L’Accorche-Choeur, Ensemble vocal Fribourg. Veni, Veni Emmanuel is a synthesis of the great “O Antiphons” that are used for Vespers during the octave before Christmas (Dec. 17-23). These antiphons are of ancient origin and date back to at least the ninth century.
But there was another kind of “idol” on display at the AMAs, as Detroit’s own Kid Rock was a presenter and did a spoof of his fight with rocker Tommy Lee in a comedy bit with host Jimmy Kimmel. Kid Rock released a new album last month, “Rock N Roll Jesus,” which received 4 out of 5 stars from Rolling Stone.
My dad, who is a arts and entertainment editor at a daily newspaper, played the title track for me a few weeks ago and asked what I thought. I said, “It’s pretty offensive.” Here’s a sample of the lyrics:
It’s a Rock revival
Don’t need a suit
Ya don’t need a bible
Get up and dance
I’m gonna set you free yeah
It’s all sex, drugs, rock n roll
A soul sensation that you can’t control
And you can see I practice what I preach
I’m your rock n roll Jesus
Yes I am
In his RS review, Anthony Decurtis says that Kid Rock latches “onto the verities of sex, drugs and rock & roll as a path to redemption — both his and the country’s.” The holy trinity of the Father, Son, and Holy Spirit are replaced by Kid Rock’s worldly triumvirate of sex, drugs, and rock & roll. It’s ironic that Kid Rock points to the licentiousness of American culture as the means for its “redemption.” If there’s anything that threatens America’s stature internationally, right at the top has to be the perception of rampant immorality communicated by American popular culture.
There’s a great deal of religious language and imagery used in the song (if you absolutely must hear it, there’s a live performance video here).
In a sermon on Revelation 17 this Sunday, my preacher described blasphemy as the appropriation of language fit only for God by a creature. The revelator saw “a scarlet beast that was covered with blasphemous names.” That’s exactly what Kid Rock’s “Rock N Roll Jesus” is: blasphemous.
After my dad agreed that the song was such, I expressed wonderment at how far culture has come. In 2007 Kid Rock can claim to be the “Rock N Roll Jesus” offering the worldly allurements of “sex, drugs, and rock & roll,” can debut at #1. Contrast this with the public outcry in 1966 when the infamous comment from John Lennon about the Beatles being “more popular than Jesus” was made.
But perhaps a better analogue in Revelation 17 to Kid Rock’s album as representative of popular culture isn’t the beast, it’s the drunk prostitute Babylon: “the mother of prostitutes and of the abominations of the earth,” who is faced with destruction by the beast and its minions. They will turn on the prostitute with derision, and “will bring her to ruin and leave her naked; they will eat her flesh and burn her with fire.”
No doubt many undiscerning and eager-to-be-relevant emergent Christians will grasp at Kid Rock’s record as a cultural “impact point.” Too often Christians are satisfied with any religious reference, even one that is blatantly blasphemous, to justify our consumption of popular culture. Certainly the linkage of Kid Rock to Scott Stapp could be improperly construed as further evidence of Rock’s righteousness (Stapp is the former frontman for the band Creed, who says, “I am a Christian.” The link above is to a story about the release of a sex tape involving both Kid Rock and Scott Stapp in 2006).
Kid Rock is right about one thing at least: “The time has come to settle and the devil’s gonna make u choose.”
Or as Jesus Christ (the real one) said: “He who is not with me is against me, and he who does not gather with me scatters.”
More: “Christian Parents Are Not Comfortable With Media But Buy Them for Their Kids Anyway,” The Barna Update.
O for a thousand tongues to sing
My great Redeemer’s praise,
The glories of my God and King,
The triumphs of His grace!
The great hymn writer Charles Wesley was born three hundred years ago in 1707. Wesley has sometimes been referred to as the forgotten Wesley, because of brother John Wesley’s profound organizational skills that launched the American Methodist movement.
Wesley is of course known for being a writer and composer of some of the most beautiful hymns, O For a Thousand Tongues To Sing, And Can It Be That I Should Gain, Christ The Lord Is Risen Today and Hark! The Herald Angels Sing, among others. In fact, Wesley penned thousands of hymns used by numerous Christian denominations today. The Wesley brothers in fact were dry and legalistic Anglican Ministers before their conversion to an Evangelical Christianity, which emphasized salvation by faith and a deep assurance of salvation. The Wesley’s were influenced heavily by the Moravians and following their influence Charles wrote in his journal upon his conversion,
I now found myself at peace with God, and rejoiced in hope of loving Christ… I saw that by faith I stood, by the continual support of faith… I went to bed still sensible of my own weakness … yet confident of Christ’s protection.
Charles and his brother followed George Whitefield’s lead in preaching outdoors to reach the masses and shepherded England’s 18th century spiritual revival.
This September, Liverpool Hope University will hold a conference titled “An Eighteenth-century Evangelical for Today: A Tercentenary Celebration of the life and ministry of Charles Wesley.” There will be plenty of discussion concerning Wesley’s historical impact as well as his relevance to the Church today.
One of Wesley’s influences is the rich theological teaching in his timeless music. Wesley, like Martin Luther, believed hymns were a method for teaching theology. This aspect of his ministry is greatly contrasted with some of the contemporary praise music which lacks theological depth and truth. But the haunting beauty of his works is maybe his greatest contribution as a Christian leader who writes about an experiential faith. His well known hymn And Can It Be That I Should Gain followed shortly after his Evangelical conversion:
Long my imprisoned spirit lay
Fast bound in sin and nature’s night;
Thine eye diffused the quickening ray –
I woke, the dungeon flamed with light;
My chains fell off, my heart was free,
I rose, went forth, and followed Thee
There once was a time when it was, in practice at least, more difficult and costly to copy videocassette tapes than it was music tapes, compact discs, or computer programs. That, in part, is the justification for how the US Copyright code treats music and computer software differently than, say, movies.
It’s also why you see rental companies, like Blockbuster and Netflix, that specialize in delivering rental videos for limited home usage. Other companies, like Gamefly, specialize in the rental of video games for consoles like the PlayStation 3 and XBox 360. Gamefly can do this because games for consoles, whether cartridge-based or disc-based, don’t qualify as “computer software,” and are thus not under special protection.
And in some states, there are increasing restrictions on how you can sell your used music CDs, for instance.
But as is so often the case in the world of technology, things change rapidly. The advent of the PC and powerful CD and DVD burning technology has made copying DVD movies as easy as copying tracks from a music CD.
Moreover, the PS3 in particular describes itself as a “computer entertainment system,” and comes with a hard drive, to which files can be copied, theoretically easing game load times and storing player profiles and statistics. This raises the question of what truly differentiates a game for the PS3 “computer entertainment system” and a game for a PC. Because of the particularities of copyright law, the former can be rented commercially, while the latter cannot (at least not without direct permission from the copyright holders).
The reason that you can rent games for such console systems is that such a game system is understood to be “a limited purpose computer.” But many PC gaming systems aren’t actually used for anything besides gaming (even though they theoretically could be).
Some commentators are in agreement with the view of Apple’s Steve Jobs: “There’s no mainstream demand for music subscriptions. The music business isn’t built on long-term rentals; it’s built on one hit after another. It’s confectionary. Tunes are addictive for a while and then discarded. It’s like the drug business: Users are always looking for the next hit.”
To the extent that this is even true, it may simply be the result of the different copyright treatment of music, movies, computer software, and video games.
Many of you may have already heard of the new line of Levi’s jeans due out later this year, the iPod compatible RedWire DLX jeans: “With a joystick remote control built into the watch pocket, the new jeans will allow wearers to play, pause, track forward or back and adjust the volume on their iPods without having to take them out of their pockets.” There is also a built-in pocket designed to “conceal the bulge of the iPod.”
But Levi Strauss is a bit late to the concealment racket, at least as far as the iPod is concerned, since iPod-friendly underwear produced by Play, wittily named the iBoxer, is currently ready to ship. These boxer-briefs come in three standard colors (turquoise, black, and orange) with other print patterns available.
Worried about concealing the bulge? The iBoxer promises “a discrete front pocket.” FreshPair.com, a distributor of undergarments, also assures us that for every 2 iBoxers purchased, we’ll get 3 Free iTunes (Coupon Included in Order). Top sellers include Sir Mix-a-Lot’s “Baby Got Back” and The Black Eyed Peas’ “My Humps” (iTunes required).
I’ve resisted the urge to pain you, dear readers, by posting a picture of the iBoxer, but for those of you who are gluttons for punishment, click here.
On a more serious note, Apple should perhaps be concerned about market saturation. The typical cycle for pop culture rotations is the move from popularity in an underground sub-culture to the broader marketing and popularization of the movement. This is followed by backlash from the sub-culture and the accusation of “selling out” to corporate interests. We’ve yet to see whether such a backlash will occur from the tech-savvy (much like what has occurred against Microsoft).
And while Pat Buchanan recommends buying up gold reserves, I for one am waiting for the day when the currency switches over from dollars to iPods. Here’s a sample conversation:
Buyer: “How much is that 60 GB iPod?”
Seller: “3 iPod Shuffles.”
Buyer (crestfallen): “But I only have 1 iPod Shuffle and 1 iPod Nano!”
The Real Clear Politics Blog passes along an op-ed from Bob Herbert, “Blowing the Whistle on Gangsta Culture,” a NYT Select item (subscription required). In the column, Herbert discusses the “profoundly self-destructive cultural influences that have spread like a cancer through much of the black community and beyond.”
Tom Bevan calls the piece “suprisingly candid,” and “some stiff, righteous stuff – all the more impressive coming from the source.” Herbert, of course, has been a NYT columnist since 1993, and Bevan thinks that “If Herbert is disgusted with the current state of black leadership in America then we may indeed have reached a tipping point.”
Acton research fellow Anthony Bradley has written widely on the moral status of rap culture. Be sure to check out these items: “Candy Shopping – Rap’s Dehumanizing Message” and “Ghetto Cracker: The Hip Hop ‘Sell Out’”.