Have you ever really. . .

. . . read the story of Sodom from the book of Genesis? This is the text used by the literally 'uninformed' to defend their homophobic positions; those who think their Bible must be interpreted 'literally'.

(paraphrasing from The Sins of the Scriptures, by John Shelby Spong, © 2005 John Shelby Spong)
'Travel in the ancient world was hard and dangerous, so travelers were few. Visitors depended upon the hospitality of a citizen of the place they were visiting. Without it, more often than not, strangers became fair game for abuse which usually took the form of ribald play in which the manhood of the strangers was compromised.

The two 'messengers', who accompanied the Lord in his inquest of the citizens of Sodom with the intention of destruction, left the Lord with Abraham and visited the city of Sodom. Late on the evening of their arrival, Abraham's nephew Lot offers the strangers hospitality, much to the dismay of the town's menfolk who had been eagerly anticipating a night of debauchery since the arrival of the two. They surrounded Lot's house and demanded the surrender of the two visitors. Lot refused knowing that once the protection of a home had been offered, the honor of the entire household was at stake if that protection was compromised.

So Lot makes a counter offer, one that literal interpreters of the Bible generally fail to criticize. He offers his two virgin daughters to the crowd to "do to them as you please." (Also consider the literal interpretation of offering daughters as though they were property, precisely the ancient biblical view of women.) The daughters have, of course, not been consulted regarding the proposition, as being property only, they have no say in the matter.

Well, in short, Lot and his family (including the daughters) escape and the city is destroyed by the visitors in accordance with the Lord's intention.'

Have we learned the biblical condemnation of homosexuality from this fascinating little story? I must have missed it. What I did, and we all should, learn from it is that NONE of this material should be taken LITERALLY!




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The more I listened. . .

. . . the more I heard. From Chicago and Blood, Sweat and Tears' sophisticated, jazz-inflected arrangements, I branched out, under the influence of newly-gained high school buddies. Now I was listening to Yes, Genesis, Gentle Giant, Jethro Tull and then in 10th grade, with the help of Steph, (Stephen being his full name) I came upon that musical marvel they call Zappa. Frank Zappa. Steph highly recommended the Freak Out! album. Of that release, Wikipedia says:

"Freak Out! is the debut album by American band The Mothers of Invention, released June 27, 1966 on Verve Records. Often cited as one of rock music's first concept albums, the album is a satirical expression of frontman Frank Zappa's perception of American pop culture. It was also one of the earliest double albums in rock music (although Bob Dylan's Blonde on Blonde preceded it by a week), and the first 2-record debut. In the UK the album was originally released as a single disc.

The album was produced by Tom Wilson, who signed The Mothers, formerly a bar band called the Soul Giants. Zappa said many years later that Wilson signed the group to a record deal in the belief that they were a white blues band.[1][2] The album features vocalist Ray Collins, along with bass player Roy Estrada, drummer Jimmy Carl Black and guitar player Elliot Ingber, who would later join Captain Beefheart's Magic Band under the name Winged Eel Fingerling.[3][4]

The band's original repertoire consisted of rhythm and blues covers; though after Zappa joined the band he encouraged them to play his own original material, and the name was changed to The Mothers.[5] The musical content of Freak Out! ranges from rhythm and blues, doo-wop and standard blues-influenced rock to orchestral arrangements and avant-garde sound collages. Although the album was initially poorly received in the United States, it was a success in Europe. It gained a cult following in America, where it continued to sell in substantial quantities until it was prematurely discontinued in the early 1970s."

So by the time Steph, and me by association, discovered that magical music of Freak Out!, it was only about seven years old, and Zappa, a mere musical infant. I call it magical, but I believe Frank only improved with age and no matter what he created, or would have created if not for his untimely death in 1993, it would have been interesting, challenging and musical. Freak Out! was, in retrospect, more an attraction to my peers for its unconventionality than any true musical innovation. But clearly, this man Frank Zappa was one musician to watch, or should I say. . . Listen!




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