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The discomfiting presence of a saint
A couple friends shared this old compilation video of Fred Rogers appearing on the Charlie Rose interview show, and while my memories of watching Mr. Rogers’ Neighborhood, while definitely present, are indistinct at best, I couldn’t help but spend 15 minutes listening to it. What struck me this time wasn’t so much Mr. Rogers’ lovely insights into life, but in how uncomfortable Charlie Rose looks performing the interview.
First - and I may just be imagining this, but I don’t think so - Rose is challenged by Rogers’ deliberate pace. Rose’s normal tempo is likely something a lot faster, but Rogers refuses to be hurried. And through the interview clip you hear Rose start to slow down, never quite reaching Rogers’ slow cadence, but certainly influenced by his quiet and calm.
Second, and more profoundly, Rose seems ill at ease, I think, simply because he recognizes in Rogers a spiritual and emotional quality that he wishes he had himself. Quickly behind that is the thought that the absence of those qualities is a real personal shortcoming somehow.
To say it much more simply: this is the discomfiting presence of a saint.
I’m reminded of Paul’s words in 2 Corinthians 2:
But thanks be to God, who… uses us to spread the aroma of the knowledge of him everywhere. For we are to God the pleasing aroma of Christ among those who are being saved and those who are perishing. To the one we are an aroma that brings death; to the other, an aroma that brings life. And who is equal to such a task?
To those of us who recognize and embrace the presence of Christ in Rogers’ life, it is a pleasing aroma - one that makes encourages and challenges us. To those who don’t, it can be deeply troubling. My desire is to live with such an awareness of Christ in my life that I, too, could have a transformative presence like Mr. Rogers did.
Hamilton
It’s been a while since I’ve had a record catch my attention and get stuck in my head like Hamilton has over the past couple of weeks. If you follow me on Twitter or Facebook you’re already probably tired of hearing about it. But in the spirit of it’s-still-stuck-in-my-head-and-I-want-to-talk-about-it, I’m writing a blog post in the hopes of reaching a few folks who wouldn’t likely otherwise familiarize themselves with it.
On the face of it, the summary of this new Broadway musical sounds, frankly, bizarre: a rap/hip-hop musical, featuring nearly all non-white actors, about the life of American Founding Father Alexander Hamilton.
To Hamilton’s writer/composer, though, it makes perfect sense. Lin-Manuel Miranda, a thirty-something New Yorker and son of Puerto Rican immigrants, sees Hamilton’s story as a classic immigrant story. Born in the Caribbean, no father around, mother died when he was young. Immigrated to America, and with great ambition and drive played a significant hand in the founding of the USA, only to die in a duel at the hand of Vice President and long-time rival Aaron Burr. So why wouldn’t you tell this story?
Miranda gave an early performance of what would become the opening song of the musical at a White House evening of poetry, music, and spoken word back in 2009. (He was invited after penning his first musical, the Tony Award-winning In The Heights.) You can see the range of reactions in this video: at first, everybody chuckles at the idea of a hip-hop album about Alexander Hamilton. But 4 minutes in, he’s really good, and they’re hooked.
After hearing friends rave about Hamilton for a few days I went ahead and bought the cast recording. It’s clear at once that Hamilton is serious story telling. It’s not played for laughs or trying to highlight the incongruity of a Hispanic man in the lead and African Americans playing Burr, Thomas Jefferson, and George Washington. After 10 minutes you’ll buy into the idea, and by the end of the musical you’ll have a new perspective on immigrants shaping our country in its infancy.
What grabbed me first about Hamilton was the lyrics. I’ve always been a fan of smart wordplay, whether it be in silly family pun battles, Mel Brooks lyrics, Andrew Peterson songs, or Danny Kaye movies. And in Hamilton they’re smart, and they’re incessant. In the Alexander Hamilton character’s introductory song “My Shot”, he raps without hardly taking a breath, about his plight as a new immigrant:
I’m ‘a get a scholarship to King’s College. I prob’ly shouldn’t brag, but dag, I amaze and astonish. The problem is I got a lot of brains but no polish. I gotta holler just to be heard. With every word, I drop knowledge! I’m a diamond in the rough, a shiny piece of coal tryin’ to reach my goal. My power of speech:unimpeachable. Only nineteen but my mind is older. These New York City streets get colder, I shoulder ev’ry burden, ev’ry disadvantage I have learned to manage, I don’t have a gun to brandish, I walk these streets famished.
The musical traces Hamilton’s life through his move to America, his marriage to Eliza Schuyler, his involvement in the revolution and the founding of the country, his writing of many of the Federalist Papers, the affair that most likely cost him a shot at the presidency, the untimely death of his son, and his final showdown with Burr.
This bit from CBS Sunday Morning back in March is a nice brief overview of Hamilton the man, Hamilton the show, and the magnetic and clearly brilliant Lin-Manuel Miranda.
If you’re mildly interested by this point, I’d recommend checking out the cast album. (It’s up on YouTube to stream if you’re not ready to commit to a purchase.) It’s possible it won’t be your thing - Hamilton is currently sold out for goodness knows how long at the Richard Rodgers Theater on Broadway, but your standard Rodgers & Hammerstein musical it ain’t - but if you can immerse yourself in it for an hour or two I don’t think you’ll regret it.
As a footnote: my friend Bethany pointed me toward the #ParksAndHam mashup on Twitter, wherein folks are combining Hamilton quotes with pictures from Parks and Recreation. If you’re a fan of Parks and Rec, there are some pretty great ones out there.
Some fun for Friday
I had about five things turn up in my RSS reading today that I want to blog before long. But it’s Friday, which merits things entertaining and lighthearted.
First up: a jazzy cover of Radiohead’s classic song “Creep”, with American Idol singer Haley Reinhart on vocals. (They replace the F word in this version with something cleaner, so it’s safe to turn on in front of small children.) I love how great songs manage to be viable and stay great even when transformed into a different genre. This is a good example.
Next up: Sesame Street reminds us again that it writes most of its humor to amuse the parents who would otherwise grow unbearably weary of its puppets. The latest example: “Game of Chairs”. Fans of Game of Thrones should be quite amused.
Matt Maher: Glory Bound
I’m not a big listener of CCM and Praise & Worship music, but Matt Maher’s stuff has been growing on me lately. He has a new record out this week called Saints and Sinners, and I’ve been enjoying it quite a bit.
Here he goes full Springsteen on “Glory Bound”, which is a heckuva lot of fun:
A famous scene minus the dialogue
OK, I’m just shamelessly reposting something Jason Kottke dug up, but it’s fascinating - somebody took the courtroom scene from A Few Good Men and edited all the dialogue out. It holds up really well; a sign, I would imagine, of the quality of the filmmaking.
A little piano music for the season
A couple years ago I recorded a little album of solo piano Christmas music. Here’s one of my favorite tracks from it:
You can download the whole thing from the original post if you want. Merry Christmas!
Deliver Us
I’ve felt a need for Advent far more keenly this year than I recall from previous years. Perhaps it’s the tumult of the times - with religious violence abroad and racial tension at home, it is so clear that we need the peace, deliverance, and salvation that Jesus brings now more than ever.
That brings me to Andrew Peterson’s Behold the Lamb of God. It’s long been my favorite Christmas record; in my estimation it’s one of only two or three perfect Christian records to have been made. Early in the record as Andrew tells the story of Christ, the song “Deliver Us” introduces the longing cry of God’s people for God’s salvation. And the lyrics seem as appropriate today as ever:
Our enemy, our captor is no pharaoh on the Nile Our toil is neither mud nor brick nor sand Our ankles bear no calluses from chains, yet Lord, we’re bound Imprisoned here, we dwell in our own land
Deliver us, deliver us Oh Yahweh, hear our cry > And gather us beneath your wings tonight
Our sins they are more numerous than all the lambs we slay
These shackles they were made with our own hands Our toil is our atonement and our freedom yours to give So Yahweh, break your silence if you can
Deliver us, deliver us Oh Yahweh, hear our cry > And gather us beneath your wings tonight
[Response:] ‘Jerusalem, Jerusalem How often I have longed To gather you beneath my gentle wings’
Come, Lord Jesus.
I'm not really an opera guy but this is still amazing:
Amazing control, making the ridiculously high notes seem really easy, and putting such personality into the role… brilliant stuff.
Fun for Friday: Star Wars without the Music
How awkward would the final scene of Star Wars Episode IV be without John Williams’ awesome score?
Pretty awkward, as it turns out.
OK, this is pretty cool
I know this has been all over the internet already, but I’m going to post it here anyway. It’s a video of a group called Árstíðir singing the 13th-century Icelandic hymn Heyr himna smiður in a German train station. The acoustics… amazing.
This reminds me of a college choir trip when we stopped at the Illinois Memorial at the Vicksburg National Military Park in Vicksburg, Mississippi. We sang a hymn in there that reverberated for what seemed like an eternity… such a cool experience.
Somehow, given the choice between lots of voices in big stone buildings made to reverberate and all the microphones and audio equipment we usually use on a Sunday… most of the time I think my preference is for the voices.