But it's true.
It's all explained in a fantastic section of A J Swoboda's book
"The Dusty Ones: How Wandering Deepens Your Faith."
and start reading with "A Gentile mother.."
You won't be sorry.
“During our conversation in Montana, he anticipated where I would be going with a certain line of questions. I mentioned the pattern of praise and lament psalms at one point, to which he interjected, with a chuckle: ‘Orientation, disorientation, and reorientation. Guess which one I’m good at!’ Those three terms, as you probably already know, come from language that biblical scholar Walter Brueggemann coined in his research on the Psalms. That terminology isn’t exactly common knowledge. I was amazed not only at the fact that he was familiar with the terms, but also at the careful manner in which he handled them.”When they met again in July, “it was patently evident Bono had more to say,” Taylor remarked.
“Prior to our chat in New York City, I learned that he had spent the early morning re-reading the Psalms alongside various biblical commentaries and notes that he himself has taken on particular Psalms. I also found out that he had spent some time with a friend in a lively exchange about the Psalms, to get ready for our conversation. By the time I got him in the early afternoon, he was buzzing with excitement about certain themes related to the psalms of ascent, that section in the Psalter that runs from Psalm 120 to Psalm 134. Bono felt that there was something significant, not just for the Christian or the pilgrim (per the context of the Psalter) but also for the artist, in the themes that emerged in this collection of 15 psalms. The themes include a concern for peace, protection, cities, mercy, thanks, security, laughter, hubris, rage, tears, humility, searching, unity, blessing and so on. Bono had something to say about each of these themes. It was striking to see how his reading the Psalms involved a scholarly, personal and artistic lens. Aware of the near-constant demands on his time, I was impressed with how seriously he took our conversation, not least because of his longstanding care for Holy Scripture. I sincerely appreciated that kind of preparation and attention.” -LINK---
“I guess what I would like to convey through my writings, mostly, and through relationships, is that creation is a huge thing, and that our faith has to reflect the basicness of creation to what we’re doing. The minute you leave the place, the contingency of place, you lose the story. You’re thinking about mystical things, or dogmatic things, or religious things, but this is where it all happens. I think we’ve been pretty deliberate about making sure that we’re staying in touch with the things, with the stuff, with the rocks and the birds, whatever. That doesn’t come just at the end of your life. You have to start pretty early.”
1. Bob Dylan: at the Grammy Awards, 20 February 1991. Thirty years after arriving in New York from Minnesota, Bob Dylan stepped forward to be honored with a Lifetime Achievement Award. With the Gulf War in progress, the blanket of acceptance that had been draped over the show was so heavy the WAR SUCKS t-shirt New Kid on the Block Donnie Wahlberg wore to the American Music Awards a few weeks earlier would have been forbidden here; maybe that's why Dylan sang "Masters of War", from 1963, and maybe that's why he disguised it, smearing the verses into one long word. If you caught on to the number, the lyric did emerge - "And I'll stand o'er your grave/'Til I'm sure that you're dead" - but lyrics were not the point. What was was the ride Dylan and hid band gave them. With hats pulled down and dressed in dark clothes, looking and moving like Chicago hipsters from the end of the fifties, guitarists Cesar Diaz and John Jackson, bassist Tony Garnier, and drummer Ian Wallace went after the song as if it were theirs as much as Dylan's: a chance at revenge, excitement, pleasure. You couldn't tell one from the other, and why bother? With this career performance behind him, Dylan took his trophy from a beaming Jack Nicholson; he squinted, as if looking for his mother, who was in the audience."Well," he said, "my daddy, he didn't leave me much, you know he was a very simple man,
Then he walked off. He had managed to get in and out without thanking anybody, and this night it really did seem as if he owed nobody anything.
From: Martin Grossman (email@example.com) Newsgroups: rec.music.dylan Subject: Re: 91 Grammy Performance Date: Mon, 10 Aug 1998 11:16:33 -0400 It seems to me Ronnie Schreiber nailed the source of Bob's Grammy speech some time ago. Said Ronnie: At the time of the acceptance speech, I turned to my wife and said that Dylan's comments were an allusion to Psalms 27:10: "When my father and mother abandon me, HaShem (G-d) will gather me up." I went back to the sources and discovered that Dylan's remarks were almost a verbatim account of the commentary of Rabbi Shimshon Rafael Hirsch (the spiritual leader of traditional Jewry in Germany in the mid 19th century) on that verse: "Even if I were so depraved that my own mother and father would abandon me to my own devices, God would still gather me up and believe in my ability to mend my ways." Now, we have no way of knowing if Abram Zimmerman really taught this to his son or if Bob simply picked it up from a commentary on the Jewish prayer book (Ps. 27 is recited at the morning and evening prayer services during the month before the Jewish New Year), but in any case, the wording is too similar to Hirsch's to ignore. Note how both Hirsch and Dylan reversed the "father and mother" of the original verse to "mother and father" and Dylan's use of the phrase "believe in your own ability to mend your own ways" directly parallels Hirsch's "believe in my ability to mend my ways". It's unlikely Dylan's father was familiar with the writings of Rabbi Hirsch, the 19th Century leader of German neo-Orthodoxy. Dylan's involvement with Judaism over the past ten or fifteen years has been mostly through Chabad -- also an unlikely place for him to have been introduced to the Hirsch commentary. It's more likely Dylan saw the quote in the Metsudah Siddur, a prayerbook popular among Baalei Tshuvah (as "returnees" to orthodox Judaism are know, although many of them are encountering serious Judaism for the first time). The lines from Hirsch are cited in the Metsudah commentary and represent its translation from Hirsch's German. And we can speculate that it's their language that Dylan echoes. Note from MG: By attributing the words to his father, Dylan is following a long tradition of attribution in Judaism. He can be said to be using "father(s) in a wider sense, meaning his heritage. -- Martin Grossman---------------------------From Mark Aldrich:It took him less than a minute, even with his nervous hat fumbling and pauses, but Dylan had just delivered an Old Testament sermon (Psalm 27:10) about the disfigurement of a life spent enslaved to the material things to the bejeweled, genial, war-applauding, music millionaire crowd.
Piper says is okay because she (female engineer)’s not personally giving directives to any man in particular. However, he warns that other scenarios– those where a woman must give direct instructions to a male– would violate their sense of manhood and womanhood. link