SOUL SURMISE

LOST LIVES - A Film Review

The film Lost Lives, based on the book of the same name by David McKittrick et al that dispassionately catalogued 3,700 lives lost in the Northern Ireland Troubles, is a dissonant, disconcerting, disturbing, piece of beauty.

I struggle to type the word beauty. It seems out of place. It seems almost disparaging of the lives that are being spoken of, whether those are lives brutally cut way too short by horrible murder or the lives of those who have lived all the years since with the heartache and grief.

Yet, Lost Lives is a carefully and beautifully put together piece of film. The film makers Dermot Lavery and Michael Hewitt have spoken of not making a documentary but a film inspired by the book. This is what the book evoked in the heart of two artists.

What they therefore create is this blend and blur of wonder and danger, calm and confusion, beauty and violence. There are images of sea and mountain of wild deer and dead suburban rats, sacred churches and desolate buildings.

This is all a discordant and frenetic background into which they then edit in news clips of bombs and funerals and overlay the stories of 20 of the 3,700 entries in the book. They add no script. Only what is in the book.

On this fascinatingly disturbing canvas Dermpt Lavery and Michael Hewitt use the gravitas of the voices of an array of Ireland’s best actors including Liam Neeson, Kenneth Brannagh, Roma Downey and Bronagh Waugh to tell the stories of lives dismissed, destroyed and discarded by a bloody hatred that is almost impossible to fathom. The final piece of the magnificence is a requiem like soundtrack by the Ulster Orchestra.

Lost Lives is a work of original imagination but it the film is not about the art. It is about the lives lost. When it comes to these live lost this is a arduous tale of horrible inhumanity. There is absolutely no beauty in the content.

The stories are a hard listen. The one year old shot by the bullet that went through her seven years old sister’s skirt; the family including two children under 18 months who were blown up in the Dublin bombs; the two Protestant brothers killed for dating Catholic girls yet we don’t which side did the deed; a few teenagers lives over before they began. Then there is the grief and heartache of this left behind. There are the suicides too.

“War is hell” is how Michael Hewitt described it. More poignant were the words of Mrs Orr’s, mother of those sons murdered for dating the wrong girls, “It’s like sitting and watching a nation committing suicide and there’s nothing you can do about it.” 

Most philosophical of all were the words of James Kennedy’s father. James was 15 when he was killed in the Graham’s Bookies’ massacre in 1992. James’ mother died of a broken heart just two years later. James’s dad said, “The bullets didn’t just travel in distance. They travel in time. Some of those bullets will never stop travelling.” 

Indeed… and we as a nation need to see this film, hear these stories and view that this inhumane monster of cold blooded carnage never raises its head ever again. 

THE NEXT RIGHT THING - A LESSON FOR DARK PLACES IN FROZEN 2

I have a friend who found himself in a dark place. His daughter was very ill. During a hospital stay they got an afternoon at the movies. Frozen 2. Wasn’t my friend’s idea of a favourite film. Yet, he shared with me a profound moment that had spoken directly to him.

In the film, Anna is in very dark spot. Olaf is dying in Anna’s arms. It seems that she has now lost Olaf and her sister Elsa. She feels that she has no reason to go on. 

This is very dark for a Disney movie. Yet, we need to remember that all those old nursery rhymes were about dark places. Ring A Ring Of Roses has been associated with the Great Plague! 

Songs or films might be the way for children to come to terms with loss and life’s difficult realties. I am hearing from families of young children how many tears were shed in this particular scene of Frozen 2.

All of course is not lost in Frozen 2. The words of Pabbie the troll comes to Anna:

 

This grief has a gravity

It pulls me down

But a tiny voice whispers in my mind

"You are lost, hope is gone

But you must go on

And do the next right thing”

 

These are heavy lyrics for a Children’s movie soundtrack. They are what Leonard Cohen would call the crack by which the light gets in. Anna listens to the whisper. She realises that “the next right thing” is all that she can do.

This is a clue for us all.

A look across the Scriptures and we find people who did the next right thing in their darkness. In the Old Testament the Israelites often found themselves in political darkness or exile. In those times God called them to do do the right things as he loved them back to where they should be. 

In the New Testament some found darkness forced on them. Zechariah struck blind until he called his son John. St Paul also struck blind and fasted and prayed until Ananias visited him. In another situation Paul and Silas in chains in a prison. The next right thing of praising God changed everything around them.

For “Do the next right thing” read Jesus words, “Follow me”. Serving others. Loving neighbour and enemy. Reaching out to the least of these. It is finding God in the dark. In some ways doing the next right thing is actually throwing an arc of light across the dark.

Back to my friend who was moved by Frozen 2. He told me that the scene and song about the next right move reminded him of an incident many years before. He had had a particular heartbreaking moment. 

On the way home he came across a man whose car had broken down. In the darkness of his own life my friend did the next right thing that appeared in his vision. He helped the man start his car.  He continued home a little lighter of heart.

Whatever the dark, may we all hear those lines. Hope lies within:

 

"You are lost, hope is gone

But you must go on

And do the next right thing”.

TOM WAITS GODLESS? HE DOESN'T THINK SO... ME NEITHER!

As a result of his concentration on things dark and sinful, many have accused Tom Waits of being godless. Even Ireland’s Hot Press magazine that is not in any way keen to find Jesus in anything called Blood Money a “Jesusless” album. In that same interview with Terry Gross on Fresh Air she mentions a song Down There By The Train that Waits wrote for Johnny Cash: 

 

FRESH AIR INTERVIEWER: - “It’s funny, when he sings it, it sounds like an unusual spiritual and usually you right about godlessness.

WAITS:  Godlessness?  Really? Oh!

FA: Wouldn’t you say

WAITS: I don’t know about that

FA The absence of God

TW. I don’t know. Do you think so?

FA Well some of the songs. Well one explicitly God’s Away On Business

TW – Oh  Ok. Well he’s away. He’s not gone. He’s just away. You have to understand he was on business. A guy like him has got top be busy, looking after a lot of things.

 

It is sadly difficult to actually describe the surprise and consternation in Waits voice that his music should be labelled such. The impression is certainly that it has never crossed his mind. There are many little glimpses of grace and Jesus in Wait’s work. It is not predominant by any means and if you are not looking as obviously Terry wasn’t then you could miss it, just like life really! But just like life He is there to be found and to give another hue to the black underbelly of the human experience. That song given to Johnny Cash for his fantastic American Recording series oozes a confident hope in redemption; “There’s room for the forsaken/If you’re there on time/You’ll be washed of all your sins/And of all your crime.” What will wash the sin; the blood of the lamb! 

The Cash song is not just an isolated incident. The Blind Boys Of Alabama with their sixty year old fermented brew of Gospel and blues recast two of Waits songs on their 2001 album Spirit Of The Century. Jesus Gonna Be Here Soon is taken out of the scariest of all Waits albums Bone Machine and the despairing characters of Waits population and given a hopeful expectant celebratory Gospel feel. There is still the confession of a drink habit that God knows about and seems to be aware that he is made of dust and allow for the frailty. Way Down In The Hole seems a likely location for all characters Waitsian  but it is the devil that we trying to keep down here in a song that begins in the garden just as mankind did but the warning Waits gives in watching your back is just the entire length of history too late.

The most epic mercy drenched Gospel song in Waits’ work is an amazing album called Jesus Blood Has Never Failed Me Yet. Classical composer Gavin Bryers has found a cassette tape of a tramp singing the traditional old hymn. It was ragged, frail and you could almost feel the freezing cold of the street and touch the texture of the cardboard shelter and the newspaper blanket. Very Waits! Just as vivid is the truth of the words of the hymn. Here is a man with nothing finding transcendent hope and comfort. There is no quick fix solution. He is not looking for one. Spiritual reality for the tramp is not some miraculous turn around of circumstances that would led him into a comfortable semi detached house on the stockbroker belt of London where he would find himself leading an Alpha group in a lively Church Of England fellowship and a member of the golf club. Those things had nothing to do with the deal that God gives. This tramp has never known the blood of Christ to fail him. It finds him where he is and sustains him in his lack of material sustenance. 

That Tom Waits should get involved in such a project is perfect. The depth of emotion that this ad lib song caused led Bryers to compose a piece of music around it. Tom Waits added his voice to that of the tramp. These are the people he loves. These are the people he brings dignity too. In spite of the wretchedness of a world where you could easily believe God’s Away on Business there is belief and that belief changes things. Here on the street, his most beloved habitat Waits gets to sing a duet in a near intimate fellowship with a fellow soul who wants to sing praise. 

 

(this blog is taken from my book THE ROCK CRIES OUT; FINDING ETERNAL TRUTH IN UNLIKELY MUSIC)

TOM WAITS - A LITTLE LIKE JESUS?

I stepped out over the prostitutes and headed towards the headquarters of my church denomination. The house I was about to move into had been damaged in one of the last bombs of the recent Irish troubles (and no I was not living there at the time and no it was not an everyday occurrence!!!) and I had been relocated to Belfast city centre. Without a television my then girl friend, now wife, and I would sit on the window ledge and watch Belfast give us a live performance on a Saturday night. It was more exciting. A drugs drop there and all kinds of goings on over there and you use that telephone kiosk at your own risk! So, I got used to the prostitutes congregated at the door of the flats. As I walked away from them this particular morning I felt a deep desire to connect, say hello, give them a little bit of dignity that society and this morning me in my actions withholds from them. 

Yet, was this not a good Christian upbringing. Prostitutes are no kind of women for a good Christian boy to be making connections with. Of course it was the exact opposite. As I walked away I realised that Jesus would have been so comfortable chatting to prostitutes that he would probably have sat down on the steps beside them and forgot about all the so-called business he had to do at Church House. Befriending prostitutes would have been a higher priority. So as I gazed across all the books I had read and conferences I had attended and sermons I had heard, and even preached, about following Jesus I began to ask why I had not been taught how to just pass the time of day with the people Jesus seemed to hang out with.

Tom Waits has spent his career raising the profile of the people that Jesus hung out with and the Church usually has no time for. Waits most famous prostitute song is Christmas Card From a Hooker In Minneapolis. In the form of a note in the seasonal greeting the story is a happy one. Here is a woman whose world is turning around. She is off the drugs and quit the drink and found a man who will love the baby she is carrying even though it is not his. Sadly in the last verse she throws off all pretence and admits there is no man and she needs money to pay a lawyer to get her out of jail. Waits added even more poignancy and sadness to the tale live by adding Silent Night to the beginning. It adds to the possibility of hope but brings reality crashing even more cruelly in the absence of a happy ending. 

Waits’ work has been founded on the freaks, the outcasts, the most intriguing of the marginalized. Prostitutes, strippers, fugitives, hoodlums, criminals, tramps, sewer dwellers, soldiers mostly war veterans, murderers, arsonists and the widest variety of drunks imaginable. Where many writers write about themselves or their peers, Waits has a pastor’s care for people he sees, writing songs to empathise, in many ways with the hope of exorcising their demons. Demons seem to over populate Waits’ albums and the devil himself hangs out but so does Jesus in maybe not equal measure but certainly with equal power. Singing about these characters, bringing them alive in songs and no doubt exaggerating them for poetic effect may be one of his ways to “Keep the devil down in the hole.” Another similarity to Jesus and niggling little jibe at the Church is how Waits loves them no matter what. The grace and the dignity he puts into their lives along with the dime or quarter he drops into their hand is never dependent on “successful” conclusions to their tragedy.

The religious leaders of his day could never quite understand why Jesus would hang out with Tom Waitsian characters. He would often say that the doctor does not come for the well but the sick and he would also set a new rule of thumb for our social connections; the first shall be last and the last shall be first. Tom Waits was a last shall be first man. There is a marvellous story to illustrate the point that Jay S Jacob recounts in his biography Wild Years though he is unable to confirm if it is true or exaggerated. Whether it is true or like Jesus story of the Prodigal Son which though not true is most definitely true, who cares! 

Apparently near the Main Point venue in Philadelphia there was a restaurant and bar called H.A Winstons. Taking pride in their classy joint they would have a lot of the Main Point performers drop by. They wanted Waits though and he would never come. Classy was not his thing. In most cities he would reside and eat in the wrong side of town either feeling more comfortable there or always researching his songs or both. One night Waits turns up at Winstons and there is great excitement but Waits walks past the classiness and finds Artie the dishwasher who he hangs with for an hour washing dishes, ignoring those who were deserving of his company. Artie had played somewhere with Waits and he thought he would hear his story. The dishwasher was the last in the pecking order and Artie was not liked much but he who was first connected at his level to bring him grace and dignity. Jesus did the same for a guy named Zaccheus in Jericho one day. As a tax collector this little man was reviled in his day as a drug pusher might be in the neighbourhood today. Hated and the last person who deserved time with the days pop star storyteller, it was he who Jesus sought out and had dinner with. Wonder if they did the dishes together! 

 

(this blog is taken from my book THE ROCK CRIES OUT: DISCOVERING ETERNAL TRUTH IN UNLIKELY MUSIC)

A BIG DECISION? AN OPEN DOOR? CUT THE CORD!

“And sometimes I get nervous
When I see an open door
Close your eyes
Clear your heart
Cut the cord...”

-      From Human by The Killers

Ten years ago, this was the lyric that I carried all the way through the process of leaving a job I loved in Queen’s University Chaplaincy to go back into parish ministry at Fitzroy Presbyterian Church.

For me, the invitation to consider becoming the minister at Fitzroy was a huge honour and I had to think about it but I had never considered going back into Church life. Fitzroy’s potential excited me but I was nervous every time I caught sight of that open door.

Being a Presbyterian process, it took eight months between the initial phone call to think about it and to actually being installed as minister. Throughout that wait I sang over and over again this spiritual wisdom of Brandon Flowers.

I had to close my eyes and seek God in ways I had never done. Prayer, connecting with God, was vital. If I was going to take the risk that this would be for me and my family, I needed to find time to talk it over with God and to listen. I would need to be sure that the fit was right and that I was taking the next step in my following of Jesus.

Next up I had to clear my heart in readiness for a spiritual change, the way we cleared our house for the physical move. I needed to take all the selfish ideas of my own which might have been the selfishness for safety or the selfishness of being flattered that Fitzroy were interested and what a prestigious thing to be their minister. The heart needed cleared of me, to be given the holy space that might allow God to fill that heart with what was good.

In the end, after all was weighed up and without any doubt in my heart and mind that God was calling us to go... we had to cut the cord!

This last step is the trickiest of all. It takes courage. It means leaving where all is safe and comfortable and jumping with faith and trust into the new world that beckons. To move on means not looking back. It is done and I am thankful to these words as the soundtrack to the entire process. Like Paul in Philippians, “Forgetting what is behind and straining toward what is ahead, ¹⁴ I press on toward the goal to win the prize for which God has called me heavenward in Christ Jesus.”

Perhaps you are in one of life's tricky spots. A big decision. An open door beckons but... I think The Killers are suggesting we take a deep breath, then gather up all of the courage we can muster and then... a step of faith... cut the cord!

KUMBUKUMBU NZURI ART EXHIBITION IN FITZROY - INTERVIEW WITH ARTIST KENNY WOODROW

Kumbukumbu nzuri is a new exhibition by Kenny Woodrow that we are thrilled to have in our Grace and Imagination Gallery in Fitzroy. Kumbukumbu nzuri is a collection of Kenny's East African paintings from Kenya and Tanzania. An English translation of the Swahili is ‘Beautiful/Good memories’. 

This is a stunningly vibrant and beautiful collection of work that draws you into East African life. These painting will captivate the eye as you walk past them and the second look that they will demand from you will have your brain engaged and your heart touched.

Take a journey into dress, customs and everyday working life of east Africa. I asked Kenny a few questions about himself, his art and Kumbukumbu nzuri. 

 

When did you first discover a love or gift for art?

My earliest memory of someone commenting on my artwork was in Primary school after I had completed a foiled paper mosaic picture of a colourful parrot. The picture brightened up the magnolia painted wall in the wee country primary school near Ballymena!

 

How did that develop?

Art was a subject I enjoyed in secondary school. I received encouragement in my efforts and I also had a Chinese friend who was a really talented fine art artist who showed me what could be achieved with a bit of effort. I was able to take his ‘constructive criticism’ of my work at a time when most said – Oh, that’s nice! In secondary school and later in grammar school I had the opportunity to use different materials but always preferred fine art (drawing, painting), rather than working in graphics, ceramics or sculpture. I studied education with Art as my main subject in Stranmillis and after graduating taught Art in a special school in SEELB. Secondary school, grammar school and Teacher training college were all part of my development, and I was ready for new creative challenges during these stages.

 

What about your own style. How did you find that?

I don’t think I’ve found one or settled on a style yet. Surely there has to be more to discover!!

I really enjoyed my time studying History of Art, looking at lots of different artists work, trying to figure out how they technically achieved the effect they did. Back in Northern Ireland I enjoy Arts TV programmes that describe the society artists were living in at the time, and the way their artistic style developed over their lifetime.

I also now have had exposure to African artists work. East Africa has a great art style called TINGA, TINGA, which portrays stylised safari animals and Africa landscapes. It’s great to see how resourceful artists are with the lack of artists materials available to them. Most people will see my work as realism.

My work as an illustrator with Wycliffe meant that I had to ensure that the pictures were very realistic is style. No figures were to be placed behind boulders and figures had to show all the limbs, otherwise the people they were intended for could be confused.

Illustrations in these early reading Literacy booklets were to be kept simple as adult readers were beginning to learn how to read a picture as well as learn how to read text. Outside of the restraints of my work assignment, I regularly came across people, situations, places that I visually thought would make great images to represent artistically. A camera is a great tool for helping capture these moments.  The only problem is, you never have  the camera about when the event is happening!

 

This exhibition is set in East Africa. How did you end up there?

This is a conversation that should take place over a coffee! The short answer is that I, along with Andrea, were supported as we began a ‘short term’ assignment with Wycliffe Bible Translators. I should say our 2 year assignment has extended to beyond 20 years of service now! We both left our teaching jobs in Northern Ireland and with continued prayer and financial support, served as support personnel for Wycliffe missionaries working with people groups in Kenya, Uganda and eventually in Tanzania.

As a couple we had been exploring options of Christian service with quite a few missionary organisations but it wasn’t until a Wycliffe missionary explained the need for ‘anyone good at drawing’ to help translation projects with producing literacy materials, that we believed this was a ministry we were gifted to serve with. Following a number of preparation years with Wycliffe, we began our overseas assignment with Wycliffe in Kenya and were seconded to assist Bible Translation and Literacy (BTL) projects.

These early years of service overseas still have a huge impact on our appreciation of what God is doing among many diverse ethnic groups in East Africa. Over the years we have come across men, women and children of faith, who despite many challenging personal circumstances are passionate about seeing God extend his kingdom during their season of ministry.

 

What caught your attention to do these particular pieces?

The pieces are from 2 different periods of our family living in East Africa. The Kenya paintings are images, which I suppose, have a real personal interest for me. When you come across people groups such as Rendille, Samburu, Borana, Turkana, Daasanach for the first time, you are immediately struck by their appearance which is so different from anything you’d see in Ahoghill!!

In my oil paintings of women, I wanted to show what they wear and how they adorn themselves while living in a remote location. No Boots Chemist to call into, or Claire’s for accessories! You really need to have an understanding of their culture to make any sense of why they appear as they do, and the roles that they play within their group.

The paintings that I have of women record anthropological details, as well as maybe being interesting to look at. One of my maasai woman paintings show how a mother uses a wrap to carry her baby. Another painting is of a group of Rendille women. Although the painting shows what they wear and the adornments they have around their neck and arms, one woman in the composition does not have her head shaven as she is showing to her community that she is pregnant.

The maasai men usually dress in a particular way with a brightly coloured blanket. Their standing posture reminds me of historical sculptured figures I had studied previously during History of Art revising, but I also wanted to show what else they usually have with them including their dagger, urungu, and stick. Again, the stick has a particular meaning among the men’s peer group and community.

The Tanzania and Zanzibar paintings are large oil paint versions of previous artwork I completed when living in Dar es Salaam.   

 

Did you do this art on the field? If not, what did you work off? memory? Photos?

Life in another culture for an extended period of time may not always go as you hope for or had planned! I did have opportunities to train local artists and get involved with Literacy projects, but a large proportion of my time has been ensuring scripture books and literacy books are ready to be sent to print. As a change from working with typeset documents and strange looking fonts that won’t print correctly, etc, I do look for ways to keep the creative juices flowing. I recently was bought a really good digital camera that has allowed me to capture scenes and moments that I wish I’d captured previously.

After living for more than 3 years in a country, you become more selective about what pictures you want to take, and what meaning the activity you captured is trying to show.

The second assignment for our family in East Africa was a request to work in Tanzania and as I thought of the variety of images I had taken of men, women and children I wanted a new way to try and paint them. I tend to let pictures percolate in my imagination for a while before I attempt them.

Trying to paint with oil paints in Tanzania wasn’t a great success and became a source of frustration. Working from photographs I had taken during my travels and holiday my first attempts were created on paper using oil pastel. 12 images were produced with the intention of returning to the images at some point when we would be living in a cooler climate where I could use oil paint.

I had to wait 2-3 years, when we returned to NI, before I could continue with my ambition to have the Tanzania images, painted on large canvases using oil paint. I bought a second hand wooden garden shed - via a well-known discount website - and built a studio in our back yard. It’s been great to have the room, the accessibility to art materials, and the time to enjoy painting and drawing again.

I always saw the Tanzania based oil paintings as a series that needed to be seen together, rather than paintings that were to be shown when they were individually completed. I’ve recently returned to realistic pencil drawing again as a skill which needs to be practised regularly and is something which I hope will develop my future work. Digital technology for artwork can create incredible images, but for me, there’s something more engaging/valuable in a work of art that someone has taken time and interest in producing and is able to share with others.

 

What do you hope people might gain from the exhibition?

My immediate reply to this is to scream… ‘THERE’S A BIGGER WORLD OUT THERE, NORTHERN IRELAND!!’

It’s been interesting and perhaps disappointing to discover there’s not much interest in Africa based artwork in Northern Ireland as I’ve talked with various gallery owners. I hope that friends who have regularly asked me how the artwork was going, will be able to see the paintings as a collection rather than as individual pieces. As well as having anthropological interest in the figures appearing in the paintings I hope that most of the work will be considered a colourful celebration of life lived out in East Africa.

 

KUMBUKUMBU NZURI will show in the Grace and Imagination Gallery, Fitzroy from November 30 - January 22 (open at Fitzroy events and when staff are in the building - use Rugby Road door)

 

 

THE QUESTION MARK IN LIFE ON MARS? - PAT DUIGNAN'S FUNERAL SERMON

Not even Janice, my wife, knows this but Pat Duignan helped in a spiritual awakening for me. In my early 40s I discovered, at the school gates, that I was socially incompetent. 

Since I was 17 I had spent almost all of my time with Church people. I studied Theology at Queen’s, in Union College. I went to the Christian Union. I was then placed in a Church and worked in Churches for the next two decades. It was a bubble, an ivory tower.

When Caitlin and Jasmine went to school I discovered people who were not living in my bubble. I felt insecure. What do I talk about? Pat was the one I was most drawn to. He seemed to have as many rock t-shirts as I did. I so wanted to talk to him about music. What would he think of me, a minister? Well, I guess in the end it seems to have gone quite well. Here I am! Thank you Pat.

Over the last fifteen years, every time we saw each other we talked music. Bowie, Arcade Fire. Bowie. The Waterboys. Bowie. Dylan. Bowie. Van Morrison. Bowie. 

I will always see Pat when I hear David Bowie. Goodness he is wearing a Ziggy Stardust t-shirt in his coffin today and I am gutted I didn’t think of wearing one over my clerical shirt.

Thinking of today I was immediately down to Bowie’s song Lazarus, released just days before Bowie died:

 

“Look up here, I'm in heaven

I've got scars that can't be seen

I've got drama, can't be stolen

Everybody knows me now

Look up here, man, I'm in danger

I've got nothing left to lose

I'm so high it makes my brain whirl

Dropped my cell phone down below

Ain't that just like me?

 

This way or no way

You know, I'll be free

Just like that bluebird

Now ain't that just like me?

Oh I'll be free

Just like that bluebird

Oh I'll be free

Ain't that just like me?”

 

Just like Pat.

Now, over these past few days I have had the joy of listening to a lot of music. Self indulging in Bowie and Arcade Fire and calling it work. I even bought a couple of Bowie books. I wonder can I claim them against tax!

I was drawn to Changes - “Time may change me/But I can't trace time”.  There was Lazarus that I just mentioned and features in the Bible. There was (You Will) Set This World On Fire that I will mention a little later. Of course, there is also Ashes To Ashes which I might have to avoid at the committal later. Yu don’t need to hear me say at the Crematorium:

 

“Ashes To Ashes Funk to funky

We know Major Tom’s a junkie”

 

Sorry. I am aware that I need the right amount of Pat’s irreverence and a little of what as a reverend I need to have. This is all about balance!

In the end I decided to build this address round the song Life On Mars? There was some debate about which song Pat wanted is coffin carried out to. Alex (daughter) thought it might be Space Oddity but Gloria (wife) was sure it was Life On Mars? She remembers him mentioning the question mark. That question mark was the detail that convinced me.

Who knew about the question mark other than Pat… me… and a few other anoraks! My feeling was that the question mark was important to Pat.

In his first book on Bowie’s songs, Rebel Rebel, Chris O’Leary writes: “In a few lines Bowie captures a teenagers life, its slights, its cosmic sense of injustice, its losing war against tedium, its restlessness, its uneasy cynicism.”

You can see why it caught Pat’s teenage soul. Oh! You Pretty Things with its exclamation mark is also about questioning:

 

"Written in pain, written in awe

By a puzzled man who questioned what are here for"

 

Surely Pat’s songs were his way into the questions? What is this life all about? Is there life after? What about God? Many of us enjoyed following in the slipstream of Pat’s energy… the energy of the question mark.

BUT the question mark doesn’t end here. The family will have many questions. How did this happen? How did he fall? Why was there no medical way to save him? 

My prayer is that all those sharp question marks in the family’s hearts and souls and minds will be comforted by God. Jesus called the Holy Spirit a Comforter and I hope Jesus is proven right. 

Of course we all have question marks. I have. I am asking if Pat heard the Bible verses I read to him in hospital? Did he find the peace that I prayed that he would have? A peace beyond understanding. A peace that the world cannot give.

All of us are on what I call sacred ground in these days. We are in this space between earth and the beyond. It is ground to reflect on good times. We laugh a lot on this sacred ground. We weep a lot. We question a lot. My Bible readings today from Isaiah 40 and Luke 9 had lots of question marks. Who is God? Who can compare to God? Who is Jesus? Do we gain the world and lose our souls?

The morning after Bowie died I had to do Pause For Thought on BBC Radio 2. Here is what I said:  

 

“Bowie will be remembered way beyond his innovative songs… as an actor, an artist in its widest sense, a pusher of the boundaries of fashion, a blurrer of the lines of sexuality… 

Perhaps some think that as a Reverend being a Bowie fan is a guilty pleasure… BUT we shouldn’t forget his spirituality either.

I remember the shock when he dropped to his knees during the Freddie Mercury Tribute Concert at Wembley Stadium and recited the Lord’s Prayer. 

He said afterwards, “In rock music, especially in the performance arena, there is no room for prayer, but I think that so many of the songs people write are prayers. A lot of my songs seem to be prayers for unity within myself. On a personal level, I have an undying belief in God’s existence. For me it is unquestionable.

On his 2013 record The Next Day Bowie took the words of St Catherine of Sienna and made them into a guitar strut of a Pause For Thought. The song (You Will) Set The World On Fire is taken from St Catherine’s words “Be who were you were meant to be and you will set the world on fire”.

In the lyrics of this song and the riffed up music he sets it to Bowie expressed perfectly Jesus intentions for all of us when he told his disciples he had come to give them life and life in all its fullness. 

As a rock star David Bowie lived a full life and if we lean and listen closely to the tributes and reminisces this week then we will hear him encourage us to do the same… like David Bowie “Be who were you were meant to be and you will set the world on fire…” … and as with Major Tom, “may God’s love be with you”

 

Here in Fitzroy we believe that God answers a few questions. We believe that God knows what we are made for. Not just as a human race but as individuals… 

We believe something in humanity broke down. Humans reached to be more… and became less. Jesus was born, died, resurrected and ascended to heal the brokenness. God came to earth to deal with the questions marks. 

So thank you Pat for leaving us to ponder Life On Mars and its question mark. Gloria, Alex and Christopher, may God comfort all your question marks. All of us, let us take these question marks about God and life, the the after life and who we were meant to be into the rest of our lives.

STORMZY TAKES GLASTONBURY TO CHURCH

Stormzy’s Glastonbury headliner has been the talk of the weekend and in places that do not usually talk about grime artists or rappers. 

Stormzy on Mainstage made history. He was the first black solo British artist to headline the Pyramid Stage. He took the opportunity. A Banksy designed Union Jack stab vest highlighted the crisis of knife crime in London and racism was challenged throughout. There was some controversy as he used an expletive towards Boris Johnston. Political and beautiful have been words used in the same sentence of reviews all weekend.

It was also personal. Stormzy was celebrating his own success. This was his story set in his communities with his issues for being a black man. Before that theme takes on a self obsessiveness Stormzy concluded by telling Glastonbury that he was going to take them to Church.

Watching on television my soul smirked at the idea of a vast majority white secular English crowd, that see God as a joke, being taken to Church. It is probably not what they thought they were doing when forked out £250 for a ticket.

My smirk turned to a smile and my soul lit up as Stormzy and a gang of Gospel singers started into Blinded By Your Grace a song that would fit into any Sunday Church Service. It is a song of testimony and on the Pyramid Stage it was Stormzy telling us all who he was most grateful to for this pinnacle of his success - God!

 

“Lord, I've been broken

Although I'm not worthy

You fixed me, now I'm blinded

By your grace

You came and saved me”

 

Preach it Stormzy! Then into the rap:

 

“This is God's plan, they can never stop this

Like wait right there, could you stop my verse?

You saved this kid and I'm not your first

It's not by blood and it's not by birth

But oh my God what a God I serve”

 

I’m no fan of Grime but this boy reaches across the genres and grabs my attention with the political, the personal, the spiritual. Oh Stormzy stormed Glasto! 

In the wake there was much debate. How could someone God saved, who claims to serve God be so seemingly keen on the F word?

I am no fan of the F word but the too sensitive obsessiveness of over pious Christians bemuses me. I saw one thread where someone was quoting James 3 about the restless evil and poison of the tongue with Stormzy.

God isn’t so much interested in the words. They are sounds from a human mouth. James is talking about something so much more dangerous! If we think cleaning up our swear words has tamed our tongue we are missing the point and the power of the tongue that James refers to.

God is more interested in what these sounds are saying. Are they building up or knocking down? Are they edifying or divisive? I imagine James had the 9th Commandment in his head. Bearing false witness against your neighbour. Now that is cursing and sadly too prevalent in Christian communities no matter how “clean” our language is! Let us not chew gnats and swallow camels over words and cursing. 

In Stormzy’s heart on that Glastonbury stage was justice for those who are growing up like he did and the personal journey that God has him on. We can critique the rhymes. We can disagree with some of his views. We can have our opinion on his use of the F word but let us not bear false witness… Let us not lose the wonder of Glasto going to Church! 

SONGS CAN CHANGE THE WORLD - FOR PETE SEEGER'`S 100 BIRTHDAY

Pete Seeger’s legacy was handed down to me through other people. That in itself is his legacy. Seeger was as much an interpreter of songs as he was a songwriter himself. One of his aims was to hand songs down so he probably would be prouder than annoyed that that is my relationship with his legend.

I would call myself a Seeger fan yet I don’t own one of his albums. My first real exposure to his work was when a tribute album Where Have All The Flowers Gone was released in 1997, soon to be followed by If I Had A Song and Seeds.  The versions by Jackson Browne, Ani Di Franco and Billy Braggconnected. Even better was Bruce Cockburn’s Turn, Turn, Turn and Bruce Springsteen’s We Shall Overcome.  

The Bruces indeed did exactly what I love, and what this blog is all about, and brought the social justice and art together under a Biblical umbrella. Turn, Turn, Turn maybe made even more famous than Seeger by The Byrds is a straight lift from the Old Testament book of Ecclesiastes and We Shall Overcome started out as a Baptist hymn.

Springsteen of course revisited the joy of recording this song and eventually released an entire album called The Seeger Sessions. This record, and the wonderful tour that followed, brought Seeger closer to my affections and also inspired my MTh thesis on music as a transformational power both spiritually and socially.

The Seeger songs that Springsteen chose, and again they were not ones Seeger wrote but ones he used for transformational reasons through the Civil Rights Movement of the early Sixties, gave me musical references to the theology of James Cone’s book The Spirituals and The Blues. That Springsteen used five Christian hymns/spirituals on this record, and made it up to seven when he toured the record, was good evidence to me that music could make an impact for the spiritual and the injection of the spiritual into justice issues.

As we celebrate Seeger's legacy on what would have been his 100th birthday I see him as more than a singer. He was an activist. He didn’t only love his art. He loved the human race. He chose not a road to commercial success but decided to take his art and use if for the good of humanity. He is remembered for more than the songs he sang, he is remembered for what those songs were about. He didn’t write We Shall Overcome but his use of that old hymn in the context of civil rights has led to it becoming, as Springsteen wrote in the programme notes of the Seeger Session Tour, one of the most used songs wherever there is injustice across the world.

In some ways we could see Seeger in one of Springsteen’s own songs. The Ghost of Tom Joad, so powerfully re-recorded on Springsteen’s new album High Hopes, could be a blend of Steinbeck’s fictional character Joad and the real life and vocational ambition of Pete Seeger: -

"Mom, wherever there's a cop beatin' a guy
Wherever a hungry newborn baby cries
Where there's a fight against the blood and hatred in the air
Look for me mom I'll be there
Wherever there's somebody fightin' for a place to stand
Or a decent job or a helpin' hand
Wherever somebody's strugglin' to be free
Look in their eyes Mom you'll see me."

Mr Seeger, for your influence we thank you. We really believe we will go on hearing you…

 

 

 

Pete Seeger’s legacy was handed down to me through other people. That in itself is his legacy. Seeger was as much an interpreter of songs as he was a songwriter himself. One of his aims was to hand songs down so he probably would be prouder than annoyed that that is my relationship with his legend.

I would call myself a Seeger fan yet I don’t own one of his albums. My first real exposure to his work was when a tribute album Where Have All The Flowers Gone was released in 1997, soon to be followed by If I Had A Song and Seeds.  The versions by Jackson Browne, Ani Di Franco and Billy Braggconnected. Even better was Bruce Cockburn’s Turn, Turn, Turn and Bruce Springsteen’s We Shall Overcome.  

The Bruces indeed did exactly what I love, and what this blog is all about, and brought the social justice and art together under a Biblical umbrella. Turn, Turn, Turn maybe made even more famous than Seeger by The Byrds is a straight lift from the Old Testament book of Ecclesiastes and We Shall Overcome started out as a Baptist hymn.

Springsteen of course revisited the joy of recording this song and eventually released an entire album called The Seeger Sessions. This record, and the wonderful tour that followed, brought Seeger closer to my affections and also inspired my MTh thesis on music as a transformational power both spiritually and socially.

The Seeger songs that Springsteen chose, and again they were not ones Seeger wrote but ones he used for transformational reasons through the Civil Rights Movement of the early Sixties, gave me musical references to the theology of James Cone’s book The Spirituals and The Blues. That Springsteen used five Christian hymns/spirituals on this record, and made it up to seven when he toured the record, was good evidence to me that music could make an impact for the spiritual and the injection of the spiritual into justice issues.

As we celebrate Seeger's legacy on what would have been his 100th birthday I see him as more than a singer. He was an activist. He didn’t only love his art. He loved the human race. He chose not a road to commercial success but decided to take his art and use if for the good of humanity. He is remembered for more than the songs he sang, he is remembered for what those songs were about. He didn’t write We Shall Overcome but his use of that old hymn in the context of civil rights has led to it becoming, as Springsteen wrote in the programme notes of the Seeger Session Tour, one of the most used songs wherever there is injustice across the world.

In some ways we could see Seeger in one of Springsteen’s own songs. The Ghost of Tom Joad, so powerfully re-recorded on Springsteen’s new album High Hopes, could be a blend of Steinbeck’s fictional character Joad and the real life and vocational ambition of Pete Seeger: -

"Mom, wherever there's a cop beatin' a guy
Wherever a hungry newborn baby cries
Where there's a fight against the blood and hatred in the air
Look for me mom I'll be there
Wherever there's somebody fightin' for a place to stand
Or a decent job or a helpin' hand
Wherever somebody's strugglin' to be free
Look in their eyes Mom you'll see me."

Mr Seeger, for your influence we thank you. We really believe we will go on hearing you…

 

 

 

MY PERSONAL TRIBUTE TO RICK ELIAS (died April 2, 2019)

Singer, Songwriter, Producer Rick Elias passed away on April 2, 2019. He had been battling cancer for some time. I had the privilege of spending a little time with Rick and this is a personal Tribute.

 

 

It made the late Rich Mullins weep the first time he heard Man Of No Reputation. It had been written by his friend and fellow Ragamuffin Rick Elias. 

Elias released a number of records in the Contemporary Christian Music market in the 90s but was not confined to that niche bubble. He was one of the main writers for the Tom Hanks movie That Thing You Do.

When Rich Mullins drew together his Ragamuffin Band for his album A Legacy, A Liturgy & a Ragamuffin Band, Rick was an obvious candidate. Rich’s Ragamuffin’s were the black sheep of CCM. They had edgy faith but they played great! 

A couple of albums later and Rich, perhaps even inspired by Man Of No Reputation, decided to record a whole album around the person of Jesus. He recorded an albums worth on a boom box before sadly being killed in a car wreck. Rick, along with fellow Ragamuffins Jimmy Abegg and Mark Robertson decided to finish what would become The Jesus Record.

I had booked Rick for Greenbelt in 1997 or 98 but I don't think it was at Greenbelt that we actually met. The Ragamuffin Band had come to London to record the strings for The Jesus Record in Abbey Road. While they were there Jimmy and Ben Pearson would film interviews with Sammy Horner and myself for a Tribute documentary about Rich Mullins called Homeless Man. What a thrill to be in Abbey Road! I remember walking down the steps with Rick into that huge studio that The Beatles used. 

I had Rick back in the UK and indeed in Ireland in April 2000 where Janice and I entertained The Ragamuffin Band to an Easter weekend in Ballycastle. They were playing gigs at Glenabbey Church in Newtownabbey and The Exodus in Portstewart,

Rick proved himself very much the city man with his lack of interest in the Giants Causeway and by getting up at 6.30am not for a beautiful walk on the beach, across the road from his hotel, but to walk up the main street to look in the windows of closed shops. 

In those gigs in Northern Ireland Elias’s songwriting and vocal skills were showcased. I was particularly drawn to God Grant Me Tears from Prayers Of A Ragamuffin:

 

Grant me the tears of a beggar
Til the fighter begins to sway
Punch drunk knocked down by grace
God grant me tears I pray.

 

As I pray for friends who will be grieving deeply Rick’s loss today I am still drawn to A Man Of No Reputation. For Rich to give the centre piece of his record to another water isn’t a surprise to me. He was a humble guy. He also had little choice. The song is as good a song about Jesus as anyone has ever written. It’s dark, brooding and radical. Theologically it touches on incarnation, grace and hope. It poetically works in the most poignant of ways. Ways that brought Rich Mullins to tears. 

 

He was a man of no reputation 

And by the wise, considered a fool 

When He spoke about faith and forgiveness 

In a time when the strongest arms ruled 

 

But this man of no reputation 

Loves us all with relentless affection 

And He loves all those poor in spirit, come as you are 

To the man of no reputation 

 

Thank you Rick Elias for all the music but particularly this song.