At the risk of being redundant, I am mercilessly pursuing a final version of Merciless. This particular edition contains forays into the verse/mid-section looking for the right chords and not finding many of them and ends inconclusively. The first chorus-verse-chorus section is holding together. Trying to evoke a gospel-inflected vibe. Good things come to those who wait.
(from The Fourth Gospel: Tales of a Jewish Mystic by John Shelby Spong)
". . . How difficult it is for religious people to embrace an unbounded God. We have through our history sought to define God as a particular being, albeit one possessing supernatural power. With God defined as a being, we then had to locate God in a place. Ultimately that place was thought to be somewhere above the sky in a three-tiered universe. Then we had to build for this God earthly dwelling places that we called "houses of worship."
Next, we began to assert that God's very words were captured in the words of our sacred scriptures. Then we convinced ourselves that God's very nature could be defined in our creeds, doctrines and dogmas. We then built mythologies around each of these human creations, assuring ourselves that God was content to live within our developed theological and liturgical limits.
When these "sacred idols" began to be destroyed by the expansion of human knowledge, we acted as if God had died. The God who lived above the sky was rendered homeless when we began to embrace the infinity of space; yet we continued to address God as "our Father who art in heaven." Next, the scriptures, which we once thought of as God's literal words, began to be understood as tribal tales and as human interpretations; but when we read then in public worship, we still asserted that "this is the word of the Lord." Then the creeds, the doctrines and the dogmas-which, we asserted, had captured God's revelation-began to be understood as political and cultural compromises; but we, in our fear, had in the past invested these human forms with such authority that those who questioned them were burned at the stake as heretics, and we claimed the word "orthodox" for our own human formulations. . ."
(from "The Fourth Gospel: Tales of a Jewish Mystic" by John Shelby Spong)
". . . Throughout most of my professional career I was not drawn to the Fourth Gospel; indeed I found it almost repellent. . . . Because this book was thought to have spelled out 'orthodox Christianity.' John's gospel helped to fuel such dreadful events in Christian history as heresy hunts and the Inquisition. . . . [Eventually, though,] John's gospel began to unfold before me as a work of Jewish mysticism and the Jesus of John's gospel suddenly became not a visitor from another realm, but a person in whom a new God consciousness had emerged. . . . John's gospel is about life - expanded life, abundant life and ultimately eternal life - but not in the typical manner that these words have been understood religiously. . ."
(from Wikipedia.com)
". . . The Social Gospel movement is a Protestant Christian intellectual movement that was most prominent in the early 20th century United States and Canada. The movement applied Christian ethics to social problems, especially issues of social justice such as excessive wealth, poverty, alcoholism, crime, racial tensions, slums, bad hygiene, child labor, inadequate labor unions, poor schools, and the danger of war. Theologically, the Social Gospellers sought to operationalize the Lord's Prayer (Matthew 6:10): "Thy kingdom come, Thy will be done on earth as it is in heaven." They typically were post-millennialist; that is, they believed the Second Coming could not happen until humankind rid itself of social evils by human effort. Social Gospel leaders were predominantly associated with the liberal wing of the Progressive Movement and most were theologically liberal, although they were typically conservative when it came to their views on social issues. Important leaders include Richard T. Ely,Josiah Strong, Washington Gladden, and Walter Rauschenbusch.
Although most scholars agree that the Social Gospel movement peaked in the early 20th century, there is disagreement over when the movement began to decline, with some asserting that the destruction and trauma caused by World War I left many disillusioned with the Social Gospel's ideals while others argue that World War I actually stimulated the Social Gospelers' reform efforts. Theories regarding the decline of the Social Gospel after World War I often cite the rise of neo-orthodoxy as a contributing factor in the movement's decline. Many of the Social Gospel's ideas reappeared in the Civil Rights Movement of the 1960s. "Social Gospel" principles continue to inspire newer movements such as Christians Against Poverty. . . "
It's time for some of these ideas to reappear. . . again!
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Johnny Cash was an American singer-songwriter, actor, and author, who has been called one of the most influential musicians of the 20th century. Although he is primarily remembered as a country music artist, his songs and sound spanned many other genres including rockabilly and rock and roll—especially early in his career—as well as blues, folk, and gospel. This crossover appeal led to Cash being inducted in the Country Music Hall of Fame, the Rock and Roll Hall of Fame, and Gospel Music Hall of Fame. Late in his career, Cash covered songs by several rock artists.
Cash was known for his deep, distinctive bass-baritone voice; for the "boom-chicka-boom" sound of his Tennessee Three backing band; for his rebelliousness, coupled with an increasingly somber and humble demeanor; for providing free concerts inside prison walls; and for his dark performance clothing, which earned him the nickname "The Man in Black". He traditionally started his concerts by saying, "Hello, I'm Johnny Cash." and usually following it up with his standard "Folsom Prison Blues."
Cash, a troubled but devout Christian,has been characterized as a "lens through which to view American contradictions and challenges." A Biblical scholar, he penned a Christian novel titled Man in White, and he made a spoken word recording of the entire New King James Version of the New Testament. Even so, Cash declared that he was "the biggest sinner of them all", and viewed himself overall as a complicated and contradictory man. Accordingly, Cash is said to have "contained multitudes", and has been deemed "the philosopher-prince of American country music".
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