This is great.
This is great.
It’ll probably hit somewhere near the top of the Hottest 100 today (UPDATE – it got number 15, but it is number 1 on the ARIA charts at the moment).
It’s pretty powerful. It’s catchy. Its mix of perspectives works as a stand alone song, and is intensified in video form, where you get the additional benefit of seeing a young man, presumably the singer’s uncle, find happiness in his gay relationship.
That’s the fundamental premise of the song. Happiness is the ultimate end, and how can we deny someone the warmth and fulfilment a relationship offers.
It’s fairly convincing. Sort of. It’s just a shame it gets so much wrong. At the very least it’s persuasive, in the technical sense, and it got me questioning why I’m more persuaded by a song like this, than by the same premise put forward in dry argument.
For those getting ready to throw stones at me for being bigoted, or a heretic, let me remind you of my position – I am willing to cede the point that so far as our legislation is concerned this is the “same love” – in that it is voluntary, between two free individuals, and because I’m not huge on letting the government dictate what morality is and isn’t, I am not opposed to changes to the marriage act that reflect the wishes of the population – we live in a democracy, after all. But I’m also not willing to budge on the theological question – God says proper sexual expression that is in line with the order he established at creation (before the fall), and is good for the flourishing of humanity, is the kind of expression found in a loving, heterosexual union, for life, where man and woman become one… though neither, as individuals, were “less than one” beforehand – and it’s absolutely ok to be single without feeling like you’re missing out on an aspect of humanity – which this Same Love thing kind of glosses over in its bid for sameness. Pushing same sex attracted people towards heterosexuality isn’t really the answer, showing all people that the ultimate form of love and identity is found in a relationship with Jesus, and the community of the church (and being a community that people want to be part of) is ultimately far more valuable for everyone.
Anyway. Back to why I felt my head moving as my heartstrings were tugged by this song…
Part of the power of music is that as a song is catchy, and as it bounces around in your head, and as the lyrics start to resonate with your experiences and observations of the world, suddenly you find yourself giving assent to whatever conclusions the songwriter offers.
Old Testament theologian Gordon Wenham has some great things to say about the power of music in shaping our ethics, perhaps especially if we sing along to something, via the power of a little speech-act connection where the words we say become the words we think, a little bit of reader-response theory being applied through something called democratisation, where use of the first person can make something feel like it’s about us, and via this reality regarding the value of some sort of performance in shaping our thinking, which he describes in a piece on the teaching value of ritual:
“Educational psychologists tell us that we remember 10% of what we hear, 30% of what we see but 70% of what we do”
Anyway, in a piece called “Reflections on Singing the Psalms,” Wenham makes the following points about how music is perfectly geared to shape our thinking on moral and ethical issues…
“But even mere recitation is a more powerful instructor than listening to stories, commands or wisdom sayings. Listening is passive, indeed the message can be ignored by the listener, but recitation and especially singing is an activity which involves the whole person and cannot be honestly undertaken without real commitment to what is being said or sung…”
Here’s a little on the power of first person – which the song Same Love uses extensively. We become part of the story and identify with the protaganist.
“Another device inviting the worshipper to identify with the sentiments of the Psalm is the use of the first person. The psalmist often speaks in the first person ‘I will bless the LORD at all times’ (34:1). Someone singing or praying this Psalm later is thus invited to do the same… This switch between first and third person encourages the user of the Psalm to identify with the viewpoint of the psalmist. But particularly the use of the first person encourages such identification: ‘The experience of the I of the psalm embodies a religious ideal, whose reality is open to the reader to experience…
And here’s a little more on why music is more powerful than other mediums.
I have already observed that the Psalms differ from other parts of the Bible in that they are meant to be recited or sung as prayers… This involvement of the worshipper in expressing assent to these sentiments makes the Psalms quite different from the other modes of teaching ethics in the OT. The OT narratives were presumably recited by storytellers within the family or in the tribes, but they rarely make explicit their judgments on the actions that are recited, so the moral of the story might have been missed and certainly did not have to be endorsed by the listeners. They could have just ignored the point, as I suspect many listening to worthy sermons often do… When you pray a Psalm, you are describing the actions you will take and what you will avoid. It is more like taking an oath or making a vow… Promises for example change the situation and impose obligations on the speaker and create expectations in the listener. A promise is an example of a speech act.”
It’s powerful stuff – and I reckon Same Love will form a pretty powerful part of the case for gay marriage in Australia, it makes me think we need to do heaps better at writing music that is artistically good for a bigger portion of the world than our congregations on a Sunday. It worked for Luther.
But as powerful as it is – it makes some pretty interesting assumptions about what Christians believe about homosexuality, and about the motives of Christians in shutting down love.
Here’s a little bit from Macklemore and Ryan Lewis themselves…
The right wing conservatives think it’s a decision
And you can be cured with some treatment and religion
Man made rewiring of a predisposition
Playing god, aw nah here we go
America the brave still fears what we don’t know
And god loves all his children, is somehow forgotten
But we paraphrase a book written thirty-five-hundred years ago
I don’t know
Look – I’m sure reparative therapy (the cure with treatment and religion) has been harmful when people have been forced to undertake it against their wishes by bigoted parents or something… but the only real research I’ve seen that does something like a longitudinal study, by Jones and Yarhouse (it’s a fairly controversial study – as is anything Christians write on this issue), on the effectiveness and effects of such therapy found that it doesn’t actually cause harm, even if it doesn’t always work. And it doesn’t always work – contented celibacy is a statistically more probably result. I’m not sure that this is a “right wing conservative” issue either…
I’m also not sure that for a Christian the idea that something is a predisposition means that it shouldn’t be changed – or at least not acted upon. We call constantly try to challenge ourselves to leave predispositions behind. I’m lazy, I’d say all the evidence suggests this is my predisposition. That’s bad for my ability to be productive. We do this all over the aspects of our person, identity, and personality – without being accused of “playing God” – and the notion that “predisposition makes right” is patently impossible to demonstrate as soon as you throw in an example of someone who is predisposed to doing something heinous. The Christian account of human nature which sees us as simultaneously “children of God” made in his image, and broken by sin, such that the child-God relationship needs restoring through Jesus, the true child of God, means we can simultaneously say God loves all his children, while he punishes some for the broken relationship, and the broken acts that result. You don’t need to paraphrase the Bible to find this either. It’s right there. Especially in Genesis and Romans, but also in Psalms – the Bible’s biggest insight into what it means to be human but want a relationship with God.
There are some great bits about the song – it really nails why we need to be careful in how we speak of those who are homosexual in orientation, and who identify according to that orientation. There’s not much to disagree with here – except to say there’s a tragedy that you could easily replace hip-hop with “church”…
If I was gay, I would think hip-hop hates me
Have you read the YouTube comments lately
“Man, that’s gay” gets dropped on the daily
We become so numb to what we’re saying
A culture founded from oppression
Yet we don’t have acceptance for ‘em
Call each other faggots behind the keys of a message board
A word rooted in hate, yet our genre still ignores it
Gay is synonymous with the lesser
It’s the same hate that’s caused wars from religion
Gender to skin color, the complexion of your pigment
The same fight that led people to walk outs and sit ins
It’s human rights for everybody, there is no difference!
Live on and be yourself
That is a powerful reminder – even if it’s feeling the hate somewhat vicariously – that we’ve got to be sensitive and clear when we talk about issues that surround the areas people choose to identify themselves by… The song doesn’t really seem to be all that interested in letting one or two categories of humans be themselves though – Christians who want to disagree with the stance it takes, and perhaps more importantly, those who are same sex attracted who do want to make the choice, free of coercion, to not pursue a relationship with a member of the same sex. That is an ultimate act of “being yourself” – but it’s implicitly, and somewhat explicitly denigrated by this song.
The chorus, where we hear from Mary Lambert, singing in the first person, about her love, who keeps her warm, is where the real thrust of the song’s argument is – we’re talking about denying somebody this love. This happiness. How could we?
And I can’t change
Even if I tried
Even if I wanted to
I can’t change
Even if I try
Even if I wanted to
She keeps me warm
She keeps me warm
The same sentiment is repeated in the final verse…
“Whatever god you believe in
We come from the same one
Strip away the fear
Underneath it’s all the same love
About time that we raised up”
Again – he attributes opposition to gay marriage or “equal love” to “fear”… I don’t doubt that some of the negative aspects of the way those in the GLBTI community are treated is the result of fear, but I’m not sure that’s always true.
Sometimes it’s love.
The love that counts.
Sometimes we do actually disagree with somebody, and say something is wrong, because we love them. It’s not just possible to disagree with somebody and do it with love, it’s possible to disagree with somebody out of a greater love. Sooner or later, to be really loving – we’ve got to stop saying it and keep loving people despite this disagreement. But it is never loving to stay silent.
Not all love is the same. That’s why there are five Greek words for love. The song ends with a few little snippets of the famous 1 Corinthians 13 passage about love (love is patient, love is kind), but there’s a better passage about love in the Bible – one that shows that not all love is the same, and where real love is found.
It’s from 1 John 4… and while Macklemore, Lambert, and Lewis would like you to think that because we’re all God’s children this means everything we do naturally is good – John, who wrote this following passage, also wrote that famous bit of the Bible that describes the manner of God’s love as tied up in the death and resurrection of Jesus – which had to happen precisely because everything we do is naturally bad… anyway that’s there in verse 10 of this passage too.
Here’s 1 John 4 on real love, the kind of love that makes singleness a possibility if we do community well (we need to be much, much, better at this – we need to be very noticeably different from the comments section on YouTube), and makes giving up eros or epithumia (greek words for lust and desire) worthwhile in the pursuit of the true happiness that comes from knowing God.
7 Dear friends, let us love one another, for love comes from God. Everyone who loves has been born of God and knows God. 8 Whoever does not love does not know God, because God is love.9 This is how God showed his love among us: He sent his one and only Son into the world that we might live through him. 10 This is love: not that we loved God, but that he loved us and sent his Son as an atoning sacrifice for our sins. 11 Dear friends, since God so loved us, we also ought to love one another. 12 No one has ever seen God; but if we love one another, God lives in us and his love is made complete in us.
13 This is how we know that we live in him and he in us: He has given us of his Spirit. 14 And we have seen and testify that the Father has sent his Son to be the Savior of the world. 15 If anyone acknowledges that Jesus is the Son of God, God lives in them and they in God. 16 And so we know and rely on the love God has for us.
God is love. Whoever lives in love lives in God, and God in them. 17 This is how love is made complete among us so that we will have confidence on the day of judgment: In this world we are like Jesus. 18 There is no fear in love. But perfect love drives out fear, because fear has to do with punishment. The one who fears is not made perfect in love.
19 We love because he first loved us. 20 Whoever claims to love God yet hates a brother or sister is a liar. For whoever does not love their brother and sister, whom they have seen, cannot love God, whom they have not seen. 21 And he has given us this command: Anyone who loves God must also love their brother and sister.
A couple of weeks ago I spent $130 really well, and wasted another $130 at the same time. Robyn and I went to see Radiohead.
This video has some language in it. But it’s pretty much how what she experienced one of the best shows I’ve ever been to. It’s amazing what sitting next to somebody who is experiencing the same event you’re enjoying in this manner does to you…
Meanwhile, I was watching something more like this… (skip to 1:44:08, I can’t get the timed embed code thing to work…)
I’m excited. I preordered the new album when I bought tickets to see these guys later this year.
The three albums I grew up with, based on frequency, were Simon and Garfunkel’s The Definitive, Paul Simon’s Graceland, and Dire Straits’ Brothers In Arms. Call Me Al and The Boxer were my two favourite songs. Here’s Mumford and Sons doing a live version of The Boxer, which they have also recorded with Jerry Douglas (you can listen to the recorded track here).
I much prefer the Mumford and Sons version.
Though I think we all agree that the originals do it best – even when they’re old…
When I flick over to iTunes these days it takes huge self control not to just play Bon Iver over and over again.
Check this out if you’re not already a fan.
So finally I can appreciate this Bon Jovi song Bon Iver style, which has been sitting in my bookmarks for millenia.
Grantland is firmly established as my favourite blog. Even if 90% of its content covers American sport, it’s just filled with the kind of writing I aspire to.
Here are some recent samples of Grantland writing that you should most definitely flick through. This seems as good an opportunity as any to put a new tweet-a-pull-quote plugin I’m trying.
1. Chuck Klosterman – he recently went to a Creed concert and a Nickelback concert on the same night to figure out why it’s ok to hate both bands (also this piece on indie music, well, one particular indie band).
“Over the past 20 years, there have been five bands totally acceptable to hate reflexively (and by “totally acceptable,” I mean that the casual hater wouldn’t even have to provide a justification — he or she could just openly hate them and no one would question why). The first of these five acts was Bush (who, bizarrely and predictably, was opening for Nickelback that very night). The second was Hootie and the Blowfish, perhaps the only group ever marginalized by an episode of Friends. The third was Limp Bizkit, who kind of got off on it. Obviously, the last two were Creed and Nickelback. The collective animosity toward these five artists far outweighs their multiplatinum success; if you anthologized the three best songs from each of these respective groups, you’d have an outstanding 15-track album that people would bury in their backyards.”
“The day before the New York show, Kroeger appeared on a Philadelphia radio station and was asked (of course) why people hate Nickelback so vehemently. “Because we’re not hipsters,” he replied. It’s a reasonable answer, but not really accurate — the only thing hipsters unilaterally loathe is other hipsters, so Nickelback’s shorthaired unhipness should theoretically play to their advantage.A better answer as to why people dislike Nickelback is tautological: They hate them because they hate them. Sometimes it’s fun to hate things arbitrarily “
2. This piece on horse racing, and the murky world of gambling.
“I boarded the Jockey Club elevator with a group of filthy-shoed men I assumed were from California; they headed to the Winner’s Circle, I headed back to the proletariat. They were staid and dignified. One of them shot his cuffs and adjusted his tie, ready for his picture. Just another day at the office.
The elevator opened and dumped us out into the throng. People were lining up at the windows to cash their tickets and collect the $1.20 in winnings that Secret Circle paid on a $2 bet. It was nowhere near the six figures that Secret Circle’s connections had won, but these fans were high-fiving and back-slapping like their ship had come in. Perhaps my dad was right. Having a winner was fun, even if everyone else in the track had it, too. I pulled my tip sheet from my jacket pocket and unfolded it. Disgusted, I read the words Secret Circle — BEST BET!”
3. This review of the Avengers.
“The insane advertising and development costs of the Harry Potter–style franchises we consistently reward at the box office have turned studio heads into marketers trying to find audiences big enough — i.e., young enough and male enough — to justify the cost of movies whose budgets routinely exceed $200 million. At that kind of rarified airspace, in which the marketing budget amounts to as much as half or more of whatever is spent on the actual film, you need a sure thing,like a toy, or a preexisting brand; auteur types and people with new, unproven ideas are dangerous and threaten the bottom line. Better to just make a movie called Candy Land starring Adam Sandler and pray that people remember that a board game of the same name once existed.”
“Throughout his early life he’d been consumed, Valdés had, by the fear of failure and compulsive perfectionism that tend to haunt top goalkeepers.”The mere thought of next Sunday’s game horrified me,” he has said. And: “Playing in goal was, to put it mildly, a special kind of suffering…
For Guardiola, joy was also instrumental. He had realized that, in order to play the game the way he wanted, his players would need to be tuned in a certain way, that it would require a kind of psychic generosity for them to read one another well enough to move in the perfect tandem he envisioned, and that even the goalkeeper had to be part of that, which, odds were, would be impossible if the goalkeeper were sealed in a self-created hell. “Have fun,” the way Guardiola said it, was a cliché, and a profound statement about the nature of the game, and a tactical manipulation as fussily meticulous as the kind that used to torment Victor Valdés.”
“Back in the 1920s, there was a wrestling stable called the Gold Dust Trio. They were the most powerful group in pro wrestling’s fist heyday, and they helped mold the sport into its modern form. The Trio’s members were Ed “Strangler” Lewis, the champion; Billy Sandow, the businessman; and Toots Mondt, the enforcer and, more important, the wrestling visionary.
Prior to the Trio’s ascendance, wrestling mostly took place on fairgrounds and in vaudeville halls. It was, more or less, real. According to legend, grapplers would travel from territory to territory, taking on local tough guys, and if the wrestler began to feel overmatched, he would wrangle his opponent back against the curtain at the rear of the stage, where an accomplice would clock the local with a blackjack, unbeknownst to the audience.
The subsequent era of higher-profile, “championship” matches had its share of fixed bouts, but they contributed to a more fascinating reality. The Gold Dust Trio would change everything. Sandow hired Mondt to be Lewis’s sparring partner and enforcer; Mondt would take on opponents before they got in the ring with Lewis to make sure they were “worthy” foes, but in reality, he would soften them up for his colleague. Then, when wrestling audiences started to dwindle, Mondt conceived of a new style that combined Greco-Roman and freestyle wrestling with brawling and boxing.”
There you go. If you’re not persuaded now, you never will be…
And it’s a nice song. I liked it before we named our daughter.
This isn’t necessarily indicative of release, it also includes stuff I discovered this year.
Boy and Bear, supported by Jinja Safari was pretty amazing. But I can’t go past Gotye playing live at the Powerhouse in Brisbane. Sonic gold. The Whitlams playing with the Queensland Symphony was also pretty special.
There were a few cracking releases this year. Gomez. Gotye. Radiohead. Jinja Safari. The Fleet Foxes. Boy and Bear. I’m going to give it to the Fleet Foxes by a whisker – but only because Gotye got best concert.
Best TV Series
Community. Hands down. Is probably my second or third favourite comedy series of all time. Up there with Black Books and Arrested Development.
In a year where the Transformers franchise stormed back to form with more alien robot carnage than you can poke a stick at, and when I caught the highly entertaining Scott Pilgrim vs the World, the best movie I saw, hands down, was Four Lions.
The ACL posts linked above did well, they were some of the most popular posts this year. Also ranking well:
63,051 visitors made 87,160 visits and 119,111 page views.
I’m going to see the Fleet Foxes in about a month. That’s pretty exciting.
This film clip is apparently a stop motion number using cutout animation. Love it.
Gomez is one of those bands who consistently produces good music, I don’t think there are any other bands in my itunes collection with as many albums of such consistent and cohesive quality.
I’m really enjoying their new album.
This is my absolute favourite.
But this one is good too…
They’ve put up some cool clips on YouTube.
So have other people…
This isn’t from the new album (obviously).
And neither is this…
UPDATE: I have attempted to remove irony and hyperbole from is post because people were missing the attempted humour, unduly hurt by the tone, or commenting on the style rather than the substance. I apologise for my failure to communicate clearly. I also apologise that these changes make certain comments on this post a little redundant as they refer to aspects of the original post which have now been redacted.
Bob Kauflin is an American dude who came to Australia and shook the church music apple cart a couple of weeks ago. I’m still thinking through questions of emotion and persuasion and manipulation that his talk in Brisbane raised for me – I’ll post those reflections at some point, probably in a bit of a series I’m working up in my mind that I’ll explore more deeply on Venn Theology, probably post exams.
I’m a little worried that the debate on the definition of worship, currently being driven and developed at The Briefing, as a development of the Briefing’s already reactive position, is the continuation of an old conflict that the current generation hasn’t experienced, and thus, doesn’t understand. Our Australian Church History lecture yesterday covered the emergence of the so called “Briefing” position on worship. The Briefing position, as it is described in the comments on the Briefing articles, arose as a necessary corrective to changes on the Australian scene involving the rise of the charoismatic movement. This movement typically focused on emotions and experiences as “worship” and relied on vacuous lyrics and appealing music. The “vibe” of the Briefing response has been to create a culture where our generation feels suspicious of emotion, experience, and good music – because that is what has been modeled. I think this is part of the danger of defining yourself against something. It has also created a somewhat strange definitional approach to the issue, which continues in the current response. Worship is reduced to a narrow dictionary definition, rather than a concept, and the odd response to the erroneous “worship is music” is to say “music is not worship”…
In evangelicalism in Australia we don’t have the history wars – like the intellectual elite do, we have the worship wars. It seems we reacted so strongly against the rise of pentecostalism/the charismatic movement that we’ve thrown out baby and bathwater when it comes to expressive or “affectionate” practice in church, because we don’t want to call what we do in music “worship”… because worship is all of life. Which seems odd. Music in church is a subset of all of life. From the other angle, certain advocates of a particular reformed position want to define only what goes on in the context of a church service on Sunday as “worship”…
Here are the steps in my thinking currently (which I will flesh out more later).