#finding comfort through storytelling has been a healthy way to both express and reflect on it all

[ronkeyroo]

TW; Themes of depression , Self loathing & Implication/mentions of self harm

It wasn’t her lycanthropy that made her feel like a monster, it was but her own damaged heart and inner demons.

And So she ran away - believing her very presence was a burden too heavy to carry, if only to protect her loved ones from her own demise - No matter how deeply she wanted to run back and crash into his embrace, no matter how deeply her heart yearned to accept his love.

[hobbitsetal]

HOBBS I wanna hear your opinions on the entertainment debate pls

Ahahahaha this brings me joy because @throwaninkpot said the same thing! Ask and you shall receive ;)

So. The entertainment debate. Is it sinful for Christians to consume media, particularly media that is not Christian, or indeed contains offensive content? Harry Potter is a popular target. Pokemon and Dungeons and Dragons had their day in the cross-hairs.

What I’ve seen floating around on Tumblr leapfrogs from “this media contains something I think is antithetical to Biblical teaching” to “THIS IS NOT 500% GOD ALL THE TIME SO IT IS SINNNNN.”

As a writer of poetry and fantasy, I cannot convey to you how immature I find this view. As a Christian raised with a healthy understanding of Christian liberty, I cannot convey to you how disgustingly legalistic this view is. But I am absolutely going to try, because this is important and I have seen beloved friends badgered and bullied into questioning harmless pastimes by these anti-gospel gatekeepers.

First and most key, I do not care what you’re watching, your salvation is not contingent on nor indicated by your media consumption. Your salvation is contingent on the love of God and indicated by Christ’s redemptive work and the work of the Holy Spirit.

Romans 10:9-10 outlines the requirement for salvation nicely: “If you confess with your mouth that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. For with the heart one believes and is justified, and with the mouth one confesses and is saved.”

There ya go. If you’re watching Game of Thrones, that doesn’t revoke your Christian card. It doesn’t un-sacrifice Christ.

But mentioning Game of Thrones does beg the question, are there things Christians should not watch? I say yes, and Ephesians and Philippians say yes!

“Now this I say and testify in the Lord, that you must no longer walk as the Gentiles do, in the futility of their minds. They are darkened in their understanding, alienated from the life of God because of the ignorance that is in them, due to their hardness of heart. They have become callous and have given themselves up to sensuality, greedy to practice every kind of impurity. But that is not the way you learned Christ!— assuming that you have heard about him and were taught in him, as the truth is in Jesus, to put off your old self, which belongs to your former manner of life and is corrupt through deceitful desires, and to be renewed in the spirit of your minds, and to put on the new self, created after the likeness of God in true righteousness and holiness.”

“Let no corrupting talk come out of your mouths, but only such as is good for building up, as fits the occasion, that it may give grace to those who hear.”

“Finally, brothers, whatever is true, whatever is honorable, whatever is just, whatever is pure, whatever is lovely, whatever is commendable, if there is any excellence, if there is anything worthy of praise, think about these things.”

That’s a giant block of text, so let’s break it down a bit. Before we are saved, sin doesn’t bother us. Sexually explicit materials, foul language, violence, depravity of every kind--we might personally not love it, but there’s no deep-seated moral argument against it.

After we have been saved, the Holy Spirit convicts us and reveals to us through Scripture how God wants us to live. Sex is holy and should be treated as an important thing. Foul language doesn’t build others up, so we shouldn’t use it. Violence is not loving, so we should not be violent.

How does this relate to media?

I would argue that it relates differently for different people, but that the effect of the media you consume on your spiritual life and your relationships with others is your best gauge.

I knew a young man who was deeply affected by music, so he was careful to listen to Christian artists lest he be tempted into sin by immoral lyrics. I don’t have that problem. I can listen to a song and not think more deeply about it than whether it’s a fun beat.

What about books? I do need to be careful here. Some people can read books with suggestive content and skip past those scenes, without temptation or without their imaginations being led astray. I can’t. So I don’t read romance novels. I would not glorify God with this.

TV shows, art, and movies are all similar: how do they affect you personally? I stopped watching the Battlestar Galactica reboot because the language and sexual content convicted me. But I watched The Witcher with my husband--partly because I’m at a different stage in my life and what stumbled me as a single adult is no longer as problematic now that I’m married, and partly because the subtle pro-life themes and the themes of good and evil and objective right and wrong outweigh the objectionable content.

Romans 14, to me, speaks most clearly to this:

“One person esteems one day as better than another, while another esteems all days alike. Each one should be fully convinced in his own mind. The one who observes the day, observes it in honor of the Lord. The one who eats, eats in honor of the Lord, since he gives thanks to God, while the one who abstains, abstains in honor of the Lord and gives thanks to God. For none of us lives to himself, and none of us dies to himself. For if we live, we live to the Lord, and if we die, we die to the Lord. So then, whether we live or whether we die, we are the Lord’s. For to this end Christ died and lived again, that he might be Lord both of the dead and of the living.”

I would not watch certain movies with certain family members, but I would with others. This is not hypocrisy because I don’t pretend that I don’t watch those movies; I make a choice to respect my family’s consciences when they differ from mine.

Were some friends to express dismay that I play Dungeons and Dragons or read Harry Potter, I would explain to them why I’m comfortable with that media, but I wouldn’t shove it in their faces.

~~~

This is dreadfully long already, but I can’t just stop with explaining our liberty in Christ to enjoy media and art.

We are made in the image of God. God is the Great Artist, the Supreme Storyteller, the Maker of Music. We were made to create art, to tell stories, to make music! This is part of how we glorify God! This is what we will spend eternity doing! Do you think Tolkien has stopped writing because he’s in Heaven? or Lewis?

And what is the greatest joy of a creator but sharing? God created us to share Himself with us--not out of need, for He needs nothing, but out of joy and the fullness of His Divine nature! And we, who are needy and who are made to be social in reflection of the Trinity, how much more do we want to share and rejoice in sharing!

As a writer, I love having people read what I write. And conversely, I love hearing my friends’ music and seeing their art.

Those who consume media are taking their rightful place as Audience. Those who create media are taking their rightful place as Sub-Creator.

And those who claim that media is sinful are cramming God into a pitifully tiny box and trying to limit human experience to the blandest existence possible. God did not craft sunsets and constellations and the whole of human history for us to look at each other and say, “Better not enjoy this, it’s probably sinful.”

As Martin Luther allegedly said, “Beer is proof God loves us.”

Enjoy stories. It’s what God created us to do.

[emmyewesseyesee]

ema – extraordinary musical ambassador(s)

2017′s largely been a year of eclectic and fun live music for me – some 40+ gigs this year in fact – and the first week of october was particularly hectic with four in just five days. set on the middle wednesday was the mighty ema (aka erika m. anderson) rising high between the suburban grizzly bear at the start of the week and the northern litany and intrepid superorganism towards the end.

i’d last seen ema at the garage some three years ago and in the flesh she remains a truly spellbinding performer with her mesmeric presence just about managing to stave off any sense of apprehension or gawky self consciousness at having to perform her most assured and provocative manifesto of arresting noise and evocative message to the next room full of darkened strangers.

this time out, it’s a manifesto newly empowered by latest album, exile in the outer ring, a most incisive, striking and thought-provoking commentary on the politically and socially disenfranchised who find themselves not only on the fringes but also somehow vilified in a trump-electing yet rejecting america. the album is brooding, sinister, angry, staggeringly well observed and disarmingly humbling and empathetic in its stark portrayal and analysis of the people and circumstances faced in this outer ring – it rightly takes the lion’s share of the main set and will undoubtedly prove to be one of my top three albums of 2017 as it’s a truly epic and incredibly moving piece of work.

as if to highlight ema’s own triumph of temerity over timidity and her smart knack of narratively juxtaposing herself and her surroundings, the set itself opens with the woozily somber introspection of “where the darkness began” before giving way to the more transient who-care nihilism of “i wanna destroy”. in addition, both album and performance succeed in comprehensively spanning all viewpoints from me to you, them to us, the individual, the collective, the cause and the consequence, both instinct and impact and plenty in between, demonstrating an incredibly deft and attuned ability to position herself as first, second and third person subject, narrator and observer with equal aplomb. whether presenting her own demons or others’ struggles, anderson’s delivery comes across as utterly genuine, compelling and convincing, her sympathetic instrumentation and eloquent intonation allowing the listener to truly confront these observations, opinions, sentiments and sensations themselves for real.

for those open-minded and willing enough to listen and learn, this range and voracity of storytelling make for a most insightful, instructive, educational and evocative experience, with ema your generous teacher, your (very) high priestess and on-stage sage, your guide and mentor through her suburban sprawl. she takes her time, she provides succinct explanations with clarity and patience, she uses both smart metaphor and personal case study as support material, and thereby captivates her audience with consummate vigour, rigour and revelation.

aside from her sheer musical and oratory prowess, one thing you notice about anderson is how she views herself as part of the societal mainframe while challenging us all to confront our own opinions, prejudices, responsibilities and actions. it’s this precise and perceptive addition of perspective that gives such power and authority to her words. moreover, in a world where we increasingly look to define ourselves purely by the relativity of what we definitely (and defiantly) are not, and rush to castigate anyone who might dare to proffer any outspoken opinion of their own (never once pausing a moment to consider any context or circumstance which may have led to another person’s view), it’s refreshing to hear from someone who is not only confident enough to express their own innermost feelings and thoughts, but humble, compassionate and ultimately interested and invested enough to consider the reasons why others might think, feel and do the things that they do.

a case for the extraordinary musical ambassador…

it was probably a combination of ema’s erudite ability to engage her audience in such a way alongside my own general disdain for the current state of social and political debate in the world right now (plus a couple of cheeky ciders) that prompted this post and the idea of anderson and other touring musicians in the role of extraordinary musical ambassador.

as the wonderfully discerning comedian daniel kitson has previously proposed, we tend as a species to “live in our lives” yet merely to “exist in the world”, with those occasions where our lives “bump into each other” becoming evermore fleeting as we prefer instead to ignore one another via our head-down hand-helds while frequently resorting to the self-same devices to frequently lambast  and knee-jerk pronounce on each other without the slightest rhyme, reason, respect or reflection – increasingly “because i can, i will, and everyone else is doing it, so i’m clearly definitely right”. against such a backdrop of reactionary venom and pervasive outrage, it’s little surprise that our capacity for debate has atrophied to such primitive, divisive, vitriolic and downright offensive levels.

sadly faced with this combination of ignorant hostility and stubborn intransigence, our respective positions become yet more entrenched, our resolve yet steelier, our denial of any potential evidence to the contrary utterly impenetrable, as we resort to playground name-calling and abusive undermining from the relative comfort of our blinkered, fortified, self-serving echo-chambers. we function as if the world exists in spite of us, as if we’re merely its disgruntled (and no doubt delayed – yet again, dammit!) passengers, firing off our “the service on this planet is an absolute disgrace!” volleys with impunity in the vain hope that they’ll make things better. they won’t. and in the meantime, we’ve lost or simply chosen to dispense with the patience,  diplomacy, wisdom, tolerance and understanding to see things from a different point of view.

i remember barack obama’s farewell address with great fondness, not least because amidst all the wailing and gnashing of teeth at the election outcome, he rose above it with his signature statesmanship, calm, generosity and class. i also remember it for his most valuable and seemingly prescient closing warnings and calls-to-action: firstly he called for the upholding of healthy debate and positive discourse to engaging with those with different viewpoints and ideas, warning of the dangers of “corrosive political dialogue” and the “alienation” of certain portions of the country that might hold contrary beliefs; secondly, he spoke of the importance of participation, face-to-face dialogue and action in really making a difference.

“if you’re tired of arguing with strangers on the internet, try talking with one of them in real life”

yet one year on from that speech with the incoming administration having been largely built on the flimsy foundations of brash platitudes, fake-news rhetoric and late-night tweets, one might argue that the populous or democratic opposition has singularly failed to heed his advice, falling instead for this meagre bait and the seductive lure of each chance to be indignant, outraged and contemptuous anew via the same shallow, inciteful and anonymous channels, without taking the time to find out more or engage in any form of constructive or meaningful debate. this breeds stasis and increasing mistrust, whereas if we truly desire change, ultimately we have to play our part, to get involved, to listen and learn and engage – on other people’s terms – because real change demands this of us.

in the meantime, our inaugural extraordinary musical ambassador has taken it upon herself to present a thoroughly honest, engaging and affecting expression on the state of the forgotten in this suburban exile, and taken it out on tour to share with the world at large – no doubt including those more liberal hand-wringers who inhabit their own outer ring of the disunited states within their bubble of blissful ignorance, assumed superiority, and implicit disdain for those less fortunate at the beating heart of the country. she has listened to her surroundings, looked inside her heart, offered up her views, and generously shared her words and song and ideas to many people around the world.

why we need them more than ever…

in assessing this vital contribution, i’d go as far as to say that our extraordinary musical ambassadors are largely better equipped than most of our elected officials to provide this level of insight in appraising the pervading human condition and its relative health, happiness, misery or hardship.

where our politicians tend to fear and avoid ‘the great unwashed’, our emas will tend to operate at at the coal-face, down at the underbelly, amongst the misfits, the disenfranchised, the creators, the passionate, the young and importantly (and perhaps fortunately) the future shapers of our planet, even throwing  themselves directly into their arms with implicit trust in their heartfelt connection and fervent support. they enjoy a healthy and emotional dialogue with their audiences, often meeting them face-to-face before or after the gig to share stories, trade wares and touch lives. of course, the higher echelons of rockstar might look to build walls of protective entourage around them, but deep down these emas and their followers thrive on human connection and the vital intersection of people, ideas, creativity, emotion and exchange.

but perhaps the most telling credentials that our extraordinary musical ambassadors possess are actually the ambassadorial requirements of frequent travel and non-judgemental tolerance to go with this innate approachability and exchange. on tour, they will often arrive in a town overnight, spend the next day fast-experiencing it (often via the social network suggestions of its residents), give themselves and their ideas over to its people that evening, before late-night / early-morning disembarkation for the next far-flung destination. they land, they assimilate, they propagate daily, soaking each new experience up like a sponge to inform their wider perspectives and incorporate into their future art and exchange. indeed, they witness such diversity and warmth from such a wide range of people (admittedly connected through their love of the artist) and locations that it gives them an unprecedented view of the state of society at large and an unrivalled ability to understand the populous’s pervading themes, assess the relative mood and circumstances of countries and individual towns within those countries, and share ideas and inspiration quickly and emotionally around the globe – in person.

in a world where we are increasingly and immediately connected to this rich tapestry of interrelated experience, we somehow find ourselves strangely lacking in empathy towards those elements of it that we simply cannot abide. it seems counter-intuitive: to be better connected and yet lesser connected than ever before. perhaps then it is time for these extraordinary musical ambassadors to set the example not only to the populous but to the powers-that-be for a progressive culture that is far more humble, inspiring, empowering, embracing, connected, exchanging and conversing rather than one based on bluster, fear, rhetoric, difference, control, division and greed. and if music can teach us anything, it must surely be to listen, to accept, to enjoy, to share, to get involved, to see things from a different point-of-view and try to understand. so get amongst it, listen to something new, and reach out to other people, because they might like what you hear. after all, true progress can only be achieved by improving our connections, expanding our horizons, and better understanding and appreciating each other. we all need to take responsibility for that.

if you’ve made it this far, thank you for your patience in reading these rather expansive words. as a reward, i’ll leave you with a couple of tracks from exile in the outer ring below: the delicately moving elemental dismantling of “blood and chalk” and the disturbingly pounding menace of “breathalyzer”. as a bonus, should you wish to listen to a track from each of the artists whose gigs i’ve attended this year, you can do so courtesy of emm-yew-ess-eye-see's 2017 live playlist here. enjoy!

ps thank you and credits to andré haberman for the ema gig photos for neølyd (münchen, sep. 2017)

[cynicandsaint-blog]

Meditations on Authenticity

During the 1960s, the term “authenticity” became a buzzword. Authenticity was generally defined in opposition to “artificial”. Emerging baby boomers, often college attendees, united across America in the quest to remain honest to themselves, while rejecting that which they determined fraudulent. According to Sixties historian, Howard Brick, authenticity required “discovering, voicing, and exercising a genuine whole personality,” and this personality must be “freed from the grip of mortifying convention.” The quest for authenticity required the seeker to reflect and be genuine, while refusing to be complicit with routines that inhibited honesty. The most reaching voices of this revolution into the Real came from musicians. Elvis Presley maintained integrity through rejecting conventional standards of “white music.” Instead, he revolutionized mainstream music by sincerely expressing himself. Similarly, The Velvet Underground, led by Lou Reed, allied with avant-gardist--Andy Warhol to launch music, culture, and art into an area it had never been. This push came from an innate yearning to remain true to their artistic vision, complex sexuality, and obsession with forging a counter culture. Perhaps the most respected artist that evangelized authenticity during the 1960s was, Nobel Laureate, Bob Dylan. His protest anthems are still considered music canon that effortlessly describes the tumultuous era, but his authenticity was not tied to his fame. Instead, his artistic legitimacy materialized from his desire to reinvent himself as his genius dictated. He refused to be confined to a single genre on the basis of that is how he gained his reputation. Instead, he “went electric” at the Newport Folk Festival in 1965, thus alienating himself from his traditional fan base. He demonstrated to the world that his authenticity meant more to him than external esteem and acceptance. Considering how committed these, and other, musicians were to remaining authentic, it is ludicrous to think of the bands paying “tribute” to them by duplicating their sound. Factory, the tribute band for The Velvet Underground, believes that the groundbreaking avant-garde can be rediscovered through a facsimile. Highway 61 Revisited honors Bob Dylan by reproducing his singularly intimate lyrics with vacuously intoned words. Elvis impersonators can be found by the thousands, mixing with gamblers and drunks in the most artificial city in the world--Las Vegas. Tribute bands have become so routine that a television program is dedicated to presenting artificial performers playing authentic artists’ music. The World’s Greatest Tribute Bands just finished its eighth season! This begs the question: Who cares if someone wants to see some awful tribute band and have a good time? The answer is that it probably doesn’t in this limited instance. Still, a more important question must be asked: Why are multitudes foregoing the daunting quest for authenticity on important matters simply because the artificial is so easily secured? The authentic is so scarce in contemporary America that it has become a pastime to engage in criticism of various artificial components of modern culture. We could join Kendrick Lamar in attacking Photoshop by asking for “somethin’ natural like ass with some stretch marks” or the creators of a well-known YouTube clip that demonstrate the artificial creation of a beautiful woman from a slice of pepperoni pizza. We could join both sides of the political aisle by ostensibly attacking pharmaceutical companies for creating an artificial dependency on medication. We could join CNN, The Guardian, and virtually every major news outlet in attacking doctors that overprescribe medication. We could join Morgan Spurlock, and countless others, that have attacked the artificial fare produced by fast food companies. We could reject, with every intellectual in the world, the hit reality show-Keeping Up with the Kardashians on grounds of lacking reality. Criticizing all of these manifestations of artificiality is futile because, if removed, a new synthetic commodity would replace its predecessor. Photoshop, unnecessary medicine, unhealthy food, and reality television are merely the fruit of the artificial tree. The fruit is easy to spot, but it is the root that must be removed for widescale eradication of the inauthentic. The root is less discernable than the fruit, and in this case, it is something we wish to be withheld from universal view. The root is us, or more specifically, our uncontrolled desire. We demand beauty at a level that is authentically unobtainable. We find comfort in the artificial hope of a cure through swallowing a pill instead of the authenticity of a daily practice of healthy eating, exercise, and mindfulness. We work late and overbook our days, resulting in insufficient time to fix nourishing meals. We present McDonald’s as the only option for sustenance on these hectic days. We turn the television to a program that has no value because judging ourselves as superior to moral degenerates serves as an adult pacifier. Plus, why add authentic experiences through reading and conversing with family and friends when you can bombard your brain with advertisements and storylines of the artificial? It is time for the pursuit of authenticity to take a place of primacy in our minds, as it was in the 1960s. One measure is as simple as talking with people we spontaneously encounter on the bus or walking through the grocery store, not just to exchange information, but to gain awareness and understanding of our communities. We move out of the confines of our minds as we seek to engage neighbors and community members that live around us.. We must listen and comprehend the music we listen to increase our authenticity. Disregarding lyrical analysis in favor for a catchy hook, or a tight beat, leaves us supporting artistic work that we fail to fathom. The music of authenticity written during the 1960s, told us that “The Times They Are A-Changin’”. Through his lyrics, Dylan issued a clarion call for a movement toward the authentic as interpreted through the more humane treatment of Americans and non alike. Currently, in popular music, we find the artificial masquerading as authentic in songs like, “The Way I Are”, where the lyrics detail the lofty ambition the songwriter has of signing a woman’s chest and dancing. This musician is telling the listener that “the way I are,” or his inherent human qualities, guide him to thingify a woman and dance, hopefully with the woman he just claimed. “Listener” has become a misnomer, it should be replaced with “feeler,” as in, someone that feels the beat. Music has digressed from the authentic it once was where the composers called for equality and the betterment of all. Luckily, we can easily reclaim honesty and storytelling in music by listening and supporting artists that are authentic. Such artists already exist! Still, another way of pursuing authenticity is by familiarizing ourselves with people that are socioeconomically diverse. It seems that nearly every homogenous community accuses other homogenous communities of existing in a bubble. Most communities live in isolation to a world that is unlike theirs. We can experience various forms of diversity by traveling and learning of other cultures, enrolling in higher education, and visiting gatherings and festivals in communities that are unlike ours. Seek for ways to appreciate and understand others. If we look for these opportunities, we will notice that these chances abound. However we choose to pursue authenticity, it must be what inherently brings us joy. Authenticity is being the person we were before the artificial took over. We must free ourselves from “the grip of mortifying convention,” and discover our “genuine whole personality.” That is the only way we will return from the artificial world we have created to one of authenticity. -The Saint