sustain:if:able kiwi

more on Exploring U2: the book

Here’s some more information about Exploring U2. Is this rock and roll? book (in which I have a chapter – (“Bullet The Blue Sky” As An Evolving Performance).

Edited by Scott Calhoun and with a foreword by music journalist Anthony DeCurtis, Exploring U2 is a collection of essays examining U2 from perspectives ranging from the personal to the academic and is accessible to curious music fans, students, teachers and scholars alike.

Four sections organize sixteen essays from leading academics, music critics, clergy and fans. From the disciplines of literature, music, philosophy, psychology and theology, essays study U2’s role in developing their listeners’ concepts of personhood and identity; U2′s evolving use of source material in live performances; the layering of vocal effects in some of U2′s signature songs; the crafting of a spiritual community at concerts; U2’s success as a business brand; Bono’s rhetorical presentation of Africa to the Western consumer; and readings of U2’s work for intertexts, spiritual statements, irony, conservatism and hope in space and time.

Official band biographer Neil McCormick presents U2 as a “Dublin-shaped” band, and for the first time in print, Danielle Rhéaume writes on how discovering and returning Bono’s lost briefcase of lyrics for the October album propelled her along her own artistic journey.

This thoughtful and timely collection recognizes U2’s music both as its own art and as commenting on personal journeys and cultural dialogues surrounding contemporary issues. It offers insights and critical assessments that will appeal to scholars and students of popular music and culture studies, those in the fields of theology, philosophy, the performing arts and literature, and all intellectually curious fans of U2.

The book is due for publication with Scarecrow Press (academic reference and professional books publisher owned by University Press of America) in a variety of formats in October/November of this year.

U2 “Out of Control” at Glastonbury

U2 have just concluded their headline act at Glastonbury, finishing with “Out of Control.” (Full set list here). U2 tend to finish with a quieter, more reflective song like Moment of Surrender or 40, while “Out of control” tends to be played early in the “energy” part of their sets.

So the use of Out of Control to conclude a show is interesting. A nod to the difference between a festival compared with a concert? A nod to the sort of schedule which seems them play Baltimore (USA) on the 22 June, Glastonbury (UK) on the 24, then flying back across the Atlantic for East Lansing (USA) on the 26th?

Or perhaps it was because of the lyrics;

Eighteen years of dawning
I say how long; You say how long

given that this was U2’s first ever Glastonbury appearance and given the postponement, due to emergency surgery on Bono’s spine, from last year.

“Out of control” is from their first album, Boy, and the song was first played live in 1979. That’s like 30 years ago. It’s a pretty gusty call to finish a headline performance at a global music festival with a song from your first album. It got me thinking about my first attempts at creativity – those early sermons and fumbling attempts at alternative worship. Would they stand the test of time?

While on the subject of U2, this week by email arrived the Table of Contents and the cover image for the Exploring U2. Is this rock and roll? book in which I have a chapter (one of 16) titled (“Bullet The Blue Sky” As An Evolving Performance). The book is (still) on track for publication with Scarecrow Press (academic reference and professional books publisher owned by University Press of America) in October/November of this year.

Given the accessibility of the subject matter (popular music) and that this is an international publisher, it got me wondering about having a bit of book launch here in Adelaide. Perhaps linked with the new Bible and Culture topic being taught for the first time ever this second Semester at Uniting College?

Saint Augustine and Saint Bono on Osama Bin Laden?

“Let your desire for him [your enemy] be that together with you he may have eternal life: let your desire for him be that he may be your brother. And if that is what you desire in loving your enemy (that he may be your brother) when you love him, you love a brother. You love in him, not what he is, but what you would have him be.” (Augustine, Eighth Homily, in Homilies on the First Epistle of St John)

And even more clearly, “You are to love all men, even your enemies – not because they are your brothers, but in order that they may be.” (Augustine, Tenth Homily, in Homilies on the First Epistle of St John).

Thus the death of Osama is a tragedy, for in a sinful world, we are facing the fact that “Your Kingdom” has not come, that an enemy has not (yet) become a brother.

Two further things I find intriguing in these quotes. First, I would want to interpret the phrase “eternal life” through the lens of John 10:10, abundant life to the full, as both a current hope and a future reality. In other words, the (costly) call to love our enemies must start now.

Second, “not because they are your brothers” suggests a theology of difference, that the love of others does not start by expecting them to be like us. Or in the words of Charles Taylor (in Multiculturalism: Examining the Politics of Recognition (See all Cultural Anthropology Books)), a politics of recognition in which the distinctiveness is appreciated rather than homogenised and unified (rather than a politics of equality).

And finally, a line from Bono, in the song Cedars of Lebanon, from the No Line on the Horizon album.

Choose your enemies carefully
Cos in time they will define you.

For further posts:
see Revelation’s White Horse Rider on Osama?

Bono on justice, mercy, faith and narcissism

U2 are currently touring South Africa. It brings their work on behalf of Africa into particular focus, especially when they face the media in Africa. A few days ago, Bono was interviewed by Redi Tlabi on Talk Radio 702 in Johannesburg, South Africa. The interview ran for about 35 mins. It is a wide-ranging interview that covers music, marriage, justice, mercy, faith and narcissism.

There are some great quotes (transcribed by me, but I’d suggest if you want to use the quotes, then do check the sound recording for yourself):

On justice vs charity:

When it comes to One and Data, people see us as bleeding hearts. We do have hearts, but we’re very tough minded people. Justice matters, not charity. These are monies owed by the poorest to the richest. The grand children are held to ransom.

On the fight for justice:

The World Bank just put out figures that African leaders who qualified for debt cancellation. Between 2005 and 2011, there are an extra 44 million children going to school as a result of debt cancellation. These are World Bank figures.

On his relationship with Africa:

Africa seemed a long way away for a boy growing up in Dublin. Our music has always been influenced by social justice. It was while working in Africa that you start to think about the structural issues of poverty. We raised 200 million (in Bandaid) and then we realised Africa spends that much on debt repayment a month.

On himself:

I am definitely capable of narcissism. I’m a rock star.

On whether aid to Africa positions them as victims:

We all needed aid. Ireland did. Germany did. Get over it. We are thinking what are the obstacles in the way of justice, equality and freedom.

On whether Bono is religious:

I’m a believer. I have a deep faith but I am deeply suspicious of people who talk about their faith all the time. It is utterly a part of my life. I try to read the Scriptures.

On his upbringing:

My upbringing made me suspicious. Faith is a very beautiful thing but religion can be a very ugly thing. My faith has helped me in that struggle.

For the full interview as a sound file, go here.

whinging with U2 and Paul Kelly in Auckland

I’m in Auckland later next week, at a research conference exploring the cultural and theological implications of lament. The two day conference (Thursday 10th and Friday 11th) involves discussion of a range of papers on themes including:

• Spiritual Complaint and Lament
• Lament in the Global Village
• Job the Lamenter
• Lament in Music
• Lamentation and Liturgy
• Lament and Penitential Prayer
• Contemporary Conceptions of Lament

I’m co-presenting a paper with my Old Testament colleague here at Uniting College, Liz Boase. We are bringing contemporary lament into conversation with Biblical lament. Specifically looking at how U2 (responding to the Pike River tragedy) and Paul Kelly (responding to 2009 bushfires in Victoria) “whinge” publicly before God.

I’ll also be catching up with one of the D.Min candidates I supervise, taking another research step in the emerging church 10 years on project and sharing a K1 Shiraz 2008 with good friends.

It should be a busy, yet rich time. (Apart from the humidity – Auckland in early February can be pretty awful)

a Bono version of Make me an instrument

This is pretty raw, but strangely moving. It is Bono (and Glen Hansard), singing at a funeral. The song is the Prayer of Saint Francis (full lyrics are here). The funeral is for Sargent Shriver, founder of the Peace Corp.

For more of my thoughts on lament and U2, which is a recurring theme in their music, see here.

(Hat tip).

ordination sermon: creationary re John the Baptist

A creationary: a space to be creative with the lectionary. For more resources go here.

I had the privilege of being asked to preach at the Uniting Church ordination of five folk today. For those interested, here is the sermon. A story, some theology and integration with U2’s Stand up comedy. (Since it is also based on the lectionary text for the day (Matthew 3:1-12), John the Baptist, I’ve added it to the creationary). (more…)

Rejoice! U2 are back in town. U2 360 Melbourne concert review

They came with new songs – Return of the Stingray Guitar and Mercy – suggesting a band still enjoying the simple pleasure of being creative.

They came with old, playing songs from 10 of their albums. (There is nothing from Zooropa or Pop, but a fantastic Bono performance of Miss Sarejevo, a reminder of just how wide remains the span of his vocal range). Streets and With or Without You were standouts.

They also came with old songs new. In countless concerts over the last decade, Bono has invited prayer for the release of Aung San Suu Ky. With her recent freedom, U2 have turned to Scarlet, a song from their 1981 album, October. Never before has it been played live in concert. Suddenly the lyrics, “rejoice” become remarkably poignant, with the gathered crowd invited to give thanks for answered prayer.

Despite the songs, the take home memory remains the “claw.” Brilliantly lit, it manages through state of the art video and sound to bring a sense of intimacy to stadium rock. As if Bono needed any help to loom larger than life!

The theme is time, with constant ticking visual reminders, supported by video footage from back in time: U2 archival material from the Joshua Tree and Achtung Baby. It ensures the entire show has an overall theme, that of the invitation to walk on in time.

Not all was perfect. U2 are skilled at employing call and response to generate connection between band and audience. This ensures some remarkable moments – 60,000 Australians singing of Amazing Grace and confessing “I still haven’t found what I’m looking for.” It also ensures some glitches, with some of Bono’s calls simply too complicated for a corporate sung response.

The opening bracket lacked cohesion. Despite a promising start – “Gidday” in perfect Australian before winding the crowd into Beautiful Day – the opening grouping of songs seemed to stutter. This has been a constant struggle in this 360 tour. (For my review of their Raleigh concert, see here). In Melbourne, Magnificent felt too early, a beat starting to slow before the audience had been effectively gathered.

This lack was overcome by the meditative middle three of Bad, In A Little While and Miss Sarajevo, accentuating the spectacular burst into City of Blinding Lights and Vertigo. Offering the chance to simply rejoice, U2 are back in town.

U2 and public lament for Pike River Miners

U2 played in Auckland last night, Thursday 25 November. (For my review of the US leg of the 360 degree tour, go here). It was also a day of national mourning for the loss of life at the Pike River mine, with flags flying at half mast, with multiple church services and bells tolling in memory. (For more of an overveiw of coverage go here)

What would you do if you were a visitor, being paid (loads of) money to entertain the masses on what turns out to be a day of national mourning?

Well, here is the NZ Herald summary of what they did:

U2’s Bono said the band felt privileged to be here especially at a time when hearts were aching and so raw.

Struggling for the right words to convey his condolences for the people of Greymouth, he said: “People deal with grief in all sorts of ways. In Ireland, we sing”.

Bono then launched into “I still haven’t found what I’m looking for”.

The names of the 29 mining victims scrolled across the screen as the band played “One Tree Hill”, a song penned for New Zealander Greg Carroll who was the band’s roadie.

I wasn’t there (my turn Wednesday in Melbourne), and I’d love to hear from those who were at the concert as to how this came across, and what else – visuals, lighting, performance – were added in (You can’t reduce a U2 show to just lyrics and words on a screen).

But some quick comments from the perspective of lament
– Bono’s introduction, with a spare, almost poetic, use of words
– the acknowledgement of multiple ways to grieve
– the link to one’s own tradition “In Ireland, we sign”
– the use of a song to allow people time to breathe
– the naming of names, helping people face reality

U2 and public lament is nothing new. Here is what I wrote in regard to their playing in New York so soon after 9/11. (It is part of a chapter in a book on U2 due for publication next year).

a live concert, and most particularly, a U2 concert, is one of few “public space experience” left in our culture. (Installation Art in the New Millennium: The Empire of the Senses, 29.) This is especially so in relation to the 3rd leg of the Elevation Tour, which was played immediately following 9/11 and the Slane Castle concert. Parra noted: “Before the start of leg three, fans had speculated whether U2 would be playing Bullet the Blue Sky again in post- 9/11 America.” (Parra, U2 Live, 259) Can the world-changing events of 9/11 change a song?

While “Bullet the Blue Sky” did not appear in the first concert at South Bend, Indiana, from then on, “things [were to] return to a more familiar order. Bullet is back in the set, but the images of guns and war are no longer projected on the screens. Instead there are more abstract pictures, distortion and ‘snow’.”(Parra, U2 Live, 259) With specific reference to this notion of “communal memory”, Parra summarized this leg of the tour: “What their audience seem to want right now is a sense of community, of togetherness, which is something the band have always been good at delivering – and has been at the core of the Elevation Tour since its conception.” (Parra, U2 Live, 258) With careful attention to sampling, in this case video sampling, a song can change and a public space can be humanized.

U2 took incredible live performance risks on this leg, Again we see the use of samples – including scrolling the names of those killed in 9/11 on video screens and inviting on stage New York firemen. Again we see the use of visual and theatrical samples in the creation of public space through the humanizing of communal memory.

As the audience remembers and weeps, the band is allowing, as Bono sought in the initial writing of “Bullet the Blue Sky,” a “shouting at God …. Abandonment and displacement … Honesty, even to the point of anger.” (Bono, Selections from the Book of Psalms)

In sum, the use of sampling is essential in allowing a world to change a song. In so doing, a complex range of factors are being negotiated. It is the creative genius of U2 that allows them not just to perform, but to re-perform, and in a way that allows communal memory to be created, a spiritual exchange to occur, as U2 “go for the heart, without preaching.”

Many similarities between the way U2 publicly process lament in the Elevation tour and now in 2010 after the Pike River Mines. The use of names, the taking of risks, the willingness to lament in public space and engage communal memory.

And for folk trying to get their head (and heart) around the linkages between U2, lament and the song One Tree Hill (which was central to last night) here is another excerpt which I wrote last year: (more…)

I’m a serious scholar :)

I’m a serious scholar. I realised this yesterday as the copyright and contract paperwork arrived for my work on U2 (the evolving live performance of Bullet the Blue Sky). 6,000 words, 66 footnotes due to be published with Scarecrow Press next year.

And I’m checking the mail everyday at the moment, waiting for my authors copy of The Bible in/of Popular culture, with my work on Kiwi cartoon, Brotown.

And this week I’ve had some really encouraging feedback on a 1500 word piece I submitted to Australian Leadership on young adult spirituality, with a focus on comedian John Sarfran and video art in the Blake Prize.

I’m a serious scholar. I study cartoons and comedians and rock stars and video art! My mum and my employer must be so proud 🙂 🙂

Transformation + worship: conversation with U2’s Willie Williams and Romans 12

Tuesday I had to speak for 5 minutes on the word “transformation” as it applied to worship. It was fun to try and say something in 5 minutes. (And gives a reason for some of the rant I blogged on Monday and some from Opawa might recognise fragments from a sermon series last year!)

I began with a projection of Willie Williams Lumia Domestica, as people walked in, helping to create an environment.

(This is an entire interview, if you’re pushed for time, start at 4:13)

On the screen is an art exhibition by Willie Williams. Called Lumia Domestica it aims to take the ordinary things, the everyday things, the domestic things, and see what happens, how they are transformed, when Light is shone on them.

The word transformation, and our topic – worship – brought to mind Romans 12:1-2.

 1Therefore, I urge you … in view of God’s mercy, to offer your bodies as living sacrifices, holy and pleasing to God—this is your spiritual act of worship. 2Do not conform any longer to the pattern of this world, but be transformed.

The word transformation, is, in the Greek, the word metamorphousthe, from which we get the word metamorphosis.

Rather than only words, let me offer you a visual reflection on transformation, metamorphousthe, and worship.

I then showed the following Youtube visual, for 55 secs. (Note – sound was OFF!!)

In Romans 12, transformation is about the whole of life. In verse 1-2; present your bodies. This stops us reducing transformation to ideas and the intellect.

Or as we are told in Uniting in Worship 2:1 “People are shaped by story, by narrative … Christian people are shaped by the story of Jesus …. The story is told through proclamation – which may include reading the Scriptures, preaching, reflection on Scripture, drama/movement, symbolic action, art, multimedia resources, and silence … ” So transformation in worship begins with attention to the whole senses of the whole body.

Then in 3-8; we are told of diverse gifts. Or as we are reminded in the Basis of Union: “the one Spirit has endowed the members of Christ’s Church with a diversity of gifts … there is no gift without its corresponding service: all ministries have a part in the ministry of Christ.”

This stops us reducing worship to the gifts of a few.

To quote Jonny Baker, new book Curating worship (for a review of the book, see here): “In many church circles the only gifts that are valued for worship are musical ones or the ability to speak well. This attitude needs shattering, and opening up so that poets, photographers, ideas people, geeks, theologians, liturgists, designers, writers, cooks, politicians, architects, movie-makers, storytellers, parents, campaigners, children, bloggers, DJs, VJs, craft-makers … can get involved.” (12)

Jonny argues for an approach to worship that is neither liturgical presiding. Nor is it choosing some songs and fronting a band. Rather it is what he calls “curating worship” an approach that like a art curator, seeks the best environment by which to showcase the whole bodies gifts and graces.

Then in Romans 12:9-21 the focus is how the whole world. As a result of whole bodies, the whole body is to “bless those who persecute you. If the enemy is hungry, feed them.”

This stops worship being for “I” and “we”, and instead offers us worship for “them”; for the transformation of the whole world.

To quote Paul Walton, introducing Uniting in worship 2 on ABC radio: “I think good liturgy is liturgy that’s not only understandable but connects with life as a whole.”2

Inviting whole bodies, honouring the whole body, for transformation, metamorphousthe of the whole world.

when non-priests pray – as Spirit making a world habitable

Here in an excerpt from my recent paper – When non-priests pray: A conversation between Sarah Coakley and Bono Vox regarding incorporative pneumatology and priestly prayer.

Yet at the heart of the incorporative pneumatology of Romans 8 is that of the Spirit at work in all creation, in spaces and places both inside and outside ecclesial. Such Spirit-ed activity makes sense of a number of “non-priestly” stories within the Biblical narrative. Consider Melchizedek in the Abrahamic narrative (Genesis 14), Balaam’s blessing of Israel (Numbers 22-24) and the worship of the Magi (Matthew 2). All of these are moments in which people outside the faith community offers public prayer. All can be claimed to be some expression of the activity of God’s Spirit.

Bono has often been called a prophet. Yet the argument that “Mysterious ways” is a call to worship suggests that Bono, arms raised, is serving as a contemporary cultural priest.

Bruce Marshall in The Holy Spirit: Classic and Contemporary Readings, conceives the Spirit as the One who works to make the world “habitable.” Such an approach to pneumatology provides one final way in which to analyse the U2 concert I experienced.

It is significant that at a number of points throughout the concert, Bono invited those gathered to pray. They were invited at the beginning of the song “Sunday, Bloody, Sunday,” to listen to a recording of Radio Tehran. Such can be framed as an invitation to lament.

They were invited during “Walk On” to send prayers to Aung San Suu Kyi in her quest for freedom. This invitation comes in the form of a bodily action, to touch our heart and to send our love.

Using liturgical language, in “Mysterious Ways” Bono called those gathered to worship, to “move with her.” During “Sunday, Bloody, Sunday,” those gathered were invited to engage in lament, while during “Walk On” those gathered were invited to “pray for others” and finally to make an “Offering” by texting their support for the One campaign.

Is this not the work of the Spirit, inviting all of creation, those inside and outside the church, to participate in a world made habitable – in which people say yes to the divine, hear the cry of the oppressed, pray for those held captive and offer ourselves in the quest for justice?

filing systems and why nothing beats boxes

Today was a triumph for the Taylor filing system! Those who know me well might smirk in disbelief, but please, read on …

You see, I’m working on some research. My (draft) title has been: When Non-Priests Pray: A Conversation between Sarah Coakley and Bono on Incorporative Pneumatology and Priestly Prayer. (It’s for the upcoming Sarah Coakley conference in July). The research involves the usual Taylor mind, the restless/eclectic/lateral flitting between popular culture and Christian faith.

And as I reading the most fascinating compilation of texts on the Holy Spirit, somewhere in the recesses of my mind is a memory of 1994 and doing a University paper on Jesus Christ and that I read something that might be useful.

1994. That’s quite a few years ago. So I go to my old University notes. These have all been lovingly filed in boxes, along with all the courses I’ve taught since then. There are like 50 boxes around my office. But they are labelled and sure enough, under Christology, are my 1994 notes. A quick flick and yep, there is the exact 1994 article I’m looking for. A large shout of triumph echoes down the hallway.

And in another recess of my mind is another memory, a memory of a book I borrowed in 2004 about U2. And it might have relevance and the book is not the Adelaide library. But perhaps I might have photocopied some of that book?

So I go to my filing cabinet. And sure enough, in one of the 8 drawers, under the letter U (for U2)- is that photocopying from 2004! An even larger shout of triumph echoes down the hallway.

The filing system works. Good old cardboard boxes! Good old filing cabinets.

Now some you are still smirking. You have seen my desk. You think this is a one-off fluke. For such among you, may I remind you of another post, another reflection on why my filing system makes me a truly valuable employer.

Hurrah! For

• cardboard boxes
• filing cabinets
• vertical stacks of paper on my desk

u2 360 downunder early in 2011

I think when he could no longer walk, that he needed to go to the doctor. The Edge here.

In a move akin to Lazarus, within days of Bono having emergency back surgery, rumours are circulating of a downunder U2 360 tour early in 2011.  This is according to U2Chile. To quote

Live Nation has contacted concert promoters on several continents and has blocked out the following as a possible itinerary:

Early February: Japan and South Korea (Asia)
Late February: Australia and New Zealand (Oceania)
March: Chile, Argentina, Brazil, Peru (South America)
April-May: Mexico, USA, Canada (North America)

Having already been financially stung by a U2 postponement, I’m happy to simply being praying Walk on.