Filed under: Music, Princeton Seminary, Religion, Seminary, Shoot Yourself in the Foot, Work
I’ve been meaning to write this post for a while. I went to the first new PC(USA) hymnal launch event in Pennsylvania last fall, and I’ve heard this hymn sung MANY times – at Field Ed, at General Assembly, at Princeton Seminary many times in chapel, at the Worship and Music conference. This hymn is quickly becoming a favorite of churches and seminaries.
It’s catchy. It’s easy to sing. It has a central message of unity, though it stumbles with some equality concepts. The refrain is really pretty and mentions all sorts of good things.
But it has a problem. Several problems really, but I’m going to concentrate on one. This problem has been pointed out to me by several friends.
Recently I’ve been noticing a pattern among my friends – primarily my female friends and close relatives. I’m becoming increasingly alarmed at how many have been abused – usually physically or sexually. It’s not that far from the truth to say that all adult women that I know well enough to have heard such stories have experienced some form of sexual or physical abuse. Or controlling behavior. ALL of them. Some more than once. I’m alarmed, and trying to figure out what to do with the anger.
For these friends (and certainly others), verse 4 of For Everyone Born is a problem. Here’s the verse:For just and unjust, a place at the table,
abuser, abused, with need to forgive,
in anger, in hurt, a mindset of mercy,
for just and unjust, a new way to live,
(Copyright 1998, Hope Publishing)
At a first glance it seems pretty benign – that abuser and abused should be able to participate in the church and Eucharist equally. We truly believe that. It’s not really a problem.
But then you read it again. And you notice that the injunctions are all against the abused. The abused has a need to forgive. (What does the abuser have to forgive?) The abused is called to have a mindset of mercy.
And worst of all – the abused is expected to be at the same table as the abuser. THIS is psychologically damaging for everybody that has talked to me about this. The idea of sitting at a table, a Holy Table, with one’s abuser is painful. It causes panic attacks. It causes anger. One friend felt a call to walk out of a service in the middle of the hymn (though she didn’t). This verse of this hymn turns our sanctuaries from places of safety to places of danger. Danger in the triggering of abuse victims, and danger in the very real implication of sharing space with their abuser.
This becomes even more insidious when the abuser is a family member or significant other. People who have suffered abuse have it repeated again through family pressures. Family members urge or even demand that they reconcile with their abuser (often without knowledge of the abuse) “for the good of the family.” The abused person becomes the problem in that they split the family, rather than having the responsibility for the split properly lodged with the abuser. Some people continue years later to have nightmares about the abuser and the abuse, and this demand in this hymn can bring up all of that again.
The refrain calls on us to create justice, compassion and peace:and God will delight when we are creators
of justice and joy, compassion and peace:
yes, God will delight when we are creators
of justice, justice and joy!
I question whether any of these are possible when calling for abuser and abused to be in the same place. The abused will not feel justice. They will not feel compassion – they will feel the opposite. They clearly will not feel peace, or joy.
I doubt that the hymn’s author intended to make this statement. Still, the verse remains imbalanced. Some call for repentance and reparation might balance it. But perhaps it would be better just to leave it out. When this hymn was sung as the Class Hymn at my Princeton Seminary graduation last May I chose not to sing this verse. I almost sat down for the verse, but I was in a place where that would have been difficult and nobody would have understood what I was doing anyway.
So if you want to use this hymn, please consider skipping verse 4. Or consider skipping the hymn entirely – there are other hymns that say the same thing without triggering the many (many more than you realize) victims of abuse. Or at least know that you may have some work to do after it is sung.
The evening kicks off at 4pm with the jazz vespers service. Dinner follows at 5pm ($5 donation requested). After dinner there will be a mini-concert at 6pm. The Rev. Bill Carter and Presbybop will be the performers for the concert and will be featured in the service. Presbybop is a jazz quarter made up entirely by Presbyterian clergy.
All are welcome. Come on down!
This performance was a bit unusual. The orchestra director (and co-founder of the company) Joseph Pucciatti also served as Artistic Director (as well as Stage Director and Set Concept). He decided that rather than setting the opera in the traditional mid-1800’s, that this production would be translated to 1938 Italy under the Fascist Mussolini. The Duke of Mantua was transformed into a high ranking official in Mussolini’s inner circle.
In my opinion, the transformation didn’t work. Aside from an additional scene after the overture which included newsreel footage of WWII, Mussolini and Hitler, and some shouted salutes to “Il Duce”, the main transformation was limited to military costumes and more modern scenery. By the third act, even the costumes and scenery seemed more appropriate to the original time period. Nice idea, but not worth the effort.
Aside from the strange transformation, the rest of the production was excellent as usual. The sets, while minimalist, were very good and most of the costumes were excellent. The orchestra as always was wonderful – these folks are always solid and deserving of their ovation before the 3rd act.
One thing that I like about this company is that they often bring in a director who has the performers act, rather than just “standing and singing”. Too many operas are produced like showpieces for the singing ability of their performers, with the actors simply standing in place and singing their lines. This company actually expects the players to move around while singing (and even sing from the prone position when appropriate). These opera feel less like concerts than they feel like plays with music. The players actually display emotion while performing. This production was very much in the “act” mode rather than the “stand and sing” mode. This is what keeps me coming back every year to their theater.
The title character hunchback was played by Constantinos Yiannoudes. We’ve seen him before as Figaro in The Barber of Seville and as the title character in Don Giovanni. He was excellent as usual and continues to prove that opera singers should also be able to act (and he can).
The Duke of Mantua was played by tenor Mark Schowalter. Before the opening curtain, it was announced that he was under the weather but wanted to proceed with the performance. His voice was a bit weak in the first act, but by the end of the performance he was up to nearly full volume. He was EXCELLENT in the role of a powerful man who cares not for the consequences of his actions or their effects on others.
In my opinion, the overlooked star of the production was Cheryl Evans in the role of Gilda, the love interest of the Duke and daughter of Rigoletto. As far as I can tell (and I have enough musical training to be able to hear the difference), she sang the whole opera nearly note perfect. During one aria, she hit several notes without vibrato that were exactly on pitch with the orchestra – to the point where I couldn’t even hear a beat frequency difference. She threw high C’s like confetti. She also acted excellently. I was disappointed to be one of very few who stood during her bow at the end of the opera – I believe that her contribution was overlooked.
One up-and-comer who was also excellent was Khary Laurent in the baritone role of Monterone. He acted and sang his small part with energy and emotion. I hope to see more of him with this company in the future.
I only have one complaint about the whole opera-going experience. The people sitting around us this time were downright rude. A row of senior citizens (apparently part of a bus trip from Brooklyn) loudly complained about the people sitting in front of them. One woman said, “Can you see? I can’t see – the woman’s hair [in front of her] is too big.” loudly enough that three rows of people heard her. I realize that we aren’t going to get a crowd in Trenton that is similar to the audience at the Met in NYC, but some civility is expected. Carolyn and I have been whacked with carelessly placed canes, hit by people’s coats, and been the subject of complaining about being too tall like the complaint quoted above. Neither of us is particular tall (we’re both about 5′ 9″) but apparently that’s a problem for these folks. And people wonder why the seats are going empty.
Next fall, the Boheme Opera Company is doing Verdi’s La Traviata and then in the spring of 2008 they will be experimenting with Leonard Bernstein’s West Side Story.
Carolyn and I made our twice a year trek to the Trenton War Memorial to see Giacomo Puccini‘s Turnadot performed by The Boheme Opera Company. The Franco Alfano ending was used. This was a Sunday afternoon matinee.
The short version of the story: It’s a fairy tale of ancient China. The law states that in order to marry Princess Turandot, a suitor must ring a gong and then answer 3 riddles. If he fails, he is executed. If he succeeds, he wins his bride. Calaf, the exiled Prince of Tartary and his father the exiled King, along with their servant Liu, come to Peking and Calaf is entranced with the Princess. He rings the gong, and then the real fun ensues. He successfully answers the riddles, and Turandot is horrified that she’ll have to marry. She gets the unknown prince to agree that if she can discover his name by dawn, he will die. Then the whole city spends the night trying to get the name under penalty of death. He reveals the name to Turandot, and her heart melts and she marries him anyway.
This opera is interesting in part because Puccini died before he completed it. Just after Liu’s funeral scene, Puccini died of a heart attack while undergoing experimental (in 1924) radiation therapy for throat cancer. The opera was completed by Franco Alfano – a student of Puccini’s and a fully-qualified composer in his own right – under the direction of Toscanini. I am not particularly fond of the duet that Alfano wrote, but the ending is every bit as magical as I’m sure Puccini imagined.
(For those who have read my opera tales before – nothing went wrong with the production. I usually get some disaster, but for this night I only spotted one mistake by a chorus member.)
Olga Chernisheva was fabulous in the soprano role of Liu, the slave girl to the Tartar King Timur. She sang the entire night beautifully, particularly in her death scene (Tu che di gel sei cinta). She can also act, and played a very convincing corpse for the following scene.
By far, the oral fireworks of the night came from Benjamin Warschawski in the tenor role of Calaf. The character gets the most famous aria from this opera – Nessun Dorma – “None shall sleep”. (HERE by Pavarotti) Warschawski performed it note-perfect with as much emotion as I’ve ever seen. It was clear that he both sings well AND understood the emotions behind the words. In fact, he performed it just as well as Pavarotti in the clip that I linked to. Unfortunately, Puccini didn’t leave a gap for a standing ovation at that point in the opera – we had to wait until the curtain call.
One thing about regional opera – you almost always get a standing ovation from some of the audience during the curtain call. I think that people come to the opera in part to be a part of such a celebration. However, this opera got a richly deserved Standing O from the crowd – about 80% of the crowd were on their feet before the minor characters had taken their bows and 100% were on their feet by the company bow. As always, the Boheme orchestra was excellent and the sets and props and lighting and such were wonderful. When Warschawski took his bow, the roar from the crowd was deafening.
The one downside to the production was the performance of Othalie Graham as Turandot. This is a tough opera part for anyone – Puccini wrote more high C’s into this part than I’ve ever seen in a soprano role. However, Graham didn’t seem up to the part in this performance. Her high C’s were loud but she never quite reached the pitch, and her staging was wooden – even at the end when her heart had supposedly melted. I have to wonder whether or not she had a cold for this performance. However, she was creditable in this very difficult role.
Next up for the company – Rigoletto April 20th at 8pm and April 22nd at 3pm. The company gives a pre-curtain talk about the opera 1 hour and 15 minutes before curtain – I strongly recommend arriving in time for it.
The website UnhappyBirthday.com points out that it is a copyright infringement to sing the song “Happy Birthday to You” in a public place or to a group of more than just friends and family. They call upon each of us to write to ASCAP requesting permission to perform the song.
My wife’s birthday is coming up. So, with a hat tip to Stay Free! Daily, I have requested permission:
ASCAP – New York
One Lincoln Plaza
New York, NY 10023
The copyright status of “Happy Birthday To You” and the law related
to public performances of copyrighted works have recently been brought
to my attention. I would therefore like to request permission in
advance to sing “Happy Birthday” to my wife at the Sovereign Bank Arena
in Trenton, NJ, on November 2, 2005, sometime between 6:30pm and 9:30pm.
My wife will be turning 40 on this day and we will probably be
attending a game of the Trenton Titans (ECHL) Hockey team as we are
season ticket holders. The rest of the party will likely include my
sister and the Weiss family who hold season tickets for the seats next
to us. Five of us will be singing though most will be off-key. We
expect there to be
approximately 4000 disinterested witnesses.
I realize this is short notice but we only recently settled the
details. If there is a charge for the privilege of singing in this
instance, please let me know. And, if there is, please specify whether
or not the cost can be reduced by moving to another location.
I look forward to your prompt reply.
The iPod arrived yesterday.
First, a big thumbs-down to buy.com. I ordered the iPod last Tuesday – “In stock – delivery in 3 to 5 days”. They claimed to have shipped it on Tuesday – “order by 4pm EDT for same day shipping”. However, all they apparently did was send the package info electronically to Fedex Ground. Fedex didn’t see the package until Thursday. They delivered in Monday, 6 days from ordering (not 3-5 as advertised). On top of that, the packing list in the box was for some poor person in Parma, OH for a rack-mount Ethernet router. I hope that item made it successfully.
The box that it comes in is tiny – and so is the iPod itself. It’s about the size of a cassette tape case (or, if you’re really young a cassette case is about the size of an iPod). It seems to have come about 80% charged – I had to plug it in for about an hour to fully charge it.
Installing the software was tricky. I had to load the CD, wait for it to activate, and then plug in the iPod through the USB cable. It chose to format my iPod (since I’m a Windows user rather than Mac). After the reboot, the computer didn’t see the iPod for a while and I had to pull the USB cord (after waiting 15 minutes with “Do Not Disconnect” on the screen) and re-enter it. It then let me into the serial number screen. That accomplished, the PC rebooted and iTunes came up.
I’d already loaded music into iTunes, so it started sync’ing the approximately 350 MP3 files. That took quite a while (at least 45 minutes). While I was waiting, I ripped a few more CD’s, though that ran at 1/2 speed (about 3x).
So far, so good. I’ve used it at work, and the sound quality is very good. I used the Apple earbuds for a while, but found them to be uncomfortable after an hour or so. I plugged in the cheapie headphones that I keep at work, and had to crank up the iPod’s volume (though not all the way up – full volume is still too loud). These headphones play treble stronger than the Apple buds, but I was able to turn on Bass Booster on the iPod and it seems to help.
The User interface is pretty straightforward, once you figure out that you have to drag your finger around the dial to get the menus to move. I haven’t had any trouble finding the menu options that I want. The games are a little hard to play, but that’s not why I bought it.
My music selection is decidedly skewed by the small number of CD’s ripped thus far – and the fact that they were all sorted together on my shelf. I suspect that Shuffle will produce more random play once I’ve got more CD’s loaded.
I definately need some accessories:
Car Cassette Adapter
I also want to download and play with iArt to put album cover art on the Photo iPod.
I’ve decided to join the iPod generation.
I’m a Systems Analyst. I do project planning, requirements definition, design, programming, testing – the whole gamut of the system project lifecycle. That means a lot of time spent sitting at my desk typing. I work in cubicle-land, and until lately my cubicle neighborhood has been pretty sparse. However, it’s getting more crowded lately – and therefore noisier.
I’ve burned an MP3 CD and listened to it on my PC at work, but I get tired of the number of songs that fit on one CD. I also listen to Internet radio, but I assume that someday the network folks are gonna catch on and ask me to stop. Therefore, what I need is a way to carry my CD collection around with me.
Sounds like an iPod to me.
I ordered an iPod Photo 30GB from buy.com last Tuesday. I’m a little annoyed at them for slow shipping – they claimed to have shipped it the same day on Tuesday, but Fedex’s system shows that they didn’t get the trailer until Thursday. It’s really a one-day delivery to me, but it’s not here yet. Should arrive this afternoon. buy.com claims “3 to 5 day delivery” for this item, so they didn’t make it.
In order to get ready, I downloaded iTunes from Apple and installed it on my home PC. I then started what I thought was the CD burning process. It was taking just a few seconds per CD, and I went through a small pile in an hour.
That’s when I realized that I wasn’t getting anything in iTunes from the CD’s.
As it turns out (after an hour of digging on the Internet), my old Dell (purchased 1/2000) needed an ATA driver update in order to play/rip CDs with iTunes. After installing that, it worked fine.
I have two drives – DVD/CD reader, and a CD burner. I got about 7-8x speed on my ripping 192 bitrate MP3’s. That translates to about 10 minutes per CD, or 6 an hour. It’s gonna take me quite a while to get all of my 100+ CD’s (probably more like 150) ripped.
I’ll post more as I get a chance to play with it and use it. I expect to be buying some accessories as well – probably an AC charger for work and a car charger plus a cassette adapter for the car.
Paula Dawning, the Superintendent of Schools in Benton Harbor, MI, has banned the McCord Middle School marching band from playing Louie Louie this weekend in the town’s Grand Floral Parade. (AP Story via Yahoo)
Apparently, she’s concerned about the “raunchy lyrics”. As far as I know, NOBODY knows what the lyrics to the song are. However, the ability to play it must be a human instinct – I’ve never seen a marching band use any sheet music yet all marching bands are able to play it instantly with or without a conductor.
I sent the following letter to Ms. Dawning urging her to reconsider:
Dear Ms. Dawning,
I read a news story today stating that you had banned the McCord Middle
School band from playing the song “Louie Louie”. I would urge you
At age 36, I fondly remember my years playing music in school. I
strongly believe that my musical experiences, in addition to being fun,
were a major part of the foundation that was built for my future
success. I played in the school’s band and jazz band, and
ultimately was a member of the NJ All-State Band and All-State
Orchestra. I went on to be a member of the Rutgers University
Marching Band and Pep Band.
Music is important in many ways to a student. It builds
confidence through public performance. It builds character
through the discipline required to practice and learn your
instrument. It builds the ability to work smoothly in
groups. Evidence shows that music builds mathematical ability as
And “Louie Louie” is an important tradition in marching bands. I
have never been a member of a marching band where that song was not
played. I have never met anyone who belonged to a marching band
that did not play that song. In fact, “Louie Louie” seems to be
more of a natural instinct – I have never seen any sheet music for it
but I’ve also never seen a band that didn’t know how to play it –
nearly flawlessly on the first try. If you leave a marching band
alone long enough, it will spontaneously play “Louie Louie”.
I feel that I must address the question of the lyrics. While I’ve
never met a band that didn’t know “Louie Louie”, I’ve also never met
ANYONE who knows the lyrics. In the 1960’s, the FBI investigated
the allegedly obscene lyrics and concluded that they were not obscene,
and in fact were “unintelligible at any speed”. I have seen many,
many Internet websites purporting to have the lyrics – and no claimant
has any better claim than any other. The song has just never been
I hope that you will reconsider your decision, and allow the band to play “Louie Louie” this weekend.
Ms. Dawning may be reached via e-mail at email@example.com .
UPDATE: (5/6/05) – The superintendent has relented. After hearing from a majority of parents (and not just the single complainer), she has decided to let them play Louie Louie in the parade.
And I got a nice note from the band director in response to my e-mail above, which I had forwarded to him.
What you do is put two (or more) band names together where the band names overlap:
Boys II Men at Work
George Michael Jackson
Go to her page to see the entries thus far. If you have a new entry, add it to her page to keep them all in once place.
This one’s a LOT of fun.
Ray Charles died earlier today at home, surrounded by friends and family. CBS has the best story/obituary.
My parents were about my age (or even younger) when Ray was most popular. I can remember listening to Ray Charles records (yes, those black 12-inch round things) when I was little. I also remember fairly vividly his appearances on Sesame Street.
My wife and I had the luck and honor of seeing him in what has to have been one of his last few tours a few years ago at the State Theatre in New Brunswick, NJ. His voice was a little shaky and raspy, but he could still play a mean piano! I was glad to have had the chance.
We’ll miss you, Ray. We’ll still be listening.