N.T. Wright to the Next Generation

HT:Patrick Schreiner

Broken Vessels

Being clumsy is a vicious cycle. Clumsy people are prone to break things, like glass or porcelain housewares. Clumsy people are also likely to get injured. Injured clumsy people with their even more impaired motor skills are more likely to break more household items.

That's the situation I find myself in. After breaking my clavicle because of my clumsiness at snowboarding, I now find myself with an even greater propensity to breaking dishes. This proved to be especially true when I broke part of my most important possession, my Hario Skerton hand grinder. Thankfully, it turns out that a mason jar actually is a perfect replacement piece.
Which is good, because it would be horrible is all this deliciously fresh Mauritania El Salvador natural process from Square Mile went to waste.

LFG in Istanbul

Istanbul is a world class cultural and business center, the former capital of 3 empires, and one of the largest cities on earth. I lot of important people live here or pass through here all the time. Nonetheless, I was surprised and excited to see on Twitter that my all time favorite athlete* Larry Fitzgerald was in town. Totally considering waiting outside the nice hotels to get an autograph.

*this honor is shared with Phoenix Suns point guard Steve Nash

Davidic and Solomonic Parallels in Jesus' Ministry

"Challenged about his activity, Jesus responded with a parallel: when David was roaming the country with his group of followers, he had the right as the anointed (but not yet enthroned) king to override the normal code of practice. The parallel makes sense only if Jesus somehow believed himself to be in an analogous situation. He had anointed by YHWH in John's baptism; those hunting him were cast in the role of Saul and his men. The fact that the messianic implication is not drawn out more explicitly by the evangelists (who have no inhibitions about the idea) speaks strongly in its favour - as well as suggesting that the concluding phrase, ' the son of man is lord of the sabbath', may also be intended to carry cryptic messianic meaning.

The second saying compares Jesus and Solomon. The setting is an announcement of judgment on Jesus' contemporaries, comparing them unfavourably with characters from biblical history. The men of Nineveh will denounce this generation, because they repented at Jonah's preaching, and something greater than Jonah is here; the Queen of the South will denounce this generation, because she came from far off to hear the wisdom of Solomon, and something greater than Solomon is here. Solomon, the temple builder, is an obvious messianic model. To claim that Jesus is greater than him is to claim that he is the true Messiah; that he will build the eschatological Temple; that through him the Davidic kingdom will be restored. The context also suggests that this Messiah will be the one to whom the nations will come and bow in obedience: through his kingdom the prophecies of messianic worldwide restoration will be fulfilled."

-N.T. Wright, Jesus and the Victory of God, 535.

The Mercy Seat & The War, Preview Video

Preview For The Mercy Seat-The War Split EP from Sojourn Community Church on Vimeo.

If you liked my review, You're going to like this video even more.

Christopher Wright on Creation

"Creation is not just the disposable backdrop to the lives of human creatures who were really intended to live somewhere else, and some day will do so. We are not redeemed out of creation but as part of the redeemed creation itself- a creation that will again be fully and eternally for God's glory, for our joy and benefit, and forever."

- Christopher Wright

X-ray Vision

I'm more machine now than man.

Ouch

I went snowboarding on Sunday and managed to break my collar bone my first time down the mountain. Eight screws and 1 plate later my clavicle is one piece again, but I'm still facing a long road of physical therapy, followed by another surgery in six months to remove the plate. Definitely not the coolest thing that has ever happened to me.

İmla Hataları

My never ending quest to find good espresso in Istanbul led me to Bebek to check out Cafe Lucca (because it popped up here amongst the winners of last year's SCAE competition). I didn't find the espresso, but I did find an impressive contemporary art exhibition from Turkish visual artist Aslı Biçer, entitled İmla Hataları (Spelling Errors). I particularly liked her use of collaged newspaper scraps. Check out some of Aslı's other works here.

The Mercy Seat and The War, full review

The first time I saw Jamie Barnes and Brooks Ritter perform together was in April of 2008. Stars of the Lid was playing at the 930 Listening Room, and I went mostly on reputation. It was a sparsely attended show, but I spotted a few friends in the mostly NPR crowd and pretended I knew something about drone/ambient music. Admittedly Jamie's brand of bluegrass infused indie folk music was an odd opener, but sometimes juxtaposition can really make a show.

I was quite familiar with Jamie's discography (The Recalibrated Heart, Honey From the Ribcage, The Fallen Acrobat), and even though Brooks hadn't yet released his debut album, The Horse Fell Lame, I knew most of his repertoire by heart. I had recently started playing keys with Sojourn band and was just getting used to playing with such talented musicians. I loved playing with Jamie because of his uncanny ability to create, arrange, and deconstruct songs. A profound lyricists with a diverse musical arsenal, Jamie creates lush sonic landscapes pregnant with meaning. Conversely, I loved Brooks because of his uncontainable energy. (Anyone who's ever seen Brooks play live knows he's a combustable ball of light when he plays- always on the verge of a supernova.) Brooks is a skillful songwriter in his own right, but it's his soul that shines through.

That night as Brooks (with Rebecca Dennison) joined Jamie on stage I discovered how incredibly complementary their talents and giftings are. Their harmonies and subtle dissonance sounded otherworldly. It was decidedly moving and I often wish I had a recording of that concert.

Almost three years later when I found out that Jamie and Brooks were doing a split EP together I couldn't help but think that dream had finally come to fruition.

Unlike their previous albums, this collection of songs is for the corporate gatherings of the church, specifically Sojourn Community Church, where both men serve on staff. Of course both artists have contributed heavily to past Sojourn albums, but this is the first time they've released solo material under the Sojourn music umbrella. As such, there is a personal kenosis, an emptying of ulterior motives, that has taken place. In other words, what is primary is not their artistic vision as musicians, but their faithful expression of worship as worshippers of the true God.

"Approach My Soul, The Mercy Seat" is the opening track and also lends its name to Jamie's half of the EP. It's adapted from John Newton's classic hymn that implores believers to boldly come before God, on the basis of Jesus' work. Sparse piano and eerie slide guitar create a somber atmosphere which compliments the gravity of sinful human approaching a holy God. Jamie's trademark 3-finger picking is met with with stirring strings and a huge drum beat, which build into an ecstatic frenzy; the blissful response to divine grace.

"Absent From Flesh" is equal parts stadium anthem and hoe down, by the time the horns kick in (is that a tuba I hear?), it's something like a bluegrass Srgt. Pepper's. I really can't imagine what Isaac Watts would do if heard what Jamie's done to his song, but I kind of hope he would dance ( I guess we'll find out in heaven?!?). Brooks' harmony is the closest we get to a true duet on the album, and leaves me wanting it on more songs.

The title track for Brooks' half of the EP is "The War". Brooks' soulful baritone is joined with a raunchy electric guitar and a no-nonsense drum beat; a less-is-more, Black Keys-esque blues-rock. The chorus unleashes a screaming B3 organ and driving bass, creating an intensive wall of sound that more than justifies the militaristic lyric imagery.

"Good Day" is pretty much good old fashion blues/gospel and could be the only Sojourn song equally tailored for the 7 PM gathering or the next Gaither Vocal Band reunion concert. I'm not even kidding. It's great.

"Rock of Ages" is an apt closing track. 18th Century Anglican minister August Montague Toplady's beloved hymn remains as profound and moving as when it was first penned in 1763. This minimalistic take- very much in the same vein as Sojourn's cover of Before the Throne- emphasizes the lyrical content. Mike Cosper's wailing slide guitar interludes provide space for somber reflection or thankful prayer.

In a Christian music industry characterized by self absorbed spirituality, theological shallowness, and questionable artistic merit, The Mercy Seat and The War are a breath of fresh air. I can't stop listening to it, and I doubt you will be able to as well.