Thinking Out Loud

May 8, 2018

The Hymns We Sing Meant Something Different to American Slaves

Filed under: Christianity, music — Tags: , , , , , — paulthinkingoutloud @ 7:23 am

Saturday night we attended the first in what is hoped to become an annual concert series, The Hymns to Freedom Project. The venue was the beautiful Toronto Centre for the Arts; although it was built in the late 1990s, we were seeing it for the first time. The tickets were purchased by our son who wanted to see the concert and invited us to join him.

He became aware of the event after attending a previous concert by the Toronto Mass Choir (TMC). The connecting link is Corey Butler who is Musical Director and who conceived this program, composing and arranging the selections, and conducting a 38-piece orchestra.

The music was often bright and lively, and this stood in contrast to the subject matter: Slavery in the United States. The words of Martin Luther King, Jr. were played, including the famous “I have a dream” speech, with the film footage synchronized with the live orchestra.

Four of the selections involved Canadian soloist Jackie Richardson who combined readings with singing. The song “Elijah Rock” had the audience clapping and singing.

But the more sobering theme of the night was never far removed. There was a reference to the gospel song, “How I Got Over” and an explanation of its reference to fugitive slaves escaping to northern states by crossing the Ohio River; but also a reminder that it’s a metaphor for the wider emancipation of black Americans as whole, with the added caveat that this process is incomplete. The accompanying slide show included an images of Trayvon Martin and the more recent image of the black men removed from a Starbucks location just last month.

We were reminded that the “band of angels coming after me” in “Swing Low, Sweet Chariot” was actually a reference to friends on the northern banks of the Ohio (identified as the Jordan River) often signalling when would not be safe to cross and then helping them when it was.

The concert was also the launch project for Zamar Music Productions, a new “not-for-profit organization committed to excellence in music art and performance” in three specific areas: Education, Entertainment and Production utilizing a variety of music styles. (Learn more at zamarmusic.org)

My only regret is that the entire program was quite short. We were told ahead of time that the running time would be 72 minutes.  It should also be noted that from where we were sitting, it looked like almost a quarter of the audience arrived late; strange considering the ticket prices. Also, there were two competing elements here; the songs featuring Ms. Richardson belonging to an entirely different genre than the more classical-styled, instrumental-only songs featuring the full orchestra. That may have been an attempt to appease a more diverse audience.

The next Hymns to Freedom Project concert is scheduled for February in Brampton, Ontario.


Footnotes:

  • My wife and I got to sing with the Toronto Mass Choir in a yearly event they do called Power Up and we continue to attend their concerts yearly. I’ve had several conversations with Corey Butler, including a front row seat in Newcastle where I could almost reach out and touch the piano. (You can read my story here.)
  • In another lifetime (for both of us) Jackie Richardson sang with a dance band that did Jewish weddings, Bar Mitzvahs and Bat Mitzvahs, for which I was a roadie. Thanks to that experience, I’ve been inside almost every Synagogue in Toronto.
  • The Toronto Centre for the Arts is located in Toronto just steps away from where the April 23rd van attack took place. At the end of the event, Corey Butler dedicated the concert to the memory of those who lost their lives and to their families, and those who were injured. We went for a walk to the memorial after the concert and you can read that reflection here.
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April 21, 2018

Adding to the Difficulty of Singing Modern Worship Songs

Filed under: Christianity, music, worship — Tags: , , , — paulthinkingoutloud @ 8:12 am

When the musical aspect of the last ten years of modern worship is examined, the unique technical distinctive that will be remembered is what’s known as “the octave jump.” For reasons outlined in the video below, it has become a staple of modern worship. Unlike “the key change” which increases energy, but usually doubles the number of chords required for any given song, octave-jumping allows musicians to continue following the same basic chord structure, while the vocalists do the heavy lifting.

If we’re talking about a concert, then it’s the people onstage who are trained singers. However, in a church setting, the aforementioned vocalists are you and me, and the result is going to be vocal strain. Bungee jumping might be safer than octave jumping, and that’s allowing for the screaming when you first jump.

After two weeks looking at the issue of the pitch range of modern worship songs — especially when contrasted with their hymn counterparts — a veteran worship leader looks at octave jumping. We’re joining David Wesley in the middle of a series here, so if you’re up for more or are just a frustrated congregation member who wants to forward something to your worship leader (!) click through to YouTube — on the bottom right of the video — then click his channel name underneath the video.  On the other hand, you can just click here.

 

April 3, 2018

Cruising the Liturgical Worship Continuum

A few years ago, Evangelicals starting using words like Advent and Lent and Lectio Divina. While some purists probably thought this was the proverbial “Road to Rome,” some of us were thankful that the Episcopals, Anglicans and Catholics didn’t have a copyright on the liturgical calendar.

However, at the same time as this is taking place there is another distressing trend at the other end of the worship continuum. Increasingly, worship leaders seem blissfully unaware that there are songs which are especially suited for Easter Sunday and more disturbingly, Good Friday, or the mandate that these days issue to them.

I attended a number of Good Friday services this year and got to witness this firsthand. The lack of focus was rather appalling, however, as I said, the standard has been eroding for at least the past decade, to the point where younger worship leaders and worship planners have never had an Evangelical Good Friday service properly modeled for them.

I covered this in two previous articles:

One of the services I attended included Hosanna, which is a song for Palm Sunday and comes packed with the mood you’re not trying to create on Good Friday. Ironically, of all the services we attended or watched online, it was a capital “L” Liberal denomination’s church that got it right. We sat in a room with only 22 attendees and although there was no sermon, I give them 100% for liturgy and 100% for music in terms of capturing the intent of a Good Friday service.

This is a rant I will never stop. I’m sorry, but… well, here’s what I tweeted a week ago, possibly in anticipation of the weekend which was to follow.

It’s not just Good Friday, either. Thanksgiving has slowly fallen off the worship leaders’ radar. I’m not saying we need to sing We Gather Together or Come, Ye Thankful People Come endlessly; I’ll take a modern worship expression of the same theme. But the people choosing our songs apparently live in a total vacuum when it comes to awareness of the seasons in question. (And yes, I know Thanksgiving isn’t part of the liturgical calendar.)

April 2, 2018

Thoughts After Watching Jesus Christ Superstar on NBC

It had been a long, long time since I’d listen to the album I purchased as a kid, and I’d never seen the movie or the stage show, so last night my wife and watched NBC-TV’s live (on the East coast at least) broadcast of Jesus Christ Superstar.

I have to admit that part of my interest was in the fact this was a live broadcast, and other than some sound problems at the beginning, the production did not disappoint. Working the various handheld cameras around the action required some detailed blocking on the part of the actors and choreographers and I was impressed with what I saw, as well as the times they cut away to actors reacting to things happening front and center.

My wife rarely watches broadcast television, so for her the number of commercials — always playing at a louder volume despite an FCC restriction that stations are now ignoring — were supremely annoying. Better for the network to charge more for fewer spots, in my opinion. The only good thing here was that in four of the commercial breaks there was a split-screen  allowing you to see the backstage action as cast and crew prepared for the next scene. But this was offset by the sheer number of “blipverts” in those packages; I’ll swear there nearly 20 corporations represented in each break, or so it seemed.

Unlike Godspell which purports to cover the entire life of Christ, Superstar is focused on the final week of Christ’s life; in other words, the ‘Hosanna’ procession into Jerusalem, the Last Supper, the betrayal and arrest, etc.  (For my thoughts on Godspell see this article.) The entire production is sung, i.e. there is no spoken diaglog. This was, after all, one of the original rock operas.

The script puts a heavier focus on the relationship between Jesus and Judas, and Jesus and Mary Magdalene than we find in scripture and has to invent screenplay to do so. Otherwise, the basics of the story are intact, but there is no resurrection, and the only reference to Jesus being laid in the tomb is an instrumental on the album simply titled “John 19:41” (Text: At the place where Jesus was crucified, there was a garden, and in the garden a new tomb, in which no one had ever been laid.)

It’s at this point the script becomes problematic. Conservative Evangelicals were not happy with the Andrew Lloyd Webber – Tim Rice musical when it released in 1970; the show’s very title causing sermons to be preached against it. The romantic interest in Jesus by Mary M. didn’t help. There are no parables or teaching. Only one reference to the people who came seeking healing from disease.

Today, 48 years later, there is far less Biblical literacy. There were no graphics showing who was speaking and when I wasn’t 100% sure about one, twenty minutes in (and also due to the aforementioned audio issues) I found it simpler to pull up the full lyrics on my smartphone, and consult those when I felt I was missing a line here and there. For someone unfamiliar with the Bible account, the show might have been more bewildering.

The problem with productions like this are the same as what I said about watching the movie Paul, Apostle of Christ earlier this week. (See review here.) A generation not Biblically literate would have difficulty knowing what is canon and what is not.

Overall, the production, focusing on that last week of Christ’s life as it does and minus a resurrection, is rather dark. I felt like I was watching 1,500 people watch a stage show in a science fiction movie, the cavernous Marcy Armory adding to that impression. The costumes for the Pharisees looked more out of Star Wars than 1st Century Palestine. John Legend was credible as Jesus, and no mention of Alice Cooper playing Herod (see photo) would be complete without noting his costume, which some say appeared to be on fire.

I also followed the people live Tweeting at #JesusChristSuperstar during the production. Although the following should have a language warning, it was the only one I actually liked, as it summed up my feelings about the show: “Hope no religious folks are offended by this. Think about it this way, you have a shit ton of us non-theists watching a show about Jesus on Easter. I call that a win.”

March 20, 2018

What’s Wrong With Christian Radio is Purely Intentional

For those of you who don’t know her, meet Becky. Becky is the fictional target audience for Christian radio stations. Christianity Today helped define her back in 2007:

Her name is Becky.

You probably know her. She’s recently turned 40, but is not quick to admit it. She’s a Christian and a devoted wife and mother. She drives a mini-van. Half-melted crayons roll around on the floor as she stops at a light en route to her daughter’s Tuesday night soccer practice. She laughs sometimes, chagrined that she is the very “Soccer Mom” they talk about come election time. Becky lives in the suburbs, likes to read, enjoys the women’s retreats at church, is struggling to remember algebra so she can help her son with his homework, and is a regular volunteer at the food pantry.

One more thing about Becky, a very important fact for this discussion: she listens to the local Christian music station almost exclusively…

We’ll get back to her in a moment.

On the weekend my wife pointed out something that the more I thought about it, the more profound it seems. She said something like, “There’s more variety on any given contemporary Christian music album than what is played on Christian radio.” In other words, the songs chosen to be the single off the albums tend to get chosen because they all match the station sound and therefore they all sound alike.

In my mind, I envisioned the following diagram where each line represents the range of the songs on any given artist’s album — some exploring a greater number of musical genres — and the dots representing the songs selected to be featured on the radio.

Wouldn’t you like to hear some of the songs from the edge of each artist’s collection?

I owe a lot of my spiritual nurture to Contemporary Christian Music, but I’m not a fan of what it has become. A year ago 20 The Countdown Magazine did a special show on the Best of Christian Worship. It could have been called Chris Tomlin’s Greatest Hits. There was a song which we knew by Robin Mark where they chose to play a Chris Tomlin version, again either because it matched the sound of that show, or because… well we won’t go there. Any possibility for musical diversity was eliminated. (Listening to how many times the host said “Chris Tomlin” during that two hour show became a bit of a drinking game.)

Not everybody likes Becky. In a January, 2012 article in CCM Magazine, Matt Papa, not sparing the use of Caps Lock, wrote:

I love Becky. I really do. That’s part of the reason I’m writing this. Becky needs to be ministered to just like I do and just like everyone else does. But Christian radio/industry people: please MINISTER TO HER!! Stop giving her what she WANTS….GIVE HER WHAT SHE NEEDS and that is the GOSPEL….or stop calling yourself “christian”. There is NOTHING “christian” about telling someone who has cancer that they are OK. Stop tickling her ears. Becky is a human being who needs to hear the truth of Christ, not an object to use for your financial gain. Woe to you. And here’s a novel idea: Why not target other people besides Becky?!?! The gospel has no demographics! Christ shed His blood for all people everywhere and you have misrepresented Him. I pray with all my heart that the money tables in your temple would soon be overturned.

Pastor Gabe Hughes, who apparently has some insider knowledge wrote this in the summer of 2016:

Like most radio and television programming, Christian radio caters to a specific demographic, and that demographic is women between the ages of 20 and 50 (give or take). Whether or not Christian radio is doing it on purpose, that demographic is also mostly white.

It gets way more specific than that: this target woman lives in suburbia in a house with a mortgage, drives a mini-van, has three kids, a dog and a cat, a husband who works full-time, she also works but it’s probably part-time, has a household income between $55 and $70K, vacations in July, doesn’t have enough time to read her Bible but she has enough time to journal, loves Beth Moore and Joyce Meyer, and goes to church about 3 times a month. This woman even has a name — Becky.

Some radio stations will put up a mock picture of this woman in the studio, and the DJs are told to look at it and know that’s who they’re talking to. I’ve attended seminars where this was the whole focus of each session: Becky, Becky, Becky. The entire radio station is programmed for her — not her husband and not her kids. Giving glory to God is incidental, or it’s presented like this: “By reaching Becky, you’re giving glory to God.” Becky’s name is mentioned more often at these conferences than God’s name is.

This is unofficially referred to as Becky Programming or the Becky Mentality. The gospel-minded might recognize this as exactly how not to evangelize. There is neither Jew nor Greek, there is neither slave nor free, there is no male and female, for we are all one in Christ, right (Galatians 3:28)? But rather than giving an audience what they need to hear, Christian radio sections out a particular audience and gives her what the research says she wants to hear…

Why do so many of the songs sound alike?
Because radio is about producing the least number of negatives. Technically a radio station is not actually trying to give you something that you like. They’re trying to give you something you don’t dislike. As long as they can remain as even as possible without too much variation or fluctuation, they’re more likely to keep you on their radio station and not flipping to something else.

When the radio station maintains a continuous blend of sound, it just kind of melts into the background and you become oblivious that you’re still listening to it. You know how when you drive the same route to work every day, sometimes entire stretches of the trip will go by, and you’ll wonder where those miles went? Listening to the radio is kind of like that…

Even when it comes to production quality, songs have been equalized to be at the exact same volume level. Put on your headphones, find a song from the late 80s or early 90s, and give it a listen. Then pick a song from within the past decade and listen at the same volume. Notice the difference? The older song has more dynamics, highs and lows, crescendo and decrescendo, and the more current song is a lot louder and dynamically consistent throughout.

The reason why every single Christian recording artist sounds like they’re recording the exact same song is because they know K-Love won’t play it unless it sounds like every other song. Yes, Christian radio is the very reason every Christian artist sounds the same. It’s not necessarily the artist’s fault. They just have to play along (pun implied).

(There’s a lot more; I’ll be honest, I just wanted to copy and paste Gabe’s entire article, so click here to read more.

The early Christian music radio hosts were typical of FM radio guys in the late 1960s and early 1970s. There was no single off the album, they just picked a song they liked. They exposed and celebrated the things creative Christian songwriters and performers were doing across North America, and if you got lucky, some of the things from the UK (which even today we rarely get to hear, everything being so Nashville-centric.)

There are still some great songs being written and great albums being recorded, but I must say I feel sorry for the kids today who only know Christian music’s after and missed out on Christian music’s before. Fortunately for them, broadcasting is not the primary means of transmission in their generation. Indie artists survive and even flourish on alternative media, such as Fresh Life Radio which itself provides balance by playing some of the CCM fare, or the notable broadcast exception, Project 88.7 in Boise and Twin Falls, Idaho. 

Full disclosure: The business I own also sells Christian music. Sales are down. I am increasingly convinced that downloading or online sales of physical product are not blame. Many in the next generation are not hearing anything that captivates them. Groups are recognizable, but it’s increasingly difficult to differentiate one male solo artist from another.

The push for homogeneity is killing Christian radio.

Blogger and Pastor Gabriel Hughes posted this Becky collage in the article linked above. Maybe you know her.

 


Related? This was posted yesterday in conjunction with a new book release. The headline says it all: The founder of Christian rock music would’ve hated what it’s become.

March 4, 2018

Resource for Worship Leaders Who Aren’t Pros

Over the years I’ve shared some of the music of David Wesley with readers here or mentioned new videos in the weekly link lists. David does multi-track recording of Christian songs and posts videos of him singing each part, complete with a costume change for each track. I’m privileged to know him personally and to get to share conversations about worship in the local church. (If you’ve haven’t heard his music, I’ve embedded two videos at the bottom of this article.)

Today, I want to share a couple of the recent videos he’s produced in a new series called NoPro Worship: New principles, strategies, tips and tricks every Friday! It’s for people who aren’t on staff at a local church, or feel they’re no professionals, or no pro for short.

After a couple of getting-to-know-you videos where he introduced the series, he then looked conceptually at the Six Purposes of Worship in the Church. (Click to watch; that one’s not below.)

But then he moved into a really challenging topic: Does it matter where our songs come from? What about the life of the composer? What about the writer’s doctrinal perspective when it’s quite different from your own on key issues? He uses a really challenging example of a song that many worship wrestled with a few years back. Can you comfortably lead a tainted song? Check it out:

Then last Friday, he looked at the size of a worship leader’s (or church’s) repertoire. Is your congregation seeking freshness or familiarity? There’s also some practical advice on choosing songs generally. And how can worship be considered Spirit-led if you have to plan it all out ahead of time? After watching this one, if you give worship leadership at your church, consider subscribing to the series. And if you’d like to support what David is doing with this series, you can learn how to do that at the end.


For the first sample of his music, although he has more complex videos, I thought given the subject matter it was a fitting tie-in here to include this one, O Church Arise.

Finally, I had to include this one because my wife sings on it! This is David’s virtual choir and band — representing many different countries — performing an original arrangement of Nothing But The Blood.


Videos watched on WordPress blogs register on YouTube as views, but send David some “stats love” by clicking through (the YT logo in the bottom right when the video is playing) and watching a few more. And be sure to forward the NoPro Worship videos (or link to this blog post) to the worship leader at your church.

February 17, 2018

The Sin of Marketing Offers

Early in the week, I was contacted to see if I knew how someone could get their hands on a song by Casting Crowns titled Listen to Our Hearts. They believed it was on the album Come to the Well, but they couldn’t locate it there.

A little research later, I determined that the song was a bonus track which was only sold to people who pre-ordered the album on iTunes.

It’s not the first time something like this has happened.

In the past few years there have been entire albums by Christian artists which were only available at LifeWay stores. Here, I need to point out that there are no LifeWay stores in Canada or the UK, so fans of the artists in questions simply could not obtain the product, no matter how hard they tried.

There’s something about this that just strikes me as wrong.

I saw an article the other day about “The Sin of Partiality.” Not surprisingly it began in the book of James (2:1-4):

My brothers, show no partiality as you hold the faith in our Lord Jesus Christ, the Lord of glory. For if a man wearing a gold ring and fine clothing comes into your assembly, and a poor man in shabby clothing also comes in, and if you pay attention to the one who wears the fine clothing and say, “You sit here in a good place,” while you say to the poor man, “You stand over there,” or, “Sit down at my feet,” have you not then made distinctions among yourselves and become judges with evil thoughts?

My brain connected the article with the song request.

I know Casting Crowns needs to make money, and I’m not saying they should give their songs away for free — the influence of Keith Green notwithstanding — but somewhere between open source and restricted access there should be a balance.

I posted a fan-posted YouTube edition the song on Twitter as a type of protest. That way some people got to hear it that day. I added that a year, or two years later, “the song never surfaced in any form.” That brought this reader response:

To which I responded,

I realize that Christian retail is fraught with moral and ethical perils. The one I hear the most is, “The Bible should be free.” (I always have free copies to meet that objection.) I don’t expect the people at iTunes to live by Christian standards, but surely the people at LifeWay must know, in the back of their minds, that at the same time they’re doing something for their customers, they are denying others, right? (In a future article, we’ll look at the related idea of giving greater discounts to people buying in quantity, which is always an ethical dilemma.)

I just think anytime you say “exclusive offer” you’re letting some people in and shutting some people out.

At that point, the connection to what James says about favoritism is valid.


Note: The song was a collaboration between three artists. The versions by Steven Curtis Chapman and Geoff Moore have proved equally elusive in 2018.

January 30, 2018

If It’s True That You Use Broken Things; Then Here I am Lord, I’m All Yours

I’ve been really sick since last Thursday. It’s a nasty cough thing that’s going around in my part of the world. Some are calling it the “hundred day cough.” If that’s the case, I only have 95 days to go. So I really didn’t feel like posting anything today, though by noon I probably would have found something in the archives.

But I’ve had this song by Matthew West stuck in my head now for several days. Especially the chorus. I felt God rather clearly telling me that this was to be shared today.

Now I’m just a beggar in the presence of a king;
I wish I could bring so much more.
But if it’s true that you use broken things;
Then here I am, Lord, I’m all yours.

Maybe it’s my own brokenness with this illness but this song really resonates right now. Enjoy.

That’s the lyric video, you can also watch the original concept video at this link.

The LORD is near to the brokenhearted And saves those who are crushed in spirit.  (Psalm 34:18 NASB)

The sacrifices of God are a broken spirit; A broken and a contrite heart, O God, You will not despise.  (Psalm 51:17 NASB)

“How blessed are those who are destitute in spirit, because the kingdom from heaven belongs to them!” (Matthew 5:3 ISV)


The post tags at the beginning of each article here help guide search engines to themes presented. Today when I typed in the word “broken” some of the ones used today appeared as things we’ve discussed before on the blog. I pray that if that’s what brought you here, that God will meet you in your brokenness today.

January 16, 2018

Remembering Edwin Hawkins

Filed under: Christianity, music — Tags: , , , , , — paulthinkingoutloud @ 8:30 am

If it was the musical Godspell that inspired me that contemporary music could be used to present a Christian narrative, then it was the Edwin Hawkins update of the classic hymn, “Oh Happy Day” which convinced me as a young kid that a Christian message in music could have a place on pop radio stations, especially with contemporary Christian radio being non-existent in 1968. With the chorus lyrics intact, this melody and arrangement was quite different than the version we sung at the Sunday evening services of my youth. From that point on, I felt the possibilities were endless.

Edwin Hawkins died yesterday at age 74.

The song was originally recorded as one of eight songs on an album by Hawkins’ group, The Northern California State Youth Choir. When local radio station KSAN in San Francisco started playing it, the song was picked up by Pavillion Records and distributed by pop music label Buddah — insert reference to the irony here — with the artist designation as “Edwin Hawkins Singers.” The lead vocal is by gospel singer Dorothy Combs Morrison. It’s a song of testimony and both the traditional and modern versions have been used in baptismal services, and for many it served as an introduction to the mass choir genre of gospel music.

An obituary at National Public Radio (NPR) notes, “Throughout his career, Edwin Hawkins won a total of four Grammys, and he was voted into the Christian Music Hall of Fame in 2007.”

He taught me how
To watch and pray
And live rejoicing
Every day…
…Oh happy day…

 

January 13, 2018

Growing up in Church: A Common Thread for Child Celebrities

If you’ve ever held a hymnbook in your hand, played on the youth group worship team, or sung in a church music production, you are at a distinct musical advantage compared to the other kids in your class. Doing school drama productions, singing in a couple of middle school choir things, and playing in the school orchestra all certainly furthered my musical education, but going to a large and musically diverse church enriched that education tenfold.

Sometimes more is caught than taught, and that was definitely true in my case. I played in the church orchestra and was pianist for the college and career youth group. The church was the first in Canada to broadcast on television, and regularly did major theatrical-style productions ranging from contemporary to operatic. I also learned about sound, lighting, make-up, camera-blocking, stage set-up, mixing paid musicians with volunteers, and learned about the relationship of all these superficial ingredients to the ultimate end: the communication of a message or story.

BelieberIn the competitive entertain market, such training would put someoune at a distinct advantage. So it’s no surprise that Justin Bieber and Katy Perry and Avril Lavigne and so many others all grew up in church.

Sadly, while they learned a lot about music, they didn’t always fare so well when it came to being prepared to “handle the darts of the enemy.” (Ephesians 6:16) However, I don’t want that remark to appear judgmental. Kids that grow up too fast in the music, TV or film industry face all manner of temptations. Many hit fame too young to have really taken ownership of their faith, let alone grasped the dynamics of spiritual warfare. UK Classical singer Charlotte Church — raised Roman Catholic — said that young female artists were “coerced into sexually demonstrative behaviour in order to hold on to their careers” 1

So the same faith heritage that helps them make it to the head of the class of aspiring singers — perhaps even plants the seed of that desire somehow — isn’t fully developed enough to help withstand the pressures and the success. They got to hone their craft musically, but missed a lot of the warnings, admonitions and proverbial (literally) advice about life in the real world, in fact their careers led to a season of skipping church entirely.

There’s another dynamic to all this also, and that is the what happens when the kids in question have already made a public confession of their faith, or have identified with a church. That was the case originally with Miley Cyrus, but you look at her career in general — and some music videos in particular — the first thing you think about is not the Fruit of the Spirit. When people reach that point, their denominational affiliation becomes more of an embarrassment to the church or pastor than anything.

Next, there is the issue of what happens to the Christian kids who are simply fans; the teens who buy in mostly because of the common faith link they think they have with the actor or musician in question, only to have that belief in that pop star dashed when they crash, as they seem to almost always do. While I’m too old to be star-struck, I always had a personal admiration for how Cliff Richard carried is faith and his fame, but later on, elements of his personal life have forced me to temper that support.

Finally, all this is also a parenting issue. Many of today’s superstars that grew up in church went there because their parents took them. Avril was raised in a Christian school environment about an hour east of where I’m writing this. Justin’s mom has been interviewed on Christian talk shows and had a biography published with Baker Book Group; what did she think as she watched his 2012 arrest reports on television?

So in conclusion? I don’t have one. Each time a new kid on the block scores a number one hit song or a box office smash, we all simply cringe waiting for the inevitable train wreck to happen. There are exceptions, like when child star Angus. T. Jones in the TV hit Two and a Half Men went so far as to stand up to the TV industry and tell viewers to stop watching2, but those exceptions seem few and far between.

I guess we pray.

And if we have kids of our own, we make Justin’s career a teachable moment. Yes, he’s making a much stronger faith identification, but just like the tattoos that don’t come off, or the compromising pictures which will always be on the internet, some damage has been done. 

Mamas, don’t let your babies grow up to be rock stars.

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2This blog Nov 27/12

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