12.18.2014

Above Across and Beyond

A collection of essays from the 2013 U2 conference, U2 Trans-, has just been published. If you look here to purchase from the publisher, you can get a discount. I heard two of the chapters in their live presentation form, "Transgressive Theology: The Sacred and the Profane at U2’s PopMart" and "Transmitting Memories: U2’s Rituals for Creating Communal History," and I can recommend both of them. The title of the collection is U2 Above, Across, And Beyond: Interdisciplinary Assessments; it's the first book in a new series on rock and pop music from Lexington Books. The series, called For The Record, is co-edited by Scott Calhoun and Christopher Endrinal, who will be familiar to readers of @U2.

10.27.2014

They said nothing to anyone.....

An interesting reflection by Tim Gombis (HT Tim Neufeld, who has some nice contributions in the comment thread) on the endings of both the Gospel of Mark and "The First Time."  "If a writer wants to agitate readers, provoking them to reflect on what they’ve heard and what it means for them, then a satisfying resolution may hinder his aims." A nice piece of analysis (though, nitpicking: surely the first verse of the song is about the Holy Spirit, making for a traditional kind of trinitarian structure, just in reverse order?)

10.13.2014

Exploring U2 for less money

Exploring U2: Is This Rock 'n' Roll?: Essays on the Music, Work, and Influence of U2
the collection of papers from the first U2 academic conference, is out in paperback now. When the hardback came out there were lots of understandable comments about the pricing, which was typical for an academic book but high for the U2 market. If you haven't bought it already, you can now get a copy for only $30 (list price), and about $16 for the eBook. Several friends and commenters here have  material in the book, and it also contains my paper "Where Leitourgia Has No Name."

10.01.2014

#dubose14

We're hearing from Episcopal folk that at Sewanee's DuBose lectures today, David Brown, professor of theology, aesthetics and culture at the University of St Andrews, drew on U2 as he taught on “Deepening our Experience of God through the Arts.” Springsteen, Al Green, Nick Cave, Led Zeppelin and others apparently also made it in.

9.24.2014

interviews continue

I'm quoted in Terry Mattingly's "On Religion" column of Sept 21, which speaks about the fact that U2's listeners, as with previous albums, are debating what kind of Christian content is found in Songs of Innocence. I enjoyed being interviewed by tmatt, and anybody who remembers to put a "the" before "Reverend" is OK by me.

Readers also might be interested in audio of another interview, this one with theologian Steve Harmon, who talks about his own history with the band as well as about Songs of Innocence.

9.16.2014

New Yorker: "The Church of U2"

The New Yorker weighs in with a think piece on U2's history of writing about faith in their work, ending with some reflections on Songs of Innocence, treating a couple of the tracks as more directly about faith than about Dublin. There's not too much brand new here, although I was struck by the material on "Ultraviolet" and in general by this line of thought:
U2 have continued to write songs of doubt (“Wake Up Dead Man,” off “Pop,” is especially good). But they are no longer wild, ludic, and unhinged in the way they talk about God. There used to be something improvisational and risky about their spirituality—it seemed as though it might go off the rails, veering into anger or despair. Now, for the most part, they focus on a positive message, expressed directly and without ambiguity. The band’s live shows have a liturgical feel: Bono, who regularly interpolates hymns and bits of Scripture into his live performances, leads the congregation with confidence.
I think the author has a point there. It reminds me a bit of that famous Annie Dillard line about crash helmets.

9.12.2014

Songs of Innocence theological roundup

Readers may already have seen many of these articles, but just to get them in one place, here are comments from several writers who regularly treat the topic of U2 from a theological perspective. I'm on record, below, as saying that I find Songs of Innocence to have a different kind of focus than much of U2's work; some of these folks note the same thing in one way or another, others don't agree and see the same set of Christian preoccupations here that we've had in other albums.

Greg Clarke, for example, reads the opening track as about Christian conversion and only tangentially related to Joey Ramone.  Steve Harmon offers a typically thoughtful and subtle piece with some interesting comments on "Sleep Like A Baby Tonight." The folks at Mockingbird artfully take the album's delivery method as a metaphor for their laser focus, one-way love (grace). After that earlier Wordle, Mark Meynell looks to be planning on blogging on some individual songs; here's "Song for Someone," memorably called "opaquely specific."

There may be others I have missed. Do chime in in the comments if so.

9.11.2014

A few comments on U2's Songs of Innocence

I expect anyone who reads this blog has seen a few other pieces dealing with U2's newest release by Christian reviewers already, and I'll try just to say a few words about my own reaction without rehashing what's already out there. I've been struck how many of the comments on Songs of Innocence by theologically-minded reviewers could have been written about any U2 album. And I suppose it is a truism that yes, of course, there are layers to any U2 song; YOU is often God juts as much as a woman; the eschatological horizon is ever-present. Who can argue?

But I have to say that my first impressions - and that's all these are - after a few listens to Songs of Innocence is of how specific and rooted and local this material is. I think on this album, far more than on any other I could name, a song about Joey Ramone is about Joey Ramone, and a song about meeting Ali Stewart is about meeting Ali Stewart. Is there a background, an overall outlook and vocabulary, shaped by the Christian narrative? Of course there is. But these songs strike me as being fairly far from vehicles for U2's traditional longing for the ultimate (or lament over its absence.) Sure, there are some stadium hooks that will provide wonderful group singalongs -- but is there anything with which 30,000 people can (consciously or unconsciously) cry out primal desire for God? I'm not hearing it.

It seems to me that before, U2's style has been to craft a specific shape that has its own style and message, but behind which we primarily read their general thirst for God and justice -- words and sounds that, whatever else they may mean, make the most sense when addressed to Jesus. That is not so with Songs of Innocence, to my mind. The words and sounds here make the most sense when addressed to the specific circumstances of 1970s Dublin on which they explicitly claim to reflect. They are shaped by a familiarity with the Biblical narrative, yes, and people will point that out endlessly as if it were news (which, honestly, it isn't by now, is it?)

So as one would expect, there are moments, phrases, that probably could not have been written other than by a mature Christian: "where there's no daylight there's no healing," "complete surrender: the only weapon we know," "crushed under the weight of a cross in a passion where the passion is hate" along with the persistent theodicy questions in "Raised by Wolves,"  and so on.  And there are the usual Biblical turns of phrase: "I'm naked and I'm not afraid,"  "I've got your life inside of me," "a long long way from your Hill of Calvary." But my strongest impression is that more than ever before these moments are not at all the main point; these are just the kind of phrases that are in U2's collective brain as they really write about something else entirely, something very personal and very specific. {Edit: I strongly suggest reading Camassia's comment below, which expands interestingly on this line of thought.}

I think the poetry is wonderful and the sounds are wonderful. I am very intrigued by the idea that there may be another album, or even two, on the way as part of this project. There is a part of me that still wishes they'd stopped with No Line, which far more encapsulates what I personally am looking for with U2. But does Songs of Innocence have integrity and beauty? Sure it does.

9.10.2014

U2 Songs of Innocence Wordle

Remember Mark Meynell's fascinating Wordles of U2 albums at Quaerentia?  Well, here's one for Songs of Innocence. He writes, "it is interesting that knowledge and perception are standouts. An epistemological album? We’ll see."

5.20.2014

New article on U2 via Baudrillard

Deane Galbraith, author of the fascinating "Fallen Angels" paper in Exploring U2, writes to say that he has a publication on U2 included in a new book out on theology and rock music, The Counter-Narratives of Radical Theology and Popular Music: Songs of Fear and Trembling (Palgrave Macmillan, 2014.) It's edited by Mike Grimshaw, and the U2 chapter is "Meeting God in the Sound: The Seductive Dimension of U2's Future Hymns." In the article, Deane employs Jean Baudrillard's distinction between the production of meaning and the seductive capacity of texts, in order to "examine the role played by U2’s emphasis on the formal, mystical, and experiential aspects of their music, and how that emphasis coincides with a religious trend which since at least the 1960s can be located throughout the arts, popular music, and—in a perhaps surprising association—charismatic evangelical Christianity." The chapter focuses on No Line On The Horizon and the U2 360 tour, and includes detailed discussions of "White as Snow" and "Unknown Caller." I haven't had a chance to look it over, but I've read enough of Deane's work that I expect it to be good!

4.04.2014

Somatica divina

Some of our more academic minded readers may be interested in following the new blog of Tom Beaudoin, associate professor of religion at Fordham University in New York City and formerly part of the team of the now-retired Rock and Theology blog (as well as the bassist for two New York City-area rock bands.)

3.27.2014

sermon audio

A reader shares this audio of a sermon using "Invisible” from a church in Texas. I have not had a chance to listen before posting, but I presume it's what it says it is!

3.25.2014

not invisible

If you are in or near Ohio, our contributor Steve Stockman has some speaking engagements coming up very soon. Scott Calhoun has the details at @U2.

3.09.2014

Everything I wish I didn't know

Happy Vertigo Sunday to those on the western Christian lectionary. I had the chance this weekend to share the desert version of U2's "Vertigo" video with a clergyperson preparing to preach on the desert temptations of Christ, and was intrigued by his reaction to the black substance that pours off the band's backs (while also surrounding and trapping them) for a large portion of that video. He said it reminded him of this famous story from the Desert Fathers:
A brother in Scetis committed a fault. A council was called to which Abba Moses was invited, but he refused to go to it. Then the priest sent someone to him, saying, "Come, for everyone is waiting for you." So Moses got up and went. He took a basket, filled it with sand, cut a hole at the bottom and carried it on his shoulders. The others came out to meet him and seeing the sand flowing forth said, “What is this, father?”
The Abba replied, “My sins run out behind me, and I do not see them, and today you have called me here to judge another?” When they heard that, they said no more to the brother but forgave him.

2.03.2014

U2 Invisible, reactions

Friend of this blog Tim Neufeld offers some reflections on "Invisible" and its links to previous U2 material on his blog Occasio

I'm also indebted to another friend of this blog and fellow U2 book author Steve Harmon (who blogs at Ecclesial Theology) for the suggestion that the lyric may be "a body in a soul," which is, in Steve's words, "not a bad concise theological anthropology."

Catholic Moral Theology comments on the song's theme of making persons visible, seeing it as justice-related and tying it in with Pope Francis' words against exclusion in Evangelium Gaudium 53.

2.02.2014

(Not) Invisible

Happy feast of the Presentation/Candlemas, folks.

I'm more than you know
I'm more than you see here
More than you let me be
I'm more than you know
A body and a soul
You don't see me but you will
I am not invisible
....I am here

1.10.2014

It should be ordinary

A  nice piece by friend of this blog Mark Meynell on "Ordinary Love" for redeemingsound. Excerpt:
As the song suggests, [Mandela] showed a love for the other, the different, the opponent, that is unparalleled in the modern world. Which ironically makes it an extraordinary love. But the fact that it should be ordinary seems to be the point.  This is the song’s key refrain: “We can’t reach any higher/fall any further if we can’t feel/deal with ordinary love.”