There’s an interesting line in Acts 4:13, where the Sanhedrin is interrogating Peter and John, who’ve recently caused a stir by healing a lame man in Jesus’ name. We’re told: “when the Sanhedrin saw their confidence and understood that they were uneducated and untrained, they were amazed, and took note that they had been with Jesus.” It’s an interesting juxtaposition—doubly interesting for someone like me, who is starting to gear up for another semester working on my doctorate, which starts in two weeks. The Sanhedrin are flummoxed at the spiritual depth and insight of these two uneducated fishermen, who don’t have any letters behind their name or diplomas on their wall, and the only thing they can credit it to is the fact that they had been with Jesus.
Don’t get me wrong. I place a high value on life-long learning, and think that careful scholarship is of crucial importance to the mission of the church (I did just get back from a two-week stint studying for my doctorate...) but Acts 4:13 seems to suggest that there is a kind of learning, and knowing, that goes beyond the best that any 1st Century Rabbinical school (or its 21st Century equivalent) can offer: a deep, careful formation at the feet of Jesus. Without this, all the book-learning in the world is just so much chasing after the wind; and it’s only with this—with a life-lived in the presence of Jesus—that academic scholarship can be what it was meant to be: a precious gift to the church, to the glory of God.
On Book-Smarts and Being with Jesus, a devotional thought
The Theology of Bruce Springsteen (Part 4): In the Shoes of a Stranger
One of the hidden gems on Springsteen’s classic Born to Run album is “Meeting Across the River.” The song tells the story of an amateur street thug and his friend Eddie, who are scraping together the cash for a vague and ominous-sounding meeting with a man “across the river.” From the details, we gather that the narrator is down to his last chance in the criminal underworld, that he and Eddie are in way over their heads, and that all their hopes for redemption are riding on whatever deal it is they’re planning to make with the man on the other side of the river.
What makes “Meeting Across the River” especially compelling is the fact that this story is told in the first person, through the eyes, as it were, of this third-rate hood, desperate to make it big in a world far bigger and far more dangerous than he is. The first person narrative voice creates a deep pathos and a profound empathy for the listener. When the narrator urges Eddies to stuff something in his pocket so it will look like he’s “carrying a friend,” the depth of his naivete and the strong likelihood that this meeting across the river is going to end very badly for them, creeps over us like a vague, looming shadow.
The first time I heard “Meeting Across the River,” it took a second to register for me that the “I” voice in the song was not Springsteen himself, that he was actually playing a role, singing a part. Having been raised on the intensely personal songs of the 80s, be it Glam-Metal’s odes to personal sexual prowess or U2’s spiritual ruminations about finding “what I’m looking for,” I had come to assume that whenever a singer sang in the first person like this, he must be singing about himself, expressing personal hopes and dreams, individual desires, and private disappointments. Part of what makes “Meeting Across the River” so arresting on first listen is the fact that the narrator’s voice is so convincing, so fully conceived and personal, that it takes a while to realize that you’re not really hearing the true confessions of a failed, entry-level street thing; you’re only hearing Springsteen imaging the world as one.
As a song writing technique, this art of assuming the role of a particular character and singing in his or her voice permeates Bruce Springsteen’s songbook. In “Born in the USA” he is a returning veteran of the Vietnamese war. In “Racing in the Streets” he’s a career street racer looking over his life. In “The River,” he’s a teen aged dad watching his dreams go up in smoke in the face of unemployment, adult responsibility, and the Carter recession.
It was “The River,” actually, where he first began experimenting with this approach to writing songs in a serious way. In this brief excerpt from the documentary “The Ties that Bind,” Springsteen talks about the development of first-person storytelling in his music.
“With a very specific narrative story,” he explains, “I would sing in that voice, you know, of the character. And it wasn’t necessarily me, though it was partly me, and partly other people. … ‘The River’ was my touchstone for all that writing that came later, where you simply step into a character’s shoes and try to get your listeners to walk in those shoes for a while.”
Towards the end of the above clip, he talks about the power of this kind of song writing. “You’re laying claim to [a] character’s experience, and you’re trying to do right by it as a song writer, and you’re taking the risk of singing in that voice.” Taking this risk, he says, “is the writer’s job. [It’s to] faithfully imagine the world, and other’s lives in a way that respects them … sort of honours them … and records them in your own way somewhat faithfully.”
What Springsteen is talking about here, I think, is more than just the writer’s job. It’s the well-spring of grace and compassion in the human heart. At least: the ability to imagine the world through the eyes of another human being, and to do it in a way that respects and honours them faithfully, is essential if we are to know true compassion and extend genuine grace to others. To realize what it might mean to be a dying AIDS patient, for instance, longing for brotherhood as he waits out the sunset of his life (as Springsteen tries to do in “Philadelphia”) is to take a step towards true empathy for the lonely dying in our own lives. To realize what it might mean to be young, unemployed, and out of options (as Springsteen does in “Atlantic City”) is to plant seeds of grace in your heart for the hard decisions people in such circumstances need to make every day.
Whenever I see this “faithful imagining of the world through another man’s eyes” happen well in a Springsteen song, it occurs to me that Christians could do worse than take a cue from him on this one. At least, it is certainly what our Lord did for us, on a cosmic scale, when he literally stepped into our shoes—the Son of God become the Son of Man—and walked in them all the way to the cross. "We do not have saviour who is unable to empathize with us in our weakness," says the writer of Hebrews, "but we have one who has been tempted in every way, just as we are, and yet he was without sin." Herein lies the source and power of Christ's grace and compassion for us, that in him, God literally looked through the world through human eyes. "For this reason," the writer of Hebrews says in a different place, "he had to be made like his brothers and sisters in every way, in order that he might become a faithful and merciful high priest in service to God."
And to the extent that his compassion and grace are in fact the currency of the Christian life, this ability to “step into a character’s shoes and walk in them for a while” should come as naturally to us as breathing. If it did, I expect that the “weightier matters of Law”—justice and mercy and faithfulness—would come more naturally, too. To quote a song writer that predated Springsteen by a good 750 years, the Way of Jesus is to seek “not so much to be understood, as to understand … not so much to be loved, as to love with all [our] souls.”
The Widow's Mite, a devotional thought
In Mark Chapter 12 we come across a well-known story about a widow who gives two pennies into the Temple treasury, while all the rich are dropping cool-crisp 20 dollar bills in the plate (or the 1st Century equivalent...). Jesus watches the scene unfold and then he says, "I tell you the truth, this poor widow gave more than all the others, because they gave out of their wealth, but she gave everything she has" (Mark 12:44).
When you read this story in the broader context of Mark's narrative, you can't help but notice that it comes right after Jesus has finished denouncing the Teachers of the Law because they "devour widow's houses..." (v.40). So there's two references to widows back to back in Mark 12. But there's also two references to Teachers of the Law, because right before Mark 12:40, another Teacher of the Law asks Jesus what's the greatest commandment, and he says, "To love God with all your heart, soul, mind and strength and love your neighbour as yourself."
The reason this broader context matters is because it suggests that this generous widow is not just being held up as an example to generic rich people (though they are implicated...). She's being held up as an example to the Teachers of the Law, in particular, who who split hairs over which commandment is greatest, and then turn around and violate the first and foremost commandment by gobbling up the homes of the likes of her, using their wealth and their legalistic righteousness to justify their economic exploitation of others. Back in verse 29, Jesus told a Teacher of the Law that the most important commandment is to love God and love your neighbour, and here in verse 43, he points out the self-giving of a powerless widow, sitting lowest of all on the socio-economic totem pole, as the best example of what that actually looks like.
Some very sobering thoughts bob to the surface when you connect all these dots: if the Teachers of the Law really got it, what the greatest commandment was (v. 29-3), they wouldn't "devour the homes of the widows" (v.40), would they? And then that widow's two pennies wouldn't be "everything she had to live on." Would it? This story is as much a condemnation of spiritual-economic exploitation as it is an exhortation to give generously (probably more so). Loving God with all your heart is not some abstract, immaterial, touchy-feely type-thing. It actually looks like that impoverished widow in the Temple treasury that day, literally putting it all on the line with God and trusting him to provide. But the thing is, if we all got that, and did it with her, then she wouldn't be down to her last two pennies in the first place.
The Theology of Bruce Springsteen (Part 3): Life through the Eyes of the Losers
Springsteen took these demos into the studio to record them with The E Street Band, but after re-recording them and remixing them, he realized that the unpolished sound of those bedroom tape-recordings were actually truer to the spirit of the songs he'd written: “On listening [to the studio versions] I realized I’d succeeded in doing nothing but damaging what I’d created. We got it to sound cleaner, more hi-fi, but not nearly as atmospheric, as authentic.” In the end, he released those original demos as the finished album, and 35 years later, you can still hear the dim background noise, the ever-so-subtle low-fi grit, the rough edges and the spare four-track arrangements that give Nebraska its haunting quality.
This haunting quality is perfectly suited to tell the stories of the haunted characters that lurk the lyrics and people the worlds of the songs on Nebraska. If the characters in “Thunder Road” were fleeing from “a town full of losers” and pulling out to win, the songs on Nebraska are stark, compelling portraits of all the losers that got left behind. “The tension running through the music’s core,” Springsteen writes, “was the thin line between stability and that moment when the things that connect you to world, your job, your family, your friends, the love and grace in your heart, fail you. I wanted the music to feel like a waking dream, and to move like poetry. I wanted the blood in these songs to feel destined and fateful.”
If the blood in these songs is indeed destined and fateful, it is destined, in particular, to fail, and fated, especially, to lose.
There is, for example, the desperate hero of “Atlantic City,” who is down on his luck and caught up in a world of organized crime far bigger than he is. His “luck may have died” and his “love may be cold,” but he still has one last chance to break his losing streak (however shady that chance may be):
Now I been lookin' for a job but it's hard to findAnother great example is the little boy in “Used Car,” who wrestles with the shame and stigma of his family’s blue collar poverty, crystalized for him in the experience of driving home in their new used car, the best and only thing their family can afford.
Down here it's just winners and losers
and don't get caught on the wrong side of that line
Well I'm tired of comin' out on the losin' end
So honey last night I met this guy
and I'm gonna do a little favor for him
Well I guess everything dies baby that's a fact
But maybe everything that dies someday comes back
Put your makeup on fix your hair up pretty
and meet me tonight in Atlantic City
Now the neighbors come from near and farAs a final example, there’s poor Ralph, the out-of-work-auto-plant worker in "Johnny 99," whose turn to petty crime after losing his job on the assembly line leads him down a dark path ending with a murdered night-clerk and a life-sentence. His final statement to the court before the bailiff comes to forever take him away encapsulates the weary-of-losing and out-of-luck desperation that permeates this album:
As we pull up in our brand new used car
I wish he'd just hit the gas and let out a cry
And tell them all they can kiss our asses goodbye
My dad he sweats the same job from morning to morn
Me I walk home on the same dirty streets where I was born
Up the block I can hear
my little sister in the front seat blowing that horn
The sounds echoing all down Michigan Avenue
Now mister the day my number comes in
I ain't ever gonna ride in no used car again
Now judge, judge I had debts no honest man could pay
The bank was holdin' my mortgage
and they were gonna take my house away
Now I ain't sayin' that make me an innocent man
But it was more 'n all this that put that gun in my hand
Well your honor I do believe I'd be better off dead
So if you can take a man's life
for the thoughts that's in his head
Then won't you sit back in that chair
and think it over judge one more time
And let 'em shave off my hair
and put me on that execution line
Though it gets its finest treatment on Nebraska, this heart for the losers and the luckless of this world permeates Springsteen’s song writing. There’s the speaker in “The River,” who takes all his hopes and dreams for the future, and exchanges them for the unwanted responsibility of being a teen aged dad. There's the third-rate thug in “Meeting Across the River,” who's trying to scrounge up the cash to make a sketchy deal with some shady character on the other side of the river. There's the forlorn, if willfully naïve lover in “Candy’s Room,” who can’t bring himself to ask the truth about the "strangers from the city" who call his girlfriend’s number and "bring her toys" (all he knows is that there’s "a sadness hidden in her pretty face / a sadness all her own / from which no man can keep Candy safe.")
In his more mature song writing, the same theme shows up poignantly in songs like “Philadelphia” (about a man dying of AIDS) or “Jack of All Trades” (about the impact of the 2008 Recession on working class Americans). Even his most famous song, “Born in the USA”—though it’s so often mistaken as an oath blind of allegiance to America the Beautiful—is really about the returning vets of the Vietnamese war, chewed up and spit out by forces beyond their control, and come home to a nation that despised them all as losers.
As a Christian, I can’t help but resonate with the profound empathy that Springsteen’s music expresses for all these inept sinners and failed saints—the luckless, the desperate, the disappointments, the jobless, the outsiders, the mavericks, and the derelicts of this world. Because as a Christian, I recognize something of the Gospel in Springsteen’s commitment to see the world through their eyes. The Jesus I follow, the one who promised that the least would be great in his Kingdom, the last first and the greatest least, showed us that God is, in fact, closest to those who know they really have nothing to offer but their one last chance, their failed-best-efforts, the shards of their shattered hopes.
Surely the Jesus who scandalized all the party guests when he let the town prostitute anoint his feet with oil, could have kept Candy safe from the sadness hidden in her pretty face. Surely the Jesus who hung dying between two of the worst-of-the-worst criminals on Golgotha, would understand the despair and hopelessness of poor Johnny 99. Surely the Jesus who walked away the third day from the empty tomb, answers the hope for something on the other side of death that keeps the singer in “Atlantic City” singing (despite so many times coming up on the wrong side of the line that separates the winners from the losers).
At the risk of putting it the wrong way around: Jesus’ teaching that the meek will inherit the earth, that the poor are truly the blessed ones, and that those who mourn will get the last laugh in the end, could have come straight off a page of Springsteen’s songbook. Put the right way around: there is something arrestingly (if unintentionally) Christ-like in Springsteen’s willingness to look at the world through the eyes of the meek, the poor, and the mourning. This is certainly something I’ve come to admire about Springsteen’s song writing, anyways, because whenever a Springsteen song reminds me that the world looks very different, actually, from the bottom of the totem pole, I remember the Way of our Lord, who seemed to feel more at ease among the tax collecting thugs, the ostracized prostitutes, and the rejected “sinners” of his world, than he ever did among the priests, the religious elite, and the spiritual gurus of his day.
There’s a line in one of Springsteen’s later songs where he rattles off the roll call of everyone who's aboard the metaphorical train bound for the “Land of Hope and Dreams.” It’s never really explained in the song what the train is, exactly. Given the title of the song, it would make sense to read it as an image for the American Dream. Given the passengers we find on the train, however, it might actually be a metaphor for Springsteen’s life's work as a songwriter (certainly each one mentioned on the roster would feel perfectly at home in a Springsteen song). This is the reading I prefer, but with one important caveat: that whether Springsteen meant it this way or not, the “all aboard” invitation that this song ends with is really the invitation of the Gospel:
This train carries saints and sinners
This train carries losers and winners
This train carries whores and gamblers
This train carries lost souls
I said, this train carries broken-hearted
This train thieves and sweet souls departed
This train carries fools and kings
This train, all aboard
Fruit on the Tree, a devotional thought
With Palm Sunday just around the next bend, I was thinking this morning about the account of Jesus "Temple Action" as its recorded in the book of Mark. It's the day after his triumphant donkey ride into Jerusalem, and on his way into Jerusalem, Jesus comes to a fig tree. Finding no fruit on the tree, Jesus speaks a judgment over it the tree: "May no one ever eat fruit from you again!" Then he goes into the Temple of God's people, looking for spiritual fruit (prayer happening for all the nations) and finding none, enacts a dramatized judgement over it (tipping over the money-changer's tables).
On the way home they see the fig tree shriveled, and start to put one and one together. Then, to put the exclamation point on it all, Jesus tells a parable about a Landlord who sent his Son to the tenants of his estate, to get the fruit of his vineyard, and they decided to kill him instead...
Mark wants the question here, I think, to be obvious: what would Jesus find in us if he were to ride triumphantly but unexpectedly into the "fig-tree" that is our lives (our church, let's say, or our relationships, or our individual lives). Would he find the "spiritual fruit" that he was looking for in the Temple that Palm Sunday morning so long ago? Or will he find what, in fact, he found there: people chasing after their own self-aggrandizing agendas?
Weighing the Cost, a devotional thought
Mark 10:29-30 is one of those verses I think about a lot: whatever sacrifices you've made for the sake of the Gospel, Jesus tells his followers, whether it be houses, property, family, friends, reputation or a secure future, God will pay you back 100 times in this life (with persecution) and with eternity in the life to come.
The part that makes me think is how he says, they'll receive their sacrifices back one-hundred-fold in this life, not just in the life to come. I wonder what he means here. I get the idea that God will repay our sacrifices on the other side of eternity, but how "in this life"? Is it even right for us to expect repayment in this life? The best I can make of this verse is that, inasmuch as the sacrifices he's described have to do with one's place in community-- family, friends, reputation, wealth, and so on-- the 100-fold repayment he's talking about must be the alternate community that God offers us in the Gospel: the friends in Christ, the family in Christ, the reputation in Christ and the wealth in Christ that is our through our life in the Church, regardless the persecutions that come from the world.
This makes sense, but doesn't make it any easier.
Because instead of wondering "how will God reward our sacrifices in this life?" it gets me wondering a deeper, even harder thing: is the community I'm part of really a 100-times-better swap for worldly friends, family, wealth and status? I mean: would people counting the cost of following Christ look at what's going on in my community of faith, and really say, "yeah, that's more than ample repayment for what I'd have to give up?" And, hot on the heels of that wondering comes this: what's my role (by the Spirit) in making it so?
The Theology of Bruce Springsteen (Part 2): Blinded by the (Everyday) Light
It thrums like an urgent pulse in the unsettled soul of “Hungry Heart,” who’s got a wife and kids in Baltimore while he sits in a Kingstown bar, confessing the truth about the money he laid down and the parts he played, only to discover in the end that “everybody’s got a hungry heart...”
It pounds like an engine roar in the breakneck passion of the street-racers in “Night,” who forget the sweat and toil of the work-a-day world in the split-second glory of the drag race; who “work all day / to blow ‘em away in the night.”
And it echoes like a plaintive cry in the unrealized dreams of the teen aged dad in “The River,” who acts like he don’t remember his hopes for the future, and whose shotgun bride acts like she don’t care. “Is a dream a lie if it don't come true,” he wonders, “Or is it something worse / That sends me down to the river / Though I know the river is dry / That sends me down to the river tonight?”
Though each of these characters—and the many more that lurk in the dark alleyways and wander endless highways of his songs—feel it in different ways and salve it with different balm, each are yearning, fundamentally, for the same thing: to escape the drudge and disappointment of the everyday world in some unfettered, extra-sensory, soul-illuminating experience of liberation.
If everyone does indeed have a hungry heart, what all the hearts in Springsteen’s songs are hungry for, it seems, is that mystical experience of "otherness" that theologians call the transcendent.
As a theme in his song writing, the yearning for the transcendent finds its most Springsteen-esque expression, of course, in the two broken heroes of “Born to Run,” the never-grown-up street racer, and his dreamy, visionary lover, Wendy. From its unforgettable opening lines, the entire song gapes like an unhealable wound with an unfilled ache for transcendence: “In the day we sweat it out on the streets of a runaway American dream / At night we ride through the mansions of glory in suicide machines.” The whole highway is jammed with “broken heroes on a last chance power drive,” of course, but it’s Wendy and her desperate lover whose yearning for escape crystallize the need for transcendence in us all: their town (our worlds) may indeed be a death trap, a suicide rap, but together, with a delirious street to die on and an everlasting kiss between them, Wendy and her Peter Pan might just leave it all behind, if only for this moment, for this night: “Together Wendy we can live with the sadness / I’ll love you with all the madness in my soul.”
In his autobiography Springsteen describes the thematic impetus for this rock and roll classic (ranked #21 on the Rolling Stone List of Greatest Rock Songs of All Time). “I wanted to use the classic rock ‘n’ roll images,” he writes, “the road, the car, the girl . . . what else is there? It was a language enshrined by Chuck Berry, the Beach Boys, Hank Williams and every lost highwayman going back to the invention of the wheel. But to make these images matter, I would have to shape them into something fresh, something that transcended nostalgia, sentiment and familiarity.”
We find a similar desire for “something that transcends ... familiarity” in Mary of “Thunder Road,” whose streetwise saviour freely confesses that although he’s no hero (that’s understood), he has a kind of redemption on offer (beneath this dirty hood): the redemption of a passionate embrace and an open road, of escape from loneliness and fading beauty in a roaring car on a winding highway, of “one last chance to make it real / to trade in these wings on some wheels.”
It’s the same kind of transcendence the street racer and his partner Sonny are chasing in “Racing in the Streets.” Unlike those guys who “give up living and start dying piece by piece,” they come home from work and wash up, “and go racing in the streets.”
And it’s the same kind of transcendence that the young tough of “In the Streets” is hunting, who loads crates down on the dock five days a week, and then takes his money and meets his girl in the streets, where he can “walk the way [he wants] to walk,” and “talk the way [he wants] to talk,” and so escape the drab realities of his otherwise small, restless, harried world.
As a songwriter, Springsteen is hardly alone in his quest for transcendence, of course. Jim Morrison was stalking it, in his surreal musings about riders on the storm and his psycadelic speculations about breaking through to the other side. Bono was pining for it, in his ode to a place where the streets have no name and his prayer for a time when all the colours bleed into one. Arguably even the party rockers like Van Halen were chasing it in their Dionysian anthems to wine, women and rock n’ roll.
What distinguishes Springsteen from the rest, however, is that instead of sending his characters on metaphysical walkabouts to mystical mountaintops, or losing them in hedonistic debauches with drugs and sex, his quest for transcendences drives them continually back to the earthy, the ordinary, the commonplace. Passionate love, the togetherness of community, the mysterious bonds of friendship, the thrill of a fast car, the joy of release after a hard day of work: these are the sources of transcendence in Springsteen’s songs. In his best lyrics we experience something reminiscent of what happened on the Mount of Transfiguration, where the ordinary stuff of earth is given an unexpected second look, and found suddenly scintillating with the stuff of heaven.
That last line is a bit hyperbolic, perhaps, comparing a Bruce Springsteen song to Jesus on the Mount of Transfiguration; but it is an intentional hyperbole. Because the quest for transcendence is not just a theme in rock and roll; it is also a theme of Christian theology. Way back in the 5th Century AD, St Augustine said it like this: “You (God), have made us for yourself, and our hearts are restless until they find rest in Thee.” Some 1400 years later, C. S. Lewis famously put it like this: “If I find in myself a desire which nothing in this world can satisfy, the most probably explanation is that I was made for another world.” What each of these thinkers were trying to put their finger on is that there is, in fact, a yearning for transcendence throbbing in all of us, and that though we seek to fill it in all sorts of ways, metaphysical, hedonistic, ordinary or otherwise, that yearning will never be satisfied until we experience the ultimate transcendence: the beatific vision of and mystical union with God that is the goal of Salvation and the hope of the Christian Faith.
As Christians of course, we recognize that it is only Christ, the Living Water, who can quench the thirst for transcendence that Springsteen’s yearning heroes and searching lovers pique in us. But like Springsteen, Christianity is also convinced that the stuff of heaven is indeed found most compellingly in the stuff of earth: a broken loaf of bread and a homely cup of wine that becomes inexplicably for us the Real Presence of the Lord Jesus, an old book that trumpets suddenly as the Word of God, the simple refrain of a familiar hymn that transforms suddenly into the habitation of the High King of Heaven, a ramshackle gathering of everyday sinners that becomes, mysteriously, the Body of the Christ.
Learning from the Past, a devotional thought
In Mark 8:1-10 we have the story of the "Feeding of the Four Thousand." It's always made me wonder, this story, because this is the second time Jesus has performed this specific sign in Mark's Gospel. Back in 6:30-44 he miraculously fed 5000 people with 5 loaves and 2 fish; and then in 8:1-10, there's a hungry crowd of 4000; and the thing that gets me, is how the disciples are just as clueless this time as they were the first time. I mean: he tells them he wants to feed the crowd, and they say almost the exact same thing they said back in Chapter 6: where will we get enough bread for everyone? They were there in Chapter 6, when 5 loaves and 2 small fish fed 5000, and yet here, only a couple chapter's latter, they're still scratching their heads: "Gee, Jesus, how are you gonna get us out of this one?"
It's funny, right after this miracle, the Pharisees come to him, asking for a miraculous sign from heaven, and all Mark says is: "Jesus groaned deeply in his spirit" (the Greek word there is: "aarrrrghhhh!"). No wonder, though, the demand for a sign is so troubling to him: he's already done two, back to back, and no one got it, not even his disciples. Would one more miraculous sign really make the difference?
Of course, when I'm totally honest, I have to admit that I'm as slow to learn, sometimes, as those disciples are. After all, I've seen him do some pretty amazing things in my life, in the past, and still sometimes when it looks like only an amazing things is gonna get me out of whatever it is I'm facing today, still, I scratch my head and say: "Gee, Jesus, how are you going to get us out of this one?" May God remind you and I today, in a deep profound way, of the past wonders he's worked in our lives, and may that remembrance be a great source of strength for whatever you or I need to face today.
The Theology of Bruce Springsteen (Part 1): The Texture of Good Art
And yet, truth be told, I am lukewarm when it comes to most contemporary Christian music. There’s one John Mark McMillian album I like (The Medicine). I love Downhere’s Ending is Beginning. There’s an album by an indie Christian hard rock band called tripmeter that I quite like, in large part because I knew some of the band members when I was studying in Saskatchewan. Aside from that, though, there’s not much I listen to: I have all sorts of “Best of Worship” mix CDs that I picked up along the way that haven’t had airtime in my house since ... well ... since ipods replaced CDs as cutting edge music technology.
A while ago, however, I was feeling like I’d fallen into a bit of a musical rut. If my Spotify playlist was vinyl, I’d have long since worn out the grooves on most of my music, and it felt like it was time to discover something new. In my search I stumbled over Bruce Springsteen, an artist who’d been lurking on the edges of my musical horizons throughout my life but had never really found a place in my heart.
I came of age musically in 1987, only two years after Born in the USA had taken the world by storm, but my musical tastes were a strange hybrid of my father’s psychedelic rock predilections—Cream, The Doors, experimental Beatles—mingled with the tousle-maned, falsetto-voiced, guitar-melting aesthetic of the glam rock era that reached its apex just as I was reaching puberty. My first real rock and roll album was Def Leppard’s Hysteria, my favorite band was Van Halen, and to this day, the opening riff of White Lion’s Pride throws me back to the yearning of my early-teen years with such poignancy as to give me emotional whiplash. Because my musical palette had been so refined on virtuoso guitar licks and unabashed innuendo wailed up in the tenor range, the raw energy of Springsteen’s baritone bellowing about brokenness and birthplace and blue collar disappointments always sort of lost me. What’s more, the only song I really associated him with was “Born in the USA,” which, as a Canadian, I’d always mistaken for a naive jingoistic ode to a nation that wasn’t mine.
So I never connected with Springsteen.
But a while back, like I say, I was in a rut, and a book I read about song writing suggested that aspiring songwriters need to listen to the music of master songwriters if they want to hone their craft, and it pointed me to Springsteen as one of the best. I started with Born to Run (an easy first choice), followed by Darkness on the Edge of Town, and Nebraska. By the time I’d given Nebraska a third listen, I understood why my songwriting book sent me to The Boss for some schooling.
I proceeded through vast swaths of the Springsteen catalogue, including: Born in the USA, Wrecking Ball, Lucky Town, High Hopes, Human Touch, Greetings from Asbury Park, The Wild the Innocent and the E Street Shuffle, and parts of Tunnel of Love. I even read his autobiography over Christmas. After months with his music, I was still not a fan in the fullest sense, but had become a very warm admirer. I doubt I’ll ever sign up unreservedly for the Springsteen fan club, but I’ve come to love his unrestrained rock and roll spirit, the deceptive simplicity of his arrangements, the unbridled energy of that Spector-ish “wall of sound,” and the characters—the busted, broken, born-to-run-with-nowhere-to-go characters—that haunt his best songs.
I’d choose Born to Run over the latest Chris Tomlin effort any day.
Which brings me to the point I was trying to make at the start of this piece. Because my foray into the music of Bruce Springsteen has forced me to come to terms with why I don’t listen to much contemporary Christian music. The music at the FreeWay where I pastor is certainly done in the contemporary style, and we sing our fair share of Tomlin and Redman. Interestingly, too, in that setting I embrace the music enthusiastically, even though none of it makes it to my headphones after church. So my problem is not some pious hang-up about which musical styles belong in church and which don’t. It is deeper than that, I think, and somehow simpler.
It has to do with what I call “the texture” of the songs.
The best of what I heard in Springsteen’s song writing, and certainly the stuff I found most compelling there, had texture to it. The situations he sang about were layered with emotion and complicated by a stark lack of easy answers; the voices he sang in were fraught and pulled and uncertain and clawing their way back up after one more beating down; the places he sang about had a seediness to even their most intense beauty; the Truths he sang of were never easily earned. Inasmuch as life itself is always layered and complicated, mingled with seediness and beauty together, fraught and pulled and uncertain, these songs were rough with the texture of life. And this is true of the music as much as it is of the lyrical content. Though the members of the E Street Band are all masters of their craft, still there is a rawness to their playing that makes their sound greater than the sum of its parts. And Springsteen’s voice—what he has described as a “journeyman’s instrument”—is unpolished and unrefined, giving his vocal performance a texture to match his lyrics.
To hear a good Springsteen song is to sit in the company of a man who has looked intently at life in all its glory and disgrace, and has learned the hard way that the one seldom comes without the other.
This is something that’s missing, I think, in much of today’s contemporary Christian music. In most Christian songs I know, the texture is smoothed out, the rawness glossed over, and the hurt healed before it even has a chance to sting.
This is a cheap shot, I realize, and an old example, but take Matt Redman’s "Blessed Be Your Name," a song we’ve song any number of times in church. The bridge—“You give and take away, my heart will choose to say, Lord blessed be your name”—comes almost directly from the Book of Job: “Naked came I out of my mother’s womb, and naked shall I return thither. The Lord gave, and the Lord hath taken away; blessed be the name of the Lord!” This verse is the white-knuckled fist of a man clinging for dear life to a Lord whose face, just now, is obscured by shadow and grief. It is so rough with the grit of life that you can’t run your hand over it without abrasion. Yet in the context of the Redman song, so much of that texture has been rubbed smooth, its desperation polished up and its pain glossed over. I say that knowing that Redman wrote this song in part as a response to the September 11 terrorist attacks, as an effort to offer a song that “grappled with grief,” but even so the song resolves far more smoothly than Job ever dares to. The raw texture of Job’s decision to worship the Lord, “though he slay me,” has been replaced with a relatively easy heart-choice to praise.
You might say: but that’s a lot to ask of a song, to brush up against the texture of life, the good, the bad, and the ugly like that, and still be accessible and uplifting. Yet this is what I’ve come to admire about Springsteen’s best work. In the most fraught moments of his music, you’re still hearing something very good you always knew was there, you just never noticed it before.
Of course, “Thunder Road” would make a lousy worship song; and Redman’s “Blessed Be Your Name” has ministered to the Church all around the world, myself included. I’m not trying to bash it. I’m just trying to explain why, outside of worship settings, most contemporary worship music does not really speak to me.
At the same time, however, I’m also trying to suggest that the best Christian art has texture. Christians, of course, should have one of the most robust Creation Theologies going; and at the heart of any robust theology of Creation is the conviction that, as the Creator’s work, this world is intrinsically good, cherished and loved by him, its seediness and its beauty alike. He doesn’t wish to leave the seedy parts seedy, of course, he is in the redemption business, but neither will he refuse to look at it, or turn his back on it, because of its seediness. Artists motivated by a deep-down Christian understanding of the Creation, would look as intently at the real world as any Springsteen song ever did, and would be just as determined to convey the texture of what they saw there, in whatever their medium.
A full-fledged theology of Creation would balk at any effort to gloss over the “meanness in this world” with a too-simplistic “Yes Lord! Yes Lord!” It would be determined to tell the truth about the world as it is, even if only to sharpen our thirst for the promise of what will be.
Over the next few months here at terra incognita, I intend to spend some time offering a theological analysis of the music of Bruce Springsteen, suggesting intersections between his work and the truths of the Christian Faith. Springsteen is, by his own description, an x-Catholic, and, though his songs do draw on religious imagery, themes, and musical styles, there is nothing intentionally Christian about his music. However, as with most great artists, there are truths that any believer would recognize as Christian, throbbing at the heart of his work. As we will see, the conviction that the world is worth looking at in all its roughness, and worth singing about honestly, is just one of them.
Resting with Him, a devotional thought
There's a simple line in Mark 6:31 that was really speaking to me this afternoon. Back in Mark 6:7-12, Jesus had sent out the disciples with the job of proclaiming the message of the Kingdom, and from the description of their mission there, it sounds like the going was going to be pretty tough. And here, a few pages later, they've returned to Jesus and they're "telling him everything they did and taught in his name."
I find this picture so vivid and tender, Jesus gathering his friends back after a hard month or two of work, and sitting down with him as they pour out all the highs and lows of ministry. And then he says, "Come, let's go by ourselves to a desert place and rest a little." And he takes them off by themselves to a lonely place, and out of the way place, away from the press and demands of ministry, with the express purpose of resting a little. They need it. He knows.
Of course, it won't turn out that way, the crowds track him down and follow him, but today I lingered over that simple invitation of Jesus: "It's been a lot of hard work telling people about me; come, let's find a quiet place alone and rest a bit." If you're in ministry today--lay, vocational, bivocational, ordained or some combination of all 4--and feeling worn out, I hope you'll hear Jesus's invitation too: "Come, let's find a quiet place and rest a bit together." May we all have the grace to take him up on his offer.