Archive for the ‘Recontextualizing’ Category

by Fred W. Anson
At what point does recontextualized music drift into syncretism and/or compromise?

Once a year the Los Angeles Bonaventure hotel that I pass through on my way into work gets overrun by the Self Realization Fellowship (SRF). For those unfamiliar with the SRF here’s a quick synopsis:

Self-Realization Fellowship (SRF) is a worldwide spiritual organization founded by Paramahansa Yogananda in 1920 and legally incorporated as a non-profit religious organization in 1935, to serve as Yogananda’s instrument for the preservation and worldwide dissemination of his writings and teachings, including Kriya Yoga. Yogananda wrote in God Talks With Arjuna: The Bhagavad Gita that the science of Kriya Yoga was given to Manu, the original Adam, and through him to Janaka and other royal sages.

Self-Realization Fellowship continues to disseminate Paramahansa Yogananda’s teachings following his stated Aims and Ideals. SRF publishes Yogananda teachings of home-study lessons, writings including Autobiography of a Yogi, lectures, and recorded talks; oversees temples, retreats, meditation centers, and monastic communities bearing the name Self-Realization Order. It also coordinates the Worldwide Prayer Circle, which it describes as a network of groups and individuals who pray for those in need of physical, mental, or spiritual aid, and who also pray for world peace and harmony.

SRF is based at Mount Washington in Los Angeles, California, which is the international headquarters for SRF and for Yogoda Satsanga Society of India (YSS). YSS was founded by Yogananda in 1917 before he came to America. In countries outside the Indian subcontinent the organization is known as Self-Realization Fellowship.1

20150816_122835

A shot looking into the gift shop that the SRF sets up at the LA Bonaventure Hotel each year.

That’s the long version, the short version is this: It’s Hinduism. Or, more precisely, according to Elliot Miller of Christian Research Institute (CRI) it’s, “a kind of New Age Hinduism in Christian garb.”2 So once a year for about a week, I wander through this strange hindu-land on my way to pick up my lunch on my way to my job in the building next door. And as I do, when I’m not quieting praying, this is what I sing:

Let me fulfill thy will
Let me fulfill thy will

Oh Lord Supreme, Supreme
Let me fulfill thy will
Let me fulfill thy will

Oh Lord Supreme, Supreme
Let me fulfill thy will
Let me fulfill thy will

Oh Lord Supreme, Supreme
Let me fulfill thy will
Let me fulfill thy will

Let me fulfill thy will
Come by my side

Let me fulfill thy will
Come by my side

Let me fulfill thy will
Come by my side

Let me fulfill thy will
Come by my side

Let me fulfill thy will
Come by my side

Oh Lord Supreme, Supreme
Let me fulfill thy will
Let me fulfill thy will

Oh Lord Supreme, Supreme
Let me fulfill thy will
Let me fulfill thy will

Oh Lord Supreme, Supreme
Let me fulfill thy will
Let me fulfill thy will

Of course anyone who was a Jazz Fusion aficionado in the seventies will tell you that I’m singing, “Eternity’s Breath, Part 1” by the Mahavishnu Orchestra3 from the 1975 album “Visions of the Emerald Beyond”. Of course I’m not singing it to Vishnu as the original artists were, I’m singing it to the only true God – the God of Israel, Yahweh Elohim. I’m singing it to the only true Lord, my Lord, Jesus Christ.

However, this song was written to neither. The composer and founder of the Mahavishnu Orchestra, John McLaughlin, was a disciple of Sri Chinmoy and a Hindu.4 As McLaughlin explained in a 1982 interview:

By the time I was 27, I’d already started doing Hatha Yoga and doing mind and breathing exercises. I felt more capable mentally, but I had this feeling I was being tuned up but not being played very well, which relates to what we were talking about a while ago. I felt the need to learn from somebody who really knows.

I arrived one evening at a meditation featuring Sri Chinmoy and he invited questions. I thought, “Great, this is the first time anyone has ever invited questions,” so I said, “What’s the relationship between music and spirituality?” and he said, “Well, it’s not really a question of what you do. It’s what you are or how you are that’s important because you can be making the most beautiful music sweeping the road, if you’re doing it in a harmonious way, in a beautiful way.” It sounds so simple, of course, but it was everything I wanted to hear and I felt I should stay with him, which I did for five years.5

jmvlargelive2

John McLaughlin working his craft with the Mahavishnu Orchestra around the time that Eternity’s Breath was recorded.

All that aside, what I do know is that I love this song! McLaughlin’s incendiary but elegant guitar, Jean Luc Ponty’s soaring violin, Narada Michael Walden’s driving drums, Ralphe Armstrong’s melodic bass, Gayle Moran’s inspired keyboard work, all combined with gorgeous, tightly harmonized vocals. It’s a classic.

And I know that when I sing it I’m worshiping my God not the god of Sri Chinmoy or John McLaughlin. Further, I would go so far as to say that if there’s such thing as a Christian mantra this contextualized song is mine – it captures my deepest heartfelt desire for living my life Coram Deo (Latin for “Before the eyes of God” or “In the presence of God”), as the words so simply yet profoundly say:

Oh Lord Supreme, Supreme
Let me fulfill thy will
Let me fulfill thy will

Is that syncretism? Is it compromise? Or is it, Jesus Christ redeeming this song and taking it captive to His purposes; conquering it for His Kingdom, and; putting it under His foot? I think it is – but you tell me, for I’m only an fallen man, and prone to be deceived. Which is why I sing:

Oh Lord Supreme, Supreme
Let me fulfill thy will
Let me fulfill thy will

As originally performed on "Visions of the Emerald Beyond"

As originally performed on “Visions of the Emerald Beyond”

NOTES
1 “Self-Realization Fellowship”, Wikipedia

2 Elliot Miller, “Swami Yogananda and the Self-Realization Fellowship”

3 According to Wikipedia, “Mahavishnu” means, “Mahavishnu (Devanāgarī : महाविष्णु) is an aspect of Vishnu, the Absolute which is beyond human comprehension and is beyond all attributes.”

4 As were guitarist Carlos Santana, percussionist Narada Michael Walden, singer Roberta Flack, saxophonist Clarence Clemons and Russian rock legend Boris Grebenshikov. Wikipedia explains:

“Chinmoy offered the musicians a disciplined spiritual path that forbade the use of drugs and alcohol and encouraged music and poetry as expressions of thankfulness to the Divine.

“[Carlos] Santana and [John] McLaughlin stayed with Chinmoy for a number of years before leaving. In 1973 they released an album based on Chinmoy’s teachings, titled Love Devotion Surrender. McLaughlin was a Chinmoy follower from 1970 to 1975. In 1971 he formed the Mahavishnu Orchestra, named for the spiritual name Chinmoy had given him. Santana was introduced to the guru when McLaughlin took him to one of Chinmoy’s weekly prayer meetings at the United Nations. Santana and his wife Deborah were Chinmoy followers from 1972 to 1981, and Santana said, “Without a guru I serve only my own vanity, but with him I can be of service to you and everybody. I am the strings, but he is the musician. Guru has graduated from the Harvards of consciousness and sits at the feet of God.” Santana released three albums under the spiritual name Devadip – meaning “Lamp of God”, “Eve of God”, and “Light of God” – that Chinmoy gave him: Illuminations (1974), Oneness (1979), and The Swing of Delight (1980). In 2000, he told Rolling Stone that things soured between him and Chinmoy in the 1980s. Santana emphasized that he took much that was good from his years with the guru, even though when he left, Chinmoy “was pretty vindictive for a while. He told all my friends not to call me ever again, because I was to drown in the dark sea of ignorance for leaving him.”‘
(“Sri Chinmoy”, Wikipedia)

5 Robert Fripp, “Coffee and Chocolates for Two Guitars”, Musician magazine, number 45, July, 1982

Later that night the lights were brought down and this California Ballroom was filled with 3,000 singing, dancing, chanting and meditating SRF practitioners.

Later that night, after this shot was taken, the room lights were brought down, the stage lights came on, and the California Ballroom at the L.A. Bonaventure Hotel was filled with 3,000 singing, dancing, chanting and meditating SRF practitioners.

BACK TO TOP

by Fred W. Anson
Here’s a challenge: Read through the following and try to guess who wrote it.

When It’s Love
Hey, everybody’s lookin’ for somethin’
Somethin’ to fill in the holes
We think a lot but don’t talk much about it
’til things get out of control, oh

How do I know when it’s love?
I can’t tell you but it lasts forever
Oh, how does it feel when it’s love?
It’s just somethin’ you feel together
When it’s love

You look at every face in a crowd
Some shine and some keep you guessin’
Waiting for someone to come into focus
And teach you your final love lesson, oh

How do I know when it’s love?
I can’t tell you but it lasts forever
Oh, how does it feel when it’s love?
It’s just something you feel together

Oh, when it’s love
You can feel it, yeah
Nothin’s missin’, yeah

Yeah, you can feel it
Oh, when it’s love
When nothin’s missing

How do I know when it’s love?
I can’t tell you but it lasts forever

Ooh, how does it feel when it’s love?
It’s just something you feel together, hey

How do I know when it’s love?
I can’t tell you but it lasts forever

When it’s love
Ooh, when it’s love
Hey, it’ll last forever

When it’s love
Give it up
We’re gonna feel this thing
Together

When it’s love, ooh
When it’s love, baby
You can feel it, yeah

We’ll make it last forever
Ooh, when it’s love

a_hole_in_my_soul_by_Alx_GFX_Cropped

Who did you guess?  Perhaps it was Blaise Pascal who I quoted in my last recontextualization article as saying…
“There is a God-shaped vacuum in the heart of every person, and it can never be filled by any created thing. It can only be filled by God, made known through Jesus Christ.”
– from “Pensees”

… after all the poem starts with, “everybody’s lookin’ for somethin’, somethin’ to fill in the holes” in true Pascalian fashion. 

Or perhaps, you thought of St. Augustine who wrote…
“Thou hast formed us for Thyself, and our hearts are restless till they find rest in Thee”
— from “Confessions”

… when you considered the lines that said, “You look at every face in a crowd – some shine and some keep you guessin’. Waiting for someone to come into focus and teach you your final love lesson.” Isn’t that how Augustine might have put it had he written in the English vernacular of 20th Century America rather than in 4th Century Latin?

Or perhaps when you considered the words, “how does it feel when it’s love? It’s just something you feel together,” you thought of Jesus Christ who said of His covenant relationship with those who believe in and live for Him, “Abide in Me, and I in you” (John 15:4 NASB) – that would certainly explain and make the recurring line, “it lasts forever” even more poignant given the fact that Christ also said, “This is eternal life, that they may know You, the only true God, and Jesus Christ whom You have sent.” (John 17:3 NASB)

Yes, all these themes and ideas are certainly there – surprisingly there’s great depth in this simple yet powerful song.  I confess that I have listened to this song through tears on many an occasion since, for me, it echoes all these themes and resonates deeply within.  Here, try it for yourself:

Yes, folks believe it or not, this deep and beautiful song was written and performed by Eddie and Alex Van Halen, Sammy Haggar, and Michael Anthony – that is, to use the words of one reviewer, that “band of idiots” known to the world as Van Halen.

After all they’re not immune to the deeply seeded need that all humans have to know unconditional love and acceptance. Whether it’s a straight arrow, feet-on-the-ground world pastor  or a jelly brained, out-of-touch rock star we all feel this need – and clearly the guys in Van Halen do too.

Nor, apparently, is Van Halen any more immune to incorrectly diagnosing the “fix” as romantic love than anyone else is – as the video illustrates well. My hope and prayer for these guys that someday, somehow, the they “get” the wisdom of St. Augustine that  “our hearts are restless till they find rest in Thee.”  Perhaps on that day they’ll join us in singing this song through tears of fulfilled joy rather than longing, despair, and confusion.

by Fred Anson
In a prior post, I introduced the idea of recontextualizing works of music pointing out not only how Martin Luther, Charles Wesley, and Fanny Crosby recontextualized the music of their day – some of it secular with no discernible religious roots – and turned them into songs of praise and worship, but how modern Christians have been doing the same thing with secular rock music.

I pressed this point further stating, “I confess a certain frustration when fellow Christians take diminish or take umbrage at the idea that unbelievers, with whom we share common life experiences not the least being “the human condition”, can find small echoes of divine truths within His fallen creation.”

Personally, I can think of no experience more common to the human condition than the deeply seeded need that all humans have to know unconditional love and acceptance.  Be it the silver spooned debutante or the beggar rummaging for his next meal in the trash we have all feel this need at some time, some place – perhaps you’re even feeling it now. I would go so far as to say that this may be the deepest most persistent need that human beings feel – and my observation is that it’s certainly the most common.

Now I suppose it will shock no one when I assert that most rock artists incorrectly diagnose the “fix” for this “hole in the soul” as romantic love.  However, as anyone who’s had their heart broken by a lover or spouse who left them will tell you, “That ain’t it!”

Nor can we find the fix in the love of parents for parents get old and die (as I type through my tears since both of mine have “passed”).  And I know from the 12-Step groups I’ve been in that a heartbreaking fact is that one of the things affected by the fall was the relationship between parent and child – as a result, some adult children are looking for healthy love from a broken parent that, sadly, may never come.

The fact of the matter is that human love simply won’t fill that hole in the human condition that it seems God has reserved for Himself.   As French mathematician, physicist, inventor, writer and Christian philosopher Blaise Pascal said well:

 “There is a God-shaped vacuum in the heart of every person, and it can never be filled by any created thing. It can only be filled by God, made known through Jesus Christ.”
– from “Pensees”

And though it was written from quite a different context[1] no song comes closer to expressing this crying need than this one . . .

Lover Reign O’er Me from the 1979 movie “Quadrophenia” 

Love Reign O’er Me
(Pete’s theme)
Only love
Can make it rain
The way the beach is kissed by the sea.
Only love
Can make it rain
Like the sweat of lovers’
Laying in the fields.

Love, reign o’er me.
Love, reign o’er me, rain on me.

Only love
Can bring the rain
That makes you yearn to the sky.
Only love
Can bring the rain
That falls like tears from on high.

Love Reign O’er me.

On the dry and dusty road
The nights we spend apart alone
I need to get back home to cool cool rain.
The nights are hot and black as ink
I can’t sleep and I lay and I think
Oh God, I need a drink of cool cool rain.

Love!

… and I’m continuing to hope and pray that the composer of this classic, perhaps even inspired, song may someday know the peace, serenity, and love of God that I, Blaise Pascal, and others have found for himself some day soon.

Ethan-Russell_04(“Love O’er Me” by Pete Townshend was originally released on the 1973 album “Quadrophenia” by The Who) 

NOTES:
[1]  As Pete Townshend, the song’s composer once explained:
(strong language alert for those of you with sensitive ears and eyes) 
“‘Love Reign O’er Me’ is similar to ‘Drowned’ [editor: another song on the Quadrophenia album] in meaning. This refers to Meher Baba’s one time comment that rain was a blessing from God; that thunder was God’s Voice. It’s another plea to drown, only this time in the rain. Jimmy goes through a suicide crisis. He surrenders to the inevitable, and you know, you know, when it’s over and he goes back to town he’ll be going through the same shit, being in the same terrible family situation and so on, but he’s moved up a level. He’s weak still, but there’s a strength in that weakness. He’s in danger of maturing.” 
(from http://www.thewho.net/linernotes/Quad.htm )

Click here or a more thorough analysis of Pete Townshend and his religious affiliation with Meher Baba.

by Fred Anson
I always love it when a rock band gets one right. And why shouldn’t they for as the Apostle Paul explained:

Pete Townshend of The Who

Pete Townshend of The Who

“They know the truth about God because he has made it obvious to them. For ever since the world was created, people have seen the earth and sky. Through everything God made, they can clearly see his invisible qualities—his eternal power and divine nature. So they have no excuse for not knowing God.”[1]

Theologians refer to this as “General Revelation” which Wikipedia explains like this: 

General revelation is a term used by theologians which refers to a universal aspect of God, of God’s knowledge and of spiritual matters, discovered through natural means, such as observation of nature (the physical universe), philosophy and reasoning, human conscience or providence or providential history. Evangelical theologians use the term to describe knowledge of God, which they believe, is plainly available to all mankind. These aspects of general revelation are believed to pertain to outward temporal events that are experienced within the world or this physical universe.

Within this type of revelation, it is believed that God does not use specific words, or specific actions, but more general or encompassing events that occur in creationconscience, and history.”[2]

So I confess a certain frustration when fellow Christians take diminish or take umbrage at the idea that unbelievers, with whom we share common life experiences not the least being “the human condition”, can find small echoes of divine truths within His fallen creation.

After all, in this life we all live and move within His shrouded presence – infidel and redeemed alike. C.S. Lewis spoke well of our current condition when he said:

“If there is a God, you are, in a sense, alone with Him. You cannot put Him off with speculations about your next-door neighbors or memories of what you have read in books. What will all that chatter and hearsay count when the anesthetic fog we call ‘nature’ or ‘the real world’ fades away and the Divine Presence in which you have always stood becomes palpable, immediate, and unavoidable?”[3]

Given these realities – not the least being the pervasive pull of sin within us all – is it any wonder that artists so often “get it right” in their but ultimately come to the wrong conclusion in their personal lives?

Consider, for example, the classic rock song “Bargain” written by Pete Townshend of The Who which was original released on the “Who’s Next” album.  Here’s a recent performance:

The Who performing “Bargain” at the Royal Albert Hall in 2000

In case you missed it, those lyrics go like this:

I’d gladly lose me to find You
I’d gladly give up all I have
To find You, I’d suffer anything and be glad
I’ll pay any price just to get You
I’ll work all my life, yes, I will
To win You, I’d stand naked, stoned and stabbed

I’ll call that a bargain, the best I ever had

I’ll gladly lose me to find You
Gladly give up all I got
To get You, I’m gonna run and never stop
I’ll pay any price just to win You
To find You, I’m gonna drown an unsung man

I call that a bargain, the best I ever had

I sit lookin’ round
I look at my face in the mirror
I know I’m worth nothing, without You
In life one an’ one don’t make two
One an’ one make one
An’ I’m lookin’ for that free ride to me
I’m lookin’ for You

The historical fact is that Pete Townshend wrote the song as a song of devotion to Mehr Baba, the spiritual guru that he began to follow in 1968.[4] Of course given the universal nature of human beings the song has been recontextualized in many ways.  It has been sung as everything from a love song to a jingle for a television advertisement.  Perhaps as you were listening to it or reading the lyrics you even recontextualized the piece as applying to whatever, well, whatever.

Speaking personally, in my days as a “merry” infidel atheist I would belt out the song to whatever my current devotion was at the time – from girlfriends, to politics, to rock music, to whatever – so for me it became a kind of secular praise and worship song to whatever my idol I happened to be worshiping at the moment.

So you can imagine my shock when, after becoming a Christian, an older, wiser Christian told me (a recent, three-time Bill Gothard[5] graduate no less) that “Bargain” was a powerful “Go for it!” song that reflected Bible passages like . . .

“Whoever finds his life will lose it, and whoever loses his life for my sake will find it.”
— Matthew 10:39 (ESV)

“He must increase, but I must decrease.”
— John 3:30 (KJV)

“…you cannot become my disciple without giving up everything you own.”
— Luke 14:33 (NLT)

. . . and many, many others.  Gaining that realization, “Bargain” then went on to become a recontextualized “go for it”, song of confession for me as well. And why not, after all didn’t Martin Luther, Charles Wesley, and Fanny Crosby also recontextualize the music of their day – some of it secular with no discernible religious roots – into songs of praise and worship?[6]

And apparently, I wasn’t alone . . .

Resurrection Band (a Christian band) covering “Bargain” in Finland 1990

Now I think I know Resurrection Band well enough to know that they would tell you that the old cliche’ that, “God’s ways are not mans ways”  is true and that one must move past general revelation to special revelation[7] – or even direct revelation[8]  for that matter – in order to enter into a saving relationship with Jesus Christ.  And, of course, I agree with them completely.  So, one might even feel lead, as I have, to hope and pray that the composer of this classic song might someday make that move himself.

But still you’ve gotta admit, regardless how you contextualize it, this is a truly inspired song!
 

NOTES
[1] Romans 1:19&20, New Living Translation

[2]Wikipedia article on “General Revelation”, http://en.wikipedia.org/wiki/General_revelation (retrieved 2012-11-18)

[3] C. S. Lewis, “Mere Christianity” (Macmillan, 1965 edition), p. 168.

[4] “Townshend showed no predilection for religious belief in the first years of The Who’s career. By the beginning of 1968, however, Townshend had begun to explore spiritual ideas. In January 1968, The Who recorded his song “Faith in Something Bigger” (Odds & Sods). Townshend’s art school friend Mike McInnerney gave him a copy of C. B. Purdom‘s book The God-Man, introducing him to the writings of the Indian “perfect master” Meher Baba, who blended elements of VedanticSufi, and Mystic schools.

Townshend swiftly absorbed all of Baba’s writings that he could find; by April 1968, he announced himself Baba’s disciple. At about this time, Townshend, who had been searching the past two years for a basis for a rock opera, created a story inspired by the teachings of Baba and other Indian spiritualists that would ultimately become Tommy.”
http://en.wikipedia.org/wiki/Pete_Townshend#Religion (retrieved 2012-11-18)

[5] “William W. (Bill) Gothard (born November 2, 1934) is an American Christian minister, speaker and writer, and the founder of theInstitute in Basic Life Principles (IBLP), notable for his conservative teachings. Among the several strong distinctives of his teaching have been encouragement of Bible memorization, large families, homeschooling, aversion to debtrespect for authority and extended principles related to identity, family, education, healthcare, music and finances.”
— Wikipedia article on “Bill Gothard”, http://en.wikipedia.org/wiki/Bill_Gothard (retrieved 2012-11-22)

A good analysis of  Bill Gothard’s fallacious and unBiblical view of Rock Music can be found here:
http://www.recoveringgrace.org/2011/11/the-phony-consequences-of-rock-music/ (retrieved 2012-11-22)  However, the short version goes like this: “… the Scriptures Gothard uses to make his case against rock music have absolutely nothing to do with music.”

[6] See “Did Martin Luther Really Use Tavern Tunes In Church?”
http://www.elca.org/Growing-In-Faith/Worship/Learning-Center/FAQs/Tavern-Tunes.aspx (retrieved 2012-11-22); Also “Are Some Hymns Just Rewritten Bar Songs?”
http://www.apologetix.com/faq/faq-detail.php?faq_q_id=89 (retrieved 2012-11-22)

[7] Special revelation is a theological term used mainly by evangelical scientists and Christian theologians which refers to the belief that knowledge of God and of spiritual matters can be discovered through supernatural means, such as miracles or the scriptures, a disclosure of God’s truth through means other than through man’s reason. The distinction between Special and General revelation was first elucidated in-depth by the Catholic systematic theologian St. Thomas Aquinas in his discussion of Revelation. This distinction was only then more widely disseminated by evangelical writers who emphasized its scriptural support (e.g. Psalm 19).”
(http://en.wikipedia.org/wiki/Special_revelation)

[8] Direct revelation is a term used by some Christian churches to express their belief in a communication from God to a person, by words, impression, visions, dreams or actual appearance. Direct revelation is believed to be an open communication between God and man, or the Holy Spirit and man, without any other exterior (secondary) means.”
(http://en.wikipedia.org/wiki/Direct_revelation)