#also the video didn't contain any trent

[fazcinatingblog]

a whole video about Cody

[paula-of-christ]

Okay so as promised here is my rant about this ^ clip. Now, I watched the whole thing but I didn't save the video or record the whole thing because I didn't want to boost the algorithm for this video. I totally understand why it looks sacrilegious but I am going to explain why it actually isn't, and what ACTUAL problems I can possibly discern from this, which are easily dispelled since I don't know what this parish is or who the person doing the incensing is.

So the first thing is that people assume since the incensing isn't being done with a thurible and since it's being done during the procession to drums rather than a hymn, that it is some kind of Native American blessing or there is some sort of Native "witchcraft" (if you can call it that, which for the duration of this post I will be unless I come up with a better word). You'll note that there is no hymn necessary for the entrance. You can read the full General Instruction for the Introductory Rite here, but I'll sum it up thus: you can sing a hymn, gradual or simple psalm, the antiphon, or none at all, and the antiphon is repeated after the incensing of the altar area. Having music (the drums in the video provided, or maybe it's piano chords, or violin music) is not disallowed for the start of Mass, and is going to be dependent on the culture of the people attending Mass. Masses in African countries for example, will have different styles of hymns sung, if at all, even prior to Vatican II. So the drums aren't an issue per se. Ideally the Bishop is involved in this decision as articulated in the General Instruction, but based on this video we would have no way of knowing whether or not the Bishop had any say or knowledge about what was going on at this Mass.

The other point I would like to make is that no where in the General Instruction does it say incensing must be done with a thurible, in fact the Instruction gives a very throw-away line about the incensing saying it is to be done after the priest enters and kisses the altar. This is one of two issues that can actually be drawn from the video itself, is that the incensing is being done before the priest gives the altar a profound bow and incenses it and the cross. The other issue that can be taken straight from the video, and really this is technically speculation, is that the person doing the incensing of the altar isn't wearing priestly vestments, so it's impossible to say whether or not it's the priest actually doing the blessing. There are specific prayers that a priest must do during these blessings, but most priests don't say them audibly, so this is again impossible to know if those are being said.

If you watch the whole video, you'll see this person's movements and where he goes first for the incensing is the exact same as the way a priest would when coming in for the start of Mass, he is just using an American form of incensing, rather than a European form. As far as the universality of the Church goes, there is nothing inherently wrong with this.

The preamble of the General Instruction thus states:

10. The new Missal, therefore, while bearing witness to the Roman Church’s rule of prayer (lex orandi), also safeguards the deposit of faith handed down by the more recent Councils and marks in its own right a step of great importance in liturgical tradition.

Indeed, when the Fathers of the Second Vatican Council reaffirmed the dogmatic pronouncements of the Council of Trent, they spoke at a far different time in world history, so that they were able to bring forward proposals and measures of a pastoral nature that could not have even been foreseen four centuries earlier.

11. The Council of Trent already recognized the great catechetical value contained in the celebration of Mass but was unable to bring out all its consequences in regard to actual practice. In fact, many were pressing for permission to use the vernacular in celebrating the Eucharistic Sacrifice; but the Council, weighing the conditions of that age, considered it a duty to answer this request with a reaffirmation of the Church’s traditional teaching, according to which the Eucharistic Sacrifice is, first and foremost, the action of Christ himself, and therefore its proper efficacy is unaffected by the manner in which the faithful take part in it. ...

Little 't' traditions (like the use of a thurible, or what kind of instrumentation is used) is subject to change based on the age and culture. And that isn't sacrilege. This is not my opinion. This is the teaching of the Church.

If someone were actually concerned about it, they ought to go to the Bishop, inform them of this, and take steps from there. But it is utterly ridiculous to have 0 context for this happening and being outraged without understanding the Roman Missal or the teachings of the Church.

[howaminotinthestrokesyet]

One Way To Get There: The Remixes and Live Albums of Nine Inch Nails

Fixed

This followup EP to Broken was released in December 1992 via TVT, Nothing Records, and Interscope. According to Trent Reznor, this release had never been intended as a remix record, but rather a “reinterpretation and deconstruction” of Broken. Reznor recruited Peter Christopherson of Coil, Butch Vig, and JG Thirlwell. Thirlwell sampled Timothy Leary for a remix of the song “Wish,” while another remix sampled Bob Flanagan being tortured from the “Happiness in Slavery” music video. For his part, Vig did not contribute very much to the record as he would explain later. "I started recording a lot of new parts, and took it in a much different direction. When it was finished, Trent thought the front part of the mix didn't fit the EP, so he just used the ending." One major takeaway from the release comes in the fact that Reznor had eliminated much of the heavy metal portion of the original Broken EP. He had replaced them with new drum beats and other similar sounds. Critics looked upon the album as an interesting reinterpretation of the music on Broken. Writer Peter J. D'Angelo said, "Even though Nine Inch Nails was thrust into the mainstream spotlight, this record shows the group returning to its roots and creating a daring new translation of songs that were pummeling from the start."

Further Down The Spiral

This full length remix album was released in June 1995 as a companion to The Downward Spiral. Reznor had recruited even more artists to remix on this one including Rick Rubin, JG Thirlwell, Aphex Twin, Dave Navarro, and the group, Coil. The tracks done by Aphex Twin were not remixes, but instead entirely new tracks. The DJ would later say that he never even listened to the original songs on The Downward Spiral, making one question why he agreed to be on the record in the first place. John Balance of Coil would remark in an interview that he enjoyed the project because working with Reznor was very easy. He always kept things organized and sent a very clean master tape on which to work. The remixes on the record included "Mr. Self Destruct", "Piggy", "Hurt", "Eraser", "The Downward Spiral", "Heresy", "Reptile", and "Ruiner.” Further Down the Spiral would go on to become one of the best selling remix albums of all time earning gold record status in 1996.

Things Falling Apart

This second remix album accompanying The Fragile would come out In November 2000 via Interscope Records and Nothing Records. Reznor brought in new producers for this release including Joshua Eustis, Danny Lohner, Adrian Sherwood, Mark Stewart, Charles Cooper, and Turk Dietrich. The critics absolutely hated this effort by Reznor and company as New Musical Express would sarcastically give the album a rating of 10 out of 10. The main issue that reviewers had with the record was the fact that none of the songs on The Fragile deserved to be remixed in the first place. As Allmusic points out, the album on which these remixes are based is mostly “forgettable.”

Year Zero Remixed

This remix followed the release of Year Zero in 2007 on Interscope records. This became the final record that Nine Inch Nails would put out on that label. After this album, Reznor would go the independent route for the next few years. The official name of the LP was actually Y34RZ3R0R3MIX3D, which ITunes did list as such on the Apple site. One version available for purchase came in the form of a DVD-ROM that included Garageband and Ableton files of all the tracks, so any user could remix them for free. The vinyl version included tracks exclusive to that media such as a remix of “Survivalism” by Saul Williams. The Denver Post would say that this release was probably the best remix project of Reznor’s career. Yet, as if on cue, Pitchfork thoroughly disliked the record calling it “predictably spotty.”

Remix 2014 EP

This short digital only release came out in January 2014 accompanying Hesitation Marks. You could only listen to it on the streaming service associated with Beats Music, for which Reznor along with Dr. Dre served as executives. The songs included "Satellite", "Running", "Copy of a" and "Everything.” The tracks were remixed by Hot Chip, Cold Cave, Simian Mobile Disco, and Autolux.

Live Albums

And All That Could Have Been

Released in January 2002, this double album contained a set from The Fragility 2.0 tour in 2000. The second disc consisted of an entirely brand new album called Still, which included deconstructed versions of previous songs, as well as some new material. Reznor would say that this live album was to serve as a transition between the latest tour and the next studio album. The singer would later say that he was not a fan of their performance on that particular tour. “I was sick for most of that tour and I really don't think it was Nine Inch Nails at its best."

Live 2013 EP

This release was made available exclusively to Spotify in September 2013 containing three tracks from Hesitation Marks recorded live in Japan and Chicago, Illinois. The songs were Copy of a", "Came Back Haunted", and "Find My Way.” A new live version of the song “Sanctified” from Pretty Hate Machine also premiered for the EP release.