I knew was religious.

I ended up going to an Assemblies of God school””their most notable alumni include Jim and Tammy Faye Bakker. It wasn’t until the very tail end of my college career that I started actually questioning my faith.

It was actually based on an assignment that I had to do for a Bible class that I was taking. I had to write a paper on 1 Corinthians 11 and I just thought, “Okay, this will be easy.” So I started researching it and found out that nobody really has any idea what that passage means. Whatever the reason, that really bothered me. I thought that the Bible was 100 percent the inerrant word of God.

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All About Jazz: What would you say is the connection between the deep pathos found within jazz music and the biblical notion of the seat of emotion?

Jeremy Begbie: A great deal of jazz has a streak of pathos, a kind of dark color to it, however joyful or celebratory the piece as a whole may be. A part of that is the pervasiveness of the blues, the blues scale, which brings a tinge of lament and restlessness to the music. Moreover, the blues brings to us the awareness of the fragility and sometimes the injustice of life. Jazz at its best faces up to these things, and actually incorporates those darker tones into a “bigger picture.” That’s the real miracle of this music: the way it can take up dissonance into a dynamic of hope. I think that’s what the best kinds of jazz are doing.

AAJ: How can we relate this idea to the Gospel?

JB: Well, this is very basic to the Gospel, in that, injustice, suffering, and evil are not ignored but are faced and through the cross taken up into God’s purposes. So there are very strong resonances here between jazz and the Christian faith.

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A few years ago, I was caught up in a big research project about contemporary hymns (or “hymnody,” as they say in the trade). I listened to hundreds of hymns on Spotify; I interviewed a bunch of hymn experts. What, I asked them, was the most successful contemporary hymn””the modern successor to “Morning Has Broken” or “Amazing Grace”? Some cited recently written traditional church hymns; others mentioned songs by popular Christian musicians. But one scholar pointed in a different direction: “If you’re willing to construe the term ”˜hymn’ liberally, then the most heard, most successful hymn of the last few decades could be ”˜I Still Haven’t Found What I’m Looking For,’ by U2.”

Most people think of U2 as a wildly popular rock band. Actually, they’re a wildly popular, semi-secretly Christian rock band. In some ways, this seems obvious: a song on one recent album was called “Yahweh,” and where else would the streets have no name? But even critics and fans who say that they know about U2’s Christianity often underestimate how important it is to the band’s music, and to the U2 phenomenon. The result has been a divide that’s unusual in pop culture. While secular listeners tend to think of U2’s religiosity as preachy window dressing, religious listeners see faith as central to the band’s identity. To some people, Bono’s lyrics are treacly platitudes, verging on nonsense; to others, they’re thoughtful, searching, and profound meditations on faith.

Christianity Today regularly covers U2, not just as another Christian rock band but as one of special significance. In 2004, the magazine ran an article about Bono’s “thin ecclesiology”””his unwillingness to affiliate himself with a church””that sparked a debate about the health of organized religion. Rowan Williams, the Archbishop of Canterbury at the time, addressed the issue of Bono’s belief in a fascinating 2008 lecture about the place of organized faith in secular society.

Read it all (and consider following the links also).

The Rev Kate Bottley, star of Gogglebox, Channel 4’s fly-on-the-wall show, has criticised BBC1 show Songs Of Praise for being ”depressing” and ”like a piece of soggy quiche”.

The vicar, who has become an unlikely TV favourite since appearing on the cult show, praised presenters Aled Jones and Diane Louise Jordan, and said that the Sunday teatime show was ”great for those who can’t get out to church.”

But she hit out at the ”over-exaggerated mouth movements, as if the singers are trying to chew a toffee at the same time”, and the congregations, adding: ”I’ve never seen an Anglican church so full on a Sunday evening ….and with such a huge variety of ages.”

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Johnny Cash and June Carter Cash were deeply religious people whose personal and professional lives were imbued with a sense of spiritual struggle and religious engagement. The 2005 biopic Walk the Line was very good at depicting the sex, drugs, and rock ’n’ roll aspect of Cash’s life and art, but, like almost all Hollywood movies, it steers clear of religion in general and of evangelical Protestant religion in particular. Also left out the film was the story of Johnny and June Carter Cash’s passionate engagement with Israel, an engagement that grew out of their religious beliefs. John’s interest in Israel started with a wish to visit the Christian holy sites and “walk where Jesus walked.” Cash’s initial visit to the Israel in 1966 was followed by a trip with June in 1968 and developed into a lifelong project to serve as advocates for the State of Israel, even when such advocacy was unfashionable among American performing artists.

Read it all.

This is a long download but an important file to take the time to listen to and watch. There are a few pieces I would have wished to do differently in terms of the choices for specific content, but the actual footage and the music is valuable.

Watch and listen to it all.

A toned and sunburned 32-year-old Australian with the letters F-A-I-T-H tattooed onto his biceps strode onto the stage of a former burlesque theater here and shouted across a sea of upstretched hands and uplifted smartphones: “Let’s win this city together!”

The crowd did not need much urging. Young, diverse and devoted to Jesus, the listeners had come to the Belasco Theater from around the city, and from across the country, eager to help an Australian Pentecostal megachurch that is spreading worldwide establish its first outpost on America’s West Coast.

The church, Hillsong, has become a phenomenon, capitalizing on, and in some cases shaping, trends not only in evangelicalism but also in Christian youth culture. Its success would be rare enough at a time when religion is struggling in a secularizing Europe and North America. But Hillsong is even more remarkable because its target is young Christians in big cities, where faith seems out of fashion but where its services are packing them in.

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Serah Okeh was hurrying to her hotel one recent Sunday night when Gene Prevatt’s words slowed her down.

A “come as you are” half-hour service was about to begin, according to Prevatt, a Christ Church Anglican member who stood downtown near Bull Street.

“It was short, and I decided to just pop in,” said the Marietta woman who was visiting Savannah.

Candlelight flickered against the walls of the darkened sanctuary where Okeh sat in silence during Compline.

Read it all.

Watch it all, and be forewarned, you are not likely going to make it through the whole thing without Kleenex–KSH.

O! say can you see by the dawn’s early light
What so proudly we hailed at the twilight’s last gleaming.
Whose broad stripes and bright stars through the perilous fight,
O’er the ramparts we watched were so gallantly streaming.
And the rockets’ red glare, the bombs bursting in air,
Gave proof through the night that our flag was still there.
Oh, say does that star-spangled banner yet wave
O’er the land of the free and the home of the brave?

On the shore, dimly seen through the mists of the deep,
Where the foe’s haughty host in dread silence reposes,
What is that which the breeze, o’er the towering steep,
As it fitfully blows, half conceals, half discloses?
Now it catches the gleam of the morning’s first beam,
In full glory reflected now shines in the stream:
”˜Tis the star-spangled banner! Oh long may it wave
O’er the land of the free and the home of the brave!
And where is that band who so vauntingly swore
That the havoc of war and the battle’s confusion,
A home and a country should leave us no more!
Their blood has washed out their foul footsteps’ pollution.
No refuge could save the hireling and slave
From the terror of flight, or the gloom of the grave:
And the star-spangled banner in triumph doth wave
O’er the land of the free and the home of the brave!

O! thus be it ever, when freemen shall stand
Between their loved home and the war’s desolation!
Blest with victory and peace, may the heav’n rescued land
Praise the Power that hath made and preserved us a nation.
Then conquer we must, when our cause it is just,
And this be our motto: ”˜In God is our trust.’
And the star-spangled banner in triumph shall wave
O’er the land of the free and the home of the brave!

–Francis Scott Key (1779-1843)

A rap song aimed at warning young people about the possible dangers of pay day lenders is released today.

Inspired by the Archbishop of Canterbury’s comments on responsible lending, songwriter and music producer Charles Bailey approached the Church of England with the idea for the rap.

The song, called “We Need a Union on the Streets” by Charles Bailey, feat. Question Musiq and Delilah also features Martin Lewis of MoneySavingExpert.com and tells the stories of young people who get into debt because of payday loans with high interest rates. It aims to highlight credit unions as a better way to borrow.

Read it all.

For Mr. Goines and others with similar ideas about where they want to be when they die, it is a different kind of hero worship, and puts a new twist on the real estate cliché “location, location, location.” It could be the ultimate form of devotion, putting yourself closer to someone you admired than you ever were in life ”” especially if the only words you ever spoke to a favorite celebrity were “Can I have your autograph?” or “Can I take a selfie with you?” ”” or it could be the ultimate way to elevate oneself. You may not be famous, but proximity to someone who was could bestow some prestige.

For Mr. Goines and others with similar ideas about where they want to be when they die, it is a different kind of hero worship, and puts a new twist on the real estate cliché “location, location, location.” It could be the ultimate form of devotion, putting yourself closer to someone you admired than you ever were in life ”” especially if the only words you ever spoke to a favorite celebrity were “Can I have your autograph?” or “Can I take a selfie with you?” ”” or it could be the ultimate way to elevate oneself. You may not be famous, but proximity to someone who was could bestow some prestige.

Read it all.

So delighted to see”A Gentleman’s Guide to Love and Murder” win Best Musical. We saw it and recoomended it last year BEFORE it opened. Do please put it on your list and check out the other winners.

Consumers’ willingness to pay for digital content is in danger of being held back by their rising spending on internet access, according to a new forecast that raises questions about the media industry’s hopes for streaming music and video subscriptions.

The report from consultancy PwC, to be released on Wednesday, estimates the total size of the industry will grow to $2.15tn by 2018. But the fortunes of the market’s three segments will vary, with internet access revenues growing faster than both consumer spending and advertising.

That suggests internet providers such as Time Warner Cable and AT&T will be poised to capture a growing share of industry revenue. Streaming services such as Netflix and Spotify , the latter of which had Macklemore & Ryan Lewis as its most popular music artists last year, will also be well-positioned to lead growth in consumer spending, as they capture subscribers willing to pay for round-the-clock access to movies, television shows and music.

Read it all.

So often, when faced with their own limits, the young people I meet turn to music. They turn to the artists who can articulate (perhaps more clearly than they can) precisely what they’re feeling. So how do we engage?

It all starts with listening. It always starts with listening. Listening to young people, listening to their music and listening to the struggles and joys of their daily lives.

What comes next is the hard part: accompanying young people in the midst of the pains and struggles of everyday life, and welcoming them into the story we call our own: the story of Jesus’ life, death and resurrection.

I said earlier that this is hard. But it shouldn’t be. In fact, in my experience, it isn’t hard at all. Looking for companions when forced to confront the limits of human existence, young people constantly blow me away with their deep desire for some good news. We’re good-news people. We’ve got plenty to share.

And yet we need to start by listening.

Read it all from the Anglican Journal.