Showing posts with label U2 1980s. Show all posts
Showing posts with label U2 1980s. Show all posts

Friday, January 15, 2016

Johnny Cash, Sting, and rifles that go off in our hands.. even when we are not in favor of it

Reading Rodney Clapp's wonderful "Johnny Cash and the American Contradiction: Christianity and the Battle for the Soul of a Nation",  I was caught off guard that in a list of "Cash's songs," was one I wasn't familiar with:


                                  "I Hung My Head."


The lyrics mention a rifle that "went off in my [the narrator's] hands."

I immediately connected that to a vintage U2 lyric  in

God Part II:

   

"I don't believe in the Uzzi; it just went off in my hands."

Knowing Bono is a huge Cash fan, I figured he was intentionally referencing the Cash song (After all, he references a Cockburn lyric in the same song  (and the title of course references Lennon's "God").

But then checking the footnotes in the book, I found that even though "I Hung My Head" was included in a lineage of Cash songs, it was a Sting-written song that Cash covered.  It is in the league of chilling covers from his late-era American Recordings (Drop eveything and watch "Hurt" for the definitive example) that Cash owned, and the listeners feel "how could Cash not have written that?!"

Here's the song-- by Sting, and as covered by Cash, and also by Springsteen.


I cite it as way of tipping you off if the song is also new to you;
also to get you into the "Violence and Peace" section of Clapp's book; which can be read (almost) in full on Google Books.  The section on the song at hand is p. 102ff   here.

Of course, some Christian fans will be freaked about yet another "controversial" Cash song or cover.
To those folks, I invite you to consider these clicks:

--Beth Maynard on "the naive thought that any artist who writes about sin must be in favor of it." - 
--


"Here is the easiest way to explain the genius of Johnny Cash: Singing from the perspective of a convicted murderer in the song ‘Folsom Prison Blues,’ Cash is struck by pangs of regret when he sits in his cell and hears a distant train whistle. This is because people on that train are ‘probably drinkin’ coffee.’ And this is also why Cash seems completely credible as a felon: He doesn’t want freedom or friendship with Jesus or a new lawyer. He wants coffee. Within the mind of a killer, complex feelings are eerily simple. This is why killers can shoot men in Reno just to watch them die and the rest of us usually can’t.
("Chuck Klosterman, "Sex, Drugs and Cocoa Puffs", page 186)
 



Wednesday, June 17, 2015

"I waited patiently for the Lord..(or more likely, he waited patiently for me)"

Some new  outtake footage from the "Rattle and Hum" film has been appearing, including color versions of songs that were black and white in the film.


One theological highlight is this from Tempe, as Bono interrupts his Scripture reading of Psalm 40 with come commentary (play the intro)

"I waited patiently for the Lord..
                                             ..or more likely, he waited patiently for me."

Note, he (again) pastors the congregation: "Be gentle with him, he's a fan of ours" (2:44)

Then the "Halleluah"s at 4:15ff..
 

Friday, May 22, 2015

"Drawing Our Fish in the Sand: Secret Biblical Allusions in the Music of U2"

"Drawing Our Fish in the Sand: Secret Biblical Allusions in the Music of U2" by Deanne Galbraith in   Biblical Interpretation 19 (2011) 181-222

Abstract:

Confronted with a popular music subculture which is predominantly antipathetic to Christianity, the charismatic-evangelical members of rock band U2 double code their lyrics in such a manner that Christian references are hidden from mainstream listenersa nd media while being readily recognizable to their Christian fans. The device of allusion is especially amenable to this end, as the meaning of an allusion can only be considered by a reader or listener who possesses the requisite competency in respect of the evoked text(s). Through  their  utilization of biblical allusions, U2 therefore construct two dierent, perhaps even irreconcilable, groups of listeners—a knowledgeable Christian in-group and an unknowledgeable non-Christian out-group. With detailed reference to U2’s songs, this paper examines the covert tendencies of allusion and the manner by which it is able to engage the listener’s intertextual imagination. The paper also distinguishes a secret or hidden allusion from a generic allusion on pragmatic and socio-cultural grounds, and demonstrates the potential of secret allusions to increase semantic indeterminacy. Lastly, the paper examines some examples of the reception of the U2 song ‘Magnificent’ which demonstrate the eectiveness of U2’s secret biblical allusions in creating two largely discrete groups of listeners.
---- 





Paper  is here





 Bono:
"We've found different ways of expressing it, and recognized the power of the media to manipulate such signs. Maybe we just have to sort of draw our fish in the sand. It's there for people who are interested. It shouldn't be there for people who aren't." -- Bono on faith, quoted in U2 at the End of the World 
 


Monday, October 06, 2014

the top two misundertaken secuhymns of the 20th Century

They both have been hugely misunderstood,
                      misundertaken
                                         and/or
 misappropriated into acceptable evangelicalized versions.


It's amazing how many people have "fixed" U2's "I Still Haven't Found What I'm Looking For", by adding a verse about finally finding it once and for all, and no longer having any need to search.  That supposedly makes it church-ready.  Arrgg.  Do they know that
"not having found what you’re looking for is not a sign of apostasy but a sign of faith. It means you’re still alive, still travelling, still growing, still learning. Keep looking and you’ll keep finding, and then finding that you still need to keep looking…" 


And of course, there's Leonard Cohen's "Hallelujah," which a couple of years ago was  sanitized (sigh) and Christianized  (no!) by some well-meaning followers....do they know the writer is Jewish, and that sex is in the Bible?  (see A Special Version of Hallelujah With a Christian Twist 
and Christian Writer Ruins the Best Song Ever   and more here)
--

-
1)"I Still Haven't Found What I'm Looking For":

"There has never been a more concise theology of redemption, atonement and the substitutionary death of Christ. No clearer proclamation of theGospel has ever sold so many copies...But he hasn't found what he is lookingfor. I remember speaking in Dublin and seeing this rather exuberant Christian atthe front of the hall. I began my address by asking had anyone found what they were looking for. "Amen brother. Yes Hallelujah!" I am not sure how my dearbrother came to earth as he discovered that for the next hour I was exposing that to have found what we are looking for has nothing to do with BiblicalChristianity...So my conclusion is that U2's I Still Haven't Found What I Am Looking For is probably the best hymn written in this century, it has the theology of the cross but is centred in the reality of a fallen humanity and i sabout striving towards a better man and a better world" (Rev Setve Stockman, read it
all
)

So why do Christians feel they have to change the lyric to sing it in church?:

 think Bono said it best, when he exclaimed,“You broke the bonds and you loosed the chainscarried the cross of my shame, of my shame.You know I believe it.“But I still haven’t found what I’m looking for.”
Said what best Mike? He didn’t say anything!I mean, that doesn’t make any sense does it?Jesus is what we’re looking for. Right?
Well, yes.
I remember a particular chapel service at my Christian high school,when a worship band came and sang this song.It was terribly cool at that time to sing a U2 song for worship too,but when it came time to sing the refrain after that verse,they cleverly changed the lyrics to,“and now I have found, what I’m looking for!”It was quite a moment too. Hands going up all over the place,people shouting, flags waving, it was totally amazing.And I remember pumping my fist, and thinking, “yeah! That’s right.What does Bono know? How could he talk about Jesus and thensay that he still hasn’t found what he’s looking for?Not me! I’ve found what I’m looking for! I’m not still searching,I’m not still looking….right?
Well, yes and no.
Ten years ago I thought U2 was trying to say that Jesus wasn’t really the answer.Now, I’m starting to see that they just understood something that I didn’t.You see, I think Bono was simply reiterating something that theologians havebeen writing about for centuries. He wasn’t making blasphemous statements as much as he was poeticizing what is commonly referred to as,“the already and the not yet.”And you know, I’d say it might just be the most difficult truth that a Christianwill ever have to wrestle with.The fact that we already have what we’re looking for,and in the same moment, haven’t yet received it,isn’t so easily reconciled as one would hope.   link


2)Hallelujah:

The generic genius of Leonard Cohen’s Hallelujah

In his impressive new book The Holy or The Broken, veteran rock writer Alan Light meditates on “Hallelujah,” the song that may be the 20th century’s most influential and misunderstood secular hymn. In the way other books tell the story of a particular person, this is the biography of a song. Sure, it was penned by celebrated poet-writer-singer Leonard Cohen, but it is clearly much bigger than him or any of the hundreds of other artists who have interpreted it. It is regularly called one of the greatest songs of all time by people who should know about these things.
As a songwriter myself, as well as someone who has worked with songwriters for years, this is a fascinating book. Light reveals something surprising, and not all that comforting, about the modern popular culture’s power to pluck anything with commercial value out of obscurity and then profit wildly from it - even if that “something” is a maudlin meditation on personal failure, sexuality and fractured spirituality.


Saturday, September 06, 2014

following "I Will Follow" : backdropped by stalking agape

In a post on the Hurst Review, several U2 fans post on the "Celebrating U2" theme, including this item by Beth Maynard on "I Will Follow."
(related:  see Two posts on Bloody Sunday)_

One of my fantasies for some time has been offering a retreat based around how U2 have worked and reworked “I Will Follow” over their career. Their 29 years of changes to this song track a classic spiritual pilgrimage: from seeking to fervor to sending to struggle to reconciliation.  The constants have been the chorus and verse structure,  Larry’s drums, Edge’s relentless two-string assault, and Bono’s stalker chant: a minor third in the verses and one obsessive note in the chorus. But so much else has morphed from year to year.
The lyrics are an obvious example. As the seasons of U2’s work pass, is it a “mother” or “lover” in verse 2?  “They pulled the four walls down,” or “you tore my four walls down”?  Is the narrator’s predicament being “lost,” “caught at a stoplight,” or “chased by amazing grace”?  And does the story end neatly with him “found,” or is the verdict Popmart’s trapped, angry “you took the soul from me/you put a  
hole in me”? (Or do we even sing the song at all?  Not on ZooTV we don’t.)
Then there’s the mood of the center bridge.  The original on Boy to  
me comes out eerie and maybe even a tad frightening.  (“Your eyes” — they fascinate me, I can’t stay away, but when I do “go in there,” what am I getting myself into? )  In the later 80s it’s a more trusting encounter, and the transition out of it turns exultant.  But the whole section is summarily cut for the Pop era: not quite able to meet those eyes just now?  After 2001, the bridge returns, often with an extended numinous improvisation, band and crowd hovering in the moment as at the Elevation show in Turin: “Let the Spirit descend on this place/let the lines disappear off my face.”
Or finally the ending.  “I Will Follow” concludes with a high-energy drive to the final note, but on the studio version  20-year-old Bono delivers his last word as if sleepwalking, almost as a question: “…follow…?”  However, listen to a live performance just a year or so later, and caution is gone as he’s shouting “I will!” The band rush the tempo.  It’s a vow.  In Popmart, he’s age 37, “I Will Follow” has become a cry of mother-loss paired with “Mofo,” and the end is broken and desperate: “Don’t walk away!” And post-midlife, during the Vertigo tour, sometimes the song actually winds up in Koine Greek: “Agape, agape.”
Stalking agape, or facing the reality that it will never stop stalking you, or renewing your vows to it as in a lifelong marriage – those kinds of relational negotiations backdrop all  the different versions of “I Will Follow.”  If it’s in the setlist for the upcoming tour, I’ll be looking for it to reveal yet another nuance of how four artists are living a life in love with Love.

U2sermons.blogspot.com


--
Re: The quote at Turin mentioned above: variations:

PS an interesting exaltation i noticed during I will follow in the elevation san remo concert..."let the lines disappear on my face, let the spirit descend on this place..our spirits will never grow old..."also..i noticed a different intro than usual on the oakland Nov 15 concert to streets...."Who's gonna fall in front of Thee...Who's gonna fall in front of Thee...You have my heart. You have my heart"  link

Tuesday, July 15, 2014

Guest post by Don Berg: Evolution of Bruce Cockburn lyrics Part 12: Stealing Fire



Stealing Fire (1984)

During the 1980’s unspeakable horrors were being perpetrated upon the common people of Central America. Most Americans new only of the “communist threat” from south of our border and voted for more money to arm the oppressive military regimes of the region. Bruce experienced first hand the conditions that this money helped to create. He did not sing explicitly much about his faith in these times, but make no mistake. his faith was the driving force behind what he did sing about. He hints at this in the song “Maybe the Poet,” along with an obvious Biblical allusion to Galatians 3:28: “There is neither Jew nor Gentile, neither slave nor free, nor is there male and female, for you are all one in Christ Jesus.”

Maybe the Poet

Maybe the voice of the spirit
In which case you'd better hear it

Male female slave or free
Peaceful or disorderly
Maybe you and he will not agree
But you need him to show you new ways to see

Don't let the system fool you
All it wants to do is rule you
Pay attention to the poet
You need him and you know it




While Cockburn was visiting a Guatemalan refugee camp on the Southern border of Mexico, the refugees were strafed by military helicopters. Like the psalmist, Bruce is filled with rage, and in the moment sees no alternative but to strike back in righteous anger. Many have discussed whether or not he is advocating violence or merely expressing his rage and despair. Bruce has been quoted to say that Rocket Launcher "is not a call to arms; this is a cry."

If I Had a Rocket Launcher

Here comes the helicopter
Second time today
Everybody scatters
And hopes it goes away
How many kids they've murdered
Only God can say
If I had a rocket launcher
If I had a rocket launcher
If I had a rocket launcher
I'd make somebody pay

I don't believe in guarded borders
And I don't believe in hate
I don't believe in generals
Or their stinking torture states
And when I talk with the survivors
Of things too sickening to relate
If I had a rocket launcher
If I had a rocket launcher
If I had a rocket launcher
I would retaliate

On the Rio Lacantun
100,000 wait
To fall down from starvation
Or some less humane fate
Cry for Guatemala
With a corpse in every gate
If I had a rocket launcher
If I had a rocket launcher
If I had a rocket launcher
I would not hesitate

I want to raise every voice
At least I've got to try
Every time I think about it
Water rises to my eyes
Situation desperate
Echoes of the victims' cry
If I had a rocket launcher
If I had a rocket launcher
If I had a rocket launcher
Some son of a bitch would die




I have made a couple of connections between Bruce Cockburn and U2 already in these blogs, as they both make frequent Christian spiritual allusions and have a largely secular audience. There is a direct connection between the two. In the context of the darkness of those days in Latin America Cockburn sings:

Lovers in a Dangerous Time

When you're lovers in a dangerous time
Sometimes you're made to feel as if your love's a crime
Nothing worth having comes without some kind of fight
Got to kick at the darkness till it bleeds daylight


This last line is quoted (and attributed to Bruce Cockburn in the lyric sheet) by U2. The song is God Part II. That song is a response to the Jon Lennon song “God”, in which Lennon sings that he does not believe in the many manifestations of God, but instead believes only in himself and Yoko. Bono’s version describes ironic stanzas, each contrasting what he doesn’t believe in to the Love that he does believe. It is worth noting that in Bono’s lyrics love is frequently a metaphor for Jesus. Here is the stanza that references Cockburn:

God Part II (U2)

I don't believe in the '60s
In the golden age of pop
You glorify the past
When the future dries up
I heard a singer on the radio
Late last night
Says he's gonna kick the darkness
Till it bleeds daylight
I believe in love

I feel like I'm falling
Like I'm spinning on a wheel
It always stops beside a name
A presence I can feel
I believe in love

Tuesday, June 24, 2014

Bach's subversive, chiastic and non Joel-Osteen-y golf club: Where's the Christus Victor in THIS?

Bono once (in)famously asked (about terrorism),
"Where's the glory in that?"

I'll come back to that.



One day after asking about possible  new liturgical uses of a Christus Victor theme,


I have an answer:


Forget new.
Get back to Bach.

Like any theological golfer, what Bach did..

Okay, I know.  I need to unpack that Bach as golfer image.
I love Scot McKnight's work, especially on the atonement.
Yet I have sometimes felt his "golf club" metaphor for theories of atonement seemed--even though making a very profound and accurate point--seemed a bit crude:

Scot McKnight wants you to have your golf bag fully equipped—theologically speaking. That's the controlling metaphor of McKnight's 2007 study of soteriology, A Community Called Atonement (4 stars).
Here's how the metaphor works. Each "theory" of the Atonement is, like a particular golf club, better suited to some situations than others. Ministering the gospel is like playing a round of golf. Just as a golfer knows when to use a driver, a wedge, or a putter, the way we proclaim, teach, or share the Good News should be adapted to the situation. You can hit the ball out of a sand trap with your driver, but why would you if you had a wedge available?
The strength of the golf-bag metaphor is that it asks us to stop being partisan toward one particular theory of the Atonement and to minister with the best tools at hand. McKnight is a peacemaker and a bridge builder, which makes his book welcome.  link
But I have come to  agree with Frank Viola; and see that it works well.

I sometimes use Baker and Green's language of a  "constellation of images" of the atonement being needed.
 I sometimes apply NT Wright's language  (in different context) of four speakers with adjusted volumes to the atonement.

 But it just may be that as down-home,  utilitarian and Joel-Osteen-y as it sounds, choosing the right "golf club" might be one of most helpful ways of making the point that multiple (multiplex) "views" are in Scripture, and that the "theories" are indeed practical" (See  "God loves donkeys, sweat, entrails and menstruation" )and "Nothing is more practical than theory, and nothing is more theoretical than practice)")

Having said that, I must also say:

--In light of the fact that McKnight's point in the very title, and throughout the book, is that the community needs to interpret atonement, not just individuals, one is disappointed that there was no  team sport that would work better than the individual player nature of golf..Hmmm..

--I also wonder how best to communicate that atonement theories inevitably overlap and constellate/cluster/Venn--unlike use of a golf club for a particular shot, which rules out  simultaneous use of another. (Or does it?? Creative golf, hmm...)

SO..Bach.

Bach apparently wrote five passions, including one for each gospel.
Matthew's was based on a satisfaction theory of atonement; John's steeped in Christus Victor imagery.  Mark's survived only in text; and two were lost.

Wow, makes one wonder what we lost by not having inherited all of Bach's golf clubs.




In an article analyzing the underpinnings of CV in  Bach's St. John's Passion, Calvin Stapert notes that Jesus' words "It is finished," if indeed interpreted as Chistus Victor, should obviously be a victory  cry. Yet..




Bach set these words to a descending line that fittingly depicts the expiration of a dying man. 
But where, then, is Christus victor in this

Full article PDF here

Well, read the article to see how Bach--no theological and musical slouch-- brilliantly  and musically subverted desencion and death into ascension and joy.  (It's kind of a  holy hemistiche.  Note also that Bach weaves together three chiastic structures!  What a rock star.).

Music itself may be the only medium to liturgize our message.
As Happy Lee  and James Allison remind us, "theories of atonement" are better yet "liturgies."
Even though  in our day, we have forgotten that "worship is not music," 
music ..especially corporate worship music...can sure be worship. 
There's glory in that!

Ryan Schellenberg:

The actuality of the atonement exceeds our theologizing:

....people are more than the sum of their conscious ideas, and therefore any account of atonement in the New Testament should be curious about how the message of the cross connected with the rest of what makes up a human being. Surely it is instructive here that the earliest evidence we have for atonement piety is not theological discourse at all but rather ritual practice, specifically, baptism and the celebration of the Lord’s Supper, both of which predate any extant Christian text by nearly twenty years. 17 We don’t know what the earliest followers of Jesus were saying about the atonement, but we do know that they participated ritually in his death and resurrection—they shared in his body and blood; they joined in his death and resurrection—and thus experienced themselves as redeemed people.

Recovering the Scandal of the Cross: A ‘Redaction-Critical’ Reflection, Direction, Spring 2012  ·  Vol. 41 No. 1



Tuesday, January 21, 2014

naked prayer :"it's gonna work this time.."



Any serious fan know there are nights when a  U2 concert is                off the charts..
                                     ...and there are some nights when it just isn't    going off.
                                      (Though on one of the off nights, the concert is still better than anyone else's).

I have been to gigs in the

 former  (within ten seconds, I knew my life would never be the same, and that I would still be living off that concert three decades later)

and

 latter  (within ten seconds, I knew Sacramento 2001 was going to be one of those nights) categories...and one in between.

Often, Bono talks about "The Spirit is in the house,"  or  "God walking through the room.."
 when it (It) hits.
Call it anointing if you will.........Bono knows the term
(see "Bono explaining rhema and anointing to Rolling Stone").

One classic concert fans talk about is Edmonton 1997.

It;s not unusual as the song "One" winds toward the close, Bono makes an executive decision about whether or not to do an extended ending (what's been well called the "naked prayer" section), and gestures to the band the decision.

Sometimes it means, "Let's give it a shot. I'm not sure God is gonna walk through, but let's see."
Sometimes it means, "God's about to move.  Let's move with the movement."

You can catch from the gesture here that it's the second case in Edmonton.

You can catch the go-ahead nods at 15:49 (Though surprisingly subdued).

           Then at  16:23ff  the passionate"Hear me coming, Lord..."  section

                                 ...and the speechless "Wow" at 17:21: 

Wednesday, January 15, 2014

The Edge was there when they crucified my Lord

Here 's a very rare live version of  U2's "When Loves Comes to Town"(from "Outside Broadcast".
See the whole crazy broadcast it all here).

I love how Bono can give away his best God lines (voice of God in "Unknown Caller," Scripture in "Miracle Drug" etc.).  The classic verse in this song...
I was there when they crucified my Lord

I held the scabbard when the soldier drew his sword

I threw the dice when the pierced his side

But I've seen love conquer the great divide
...was  originally sung by guest B.B. King (Watch his wonderful "Mighty heavy lyrics for such a young man" comment in below video...at the 3:33 mark, hmm))..  But in the "Outside Broadcast" concert--in the absence of B.B.-- the Edge gets to preach it..


Tuesday, December 31, 2013

crossover crossdressers: Needtobreathe





For some reason...I don't know, maybe complaining Christians...Conan's website had dropped the video of Needtbreathe performing in drag...uh, pulling a Dalton Brothers.  It was a Halloween broadcast, and they were actually dressed as  Dolly Parton, Reba McEntire, Taylor Swift, Tina Turner and Minnie Pearl to play “Girl Named Tennessee ." Funny that a lot of people don't know this is a "Christian band" (or something like that).. ..Here is  a YouTubed version, and some backstory:

Harvest Crusade’s Invite to ‘Crossover’ Band Who Dressed Like Women Questioned

Sunday, November 24, 2013

U2's "Ordinary Love" and their three eras: id, ego and supergo? what's next?

In the context of a  thoughtful response to the new U2 film song ("Ordinary Love"). here's  an excerpt from Andrew Romano. If he's got the   "id, ego and supergo" right, makes me wonder what's next..as they hopefully are moving out of that third era (what's after/beyond superego?).  Also, it would've helped if the writer more extensively talked about this being a soundtrack song... the U2 film songs are not quite in the flow of their album-to-album growth.

Oh, i see the line above, the way Bono illustrates it in the video as yet another example of him deflecting..or reflecting...the 'you' as being towards the audience, and not in the "obvious" way he meant it (upper case "You"  as in God/Jesus).  "With or Without You, "Oh, you look so beautiful..." etc.

Finally, do see Beth's response to the song/video here. As usual, great catch is to what may be going on.

 

Romano:

Here’s my theory. The early part of the band’s career, from Boy (1980) through Rattle and Hum (1988) was its Id Period—an era defined by big, flamboyant, irrational emotions like desire and faith and outrage (and their sonic equivalents).
The middle part of the band’s career, from Achtung Baby (1991) through Pop (1997), was its Ego Period, when U2 established an ironic distance from their earlier emotionalism—when they “attempt[ed] to mediate between id and reality,” as the great rock critic Sigmund Freud once put it.

The most recent part of U2’s career, meanwhile, which began in 2000 with the release of All That You Can't Leave Behind, has been its Superego Period. To me, much of U2’s recent output sounds like a band trying to act appropriately. A band that knows how it’s supposed to sound and is attempting to sound like that. A band that is imposing concepts onto its music. A band that is calculating. Overthinking. And losing some sort of spark in the process.

Which brings us to “Ordinary Love.”  full article
---------------------------------------------
Note below: the song's already been covered.  That ought to be good for the band's ego..uh,
superego?   or..

Tuesday, October 22, 2013

Peter: My Bad

Can you hear U2's  "Bad" as narrated by  Peter?

I know it is widely acknowledged that this song is about Gareth Spaulding who was a friend of Bono that died because of a heroin overdose: “I wrote the words about a friend of mine, his name was Gareth Spaulding. And on his twentyfirst birthday he and his friends decided to give themselves a present of enough heroine into his veins to kill him. This song is called ‘Bad’” (comments Bono made at a show in Sweden in 1987). However, I cannot escape a simultaneous connection with the experience of the apostle Peter after he tried to protect Jesus in the garden of Gethsemane. “Where in the world are you getting that?” you may ask. Well, picking up on the Judas experience in “Until the End of the World” from Achtung Baby, I thought it wouldn’t be strange for Bono to identify failings and regrets of others around Jesus, particularly those viewed positively. What really hit me was the refrain “I’m wide awake, I’m not sleeping”. At first, I began to think of the Transfiguration, where Peter, James, and John fell asleep praying (seeLuke 9:30-33). But then I also thought of the other occurrence of sleeping during prayer while they were in the Garden (see Luke 22:44-46). Thus, I got the thought that perhaps “Bad” was Peter rehearsing after the fact what he would do if he could do it again. He had limited his scope on Jesus and the nature of his kingdom to the extent that in both of the events mentioned above, he ends up making suggestions that in restrospect are so bone-headed both of which are intended to keep Jesus around rather than let him go. Anyway, that seemed to fit with the verbage of the song, particularly the fact that he was now “wide awake”. Perhaps I’m wacked out, but Bono is accustomed to weaving different layers into his lyrics so I personally wouldn’t put it past him. I also wouldn’t bank on it. But, whatever.  link, Davesexegesis.com?

See also:

U2 - Bad Lyrics | SongMeanings

You may have noticed like with other songs, Bono in the 2000s has done some historical revisionism with his lyrics, giving them a more obviously positive Christian theme ( see 

cursing God's staff and revisionist U2 history

classic example is "The First Time").

 Have you noticed with newer versions of "Bad," he has for this section:

If I could, you know I would
If I could, I would let it go 
This separation
Separation
Isolation
revelation

substituted:

If I could, you know I would
If I could, I would let it go 
This separation
Separation
Isolation
Not revelation
Isolation
Not revelation 
Isolation

Sunday, October 06, 2013

psalms with street cred and drums that smash Satan and call us from violence to chivalry: U2's "Hawkmoon"

Doesn't everyone hear "Hawkmoon" that way?
(see U2 devotional #7b:"like a preacher needs pain")


Great testimony in Christianity Today.includes some great U2 (and Johnny Cash) nods):


You know it's quite a story when it starts like this:

:
At age 13, I was baptized by my first stepfather. The baptism capped off an emotional high I had contracted at a recent church camp. To be honest, I was baptized because I wanted to date the pastor's daughter and assumed baptism was a prerequisite. And, to be more honest, I believed that having my stepfather baptize me might make him stick around. It was the same reason I intentionally lost our basketball games.

Three days after he raised me out of the font, my stepfather beat up my mom and me and ran off with the wife of a youth leader at our small church. We never saw him again.
Our family didn't talk about the strange events that dotted my childhood. Like the time I was almost kidnapped when I was 8. My mom and biological father (who left two years later) were hosting a party in our home in Santa Rosa, California, while a friend and I played on our front lawn. A stranger showed up and began talking to us, laughing as she suddenly picked me up and held me tight. While I screamed, she carried me around the corner, toward a black Lincoln sedan with the back door swung open. Hands emerged from the backseat to pull me inside while the woman started pushing me in. Right then, my dad and his friend arrived. The stranger jumped into the car and it sped away. My mom and dad never mentioned what happened.
....
And later gets onto U2:
Music was still communicating to me, giving me inklings of a reality outside my own. In 1987, just as I was about to wear out my cassette tapes of Boy and War, U2 released The Joshua Tree. Arguably the Dublin rock band's magnum opus, it helped me center and remember that life was more than smoking pot and doing cocaine. That year, I went to see them in concert (yakked out on coke and tequila, still). The last song of the night was "40."

Out of nowhere, a wind of grace blew over me. It wasn't the lyrics that got me ("I waited patiently for the Lord / He inclined and heard my cry")—I had no idea they were based on Psalm 40. It was the music and the people singing together. Up to this point in my life, I felt like I had been standing in the middle of a circle, punching wildly at the air so no one could hurt me. But here I was drenched in a universal love, and immediately sobered. The mass of voices carried me toward the arms of God.

Psalms with Street Cred
This moment was profound, but it was fleeting. I carried on, chained to voiceless anger. I graduated from a state college, the first in my family to do so, became an RA, landed an internship at NBC, started a business—I was starting to come into my own. But my stabs at a few different careers didn't pan out, and I ended up working for my dad selling garlic for a couple years, then kicking around dead-end jobs. I was starting to realize I couldn't manufacture my own joy.

One night in 1995, I was driving around listening to Nirvana, flipping off people who were lined up outside of bars. My middle finger was my life statement. With my mouth sealed shut, I was saying that their games were meaningless, even though I couldn't have told any of them what was meaningful.

Later that night, lying in my bed in my apartment in San Jose, I heard a voice. It both was and wasn't audible. Give me 100 percent. You've never given me 100 percent. I knew right away that it was the God I'd heard about in churches growing up, the God I had started to believe might exist at the U2 concert.

I realized then that I had never talked to God. I had only talked to God's people. And I had been judging him based on Christians' attempts, however well intentioned, to save me. In that moment, he was asking me to see him for himself, just like I wanted to be seen for myself. I said aloud, "All right. I'll give you 100 percent." I had nothing to lose.
The next morning, I was driving around listening to U2's Rattle and Hum when the song "Hawkmoon 269" came on:I got out of bed and grabbed a Bible from the leather-bound, gold-embossed, soft-cover, youth-version, study-version, latest-version pile I had collected over the years. The majority of what I had heard in church had no staying power, but I did remember that the Psalms were in the middle of the Bible. I devoured their words like the lyrics on the liner notes of a Cash album. They were deep and rich. They had street cred. I started to think, Man, this might be true. Even though I hadn't slept well for years, that night I slept like a baby.

Like a desert needs rainLike a town needs a nameI need your love. . . .Like coming homeAnd you don't know where you've beenLike black coffeeLike nicotineI need your love

I pulled the car over and started weeping. I didn't just hear Larry Mullen's drumbeat at the end of the song—I felt it with my being. His bass drum was smashing Satan in the face, each hit loosening his grasp on my life. It called me from violence to chivalry. It called me to a strength that was for justice and gave me hope. All the chains I'd been dragging around, all the screaming and no one listening—it all shattered and fell away.
I hadn't paid attention to where I pulled over. When the song ended, I looked up to see a woman watering her lawn. Sitting in the car, a snotty, sobbing mess, I watched the water fall from the hose, the sun sparkling and dancing off the drops, lighting them up like jewels. They were clear and pure and radiant, and it was ordinary and everyday, right there for me to see. I knew God was there, with the woman watering her lawn, with all of us.
          --"Saved by U2 and an Audible Voice: God wasn’t on my to-do list. He showed up anyway."by Travis Reed [Full article here