Saturday, January 27, 2007

Blues Legend B.B. King Out of the Hospital

Blues Legend B.B. King Out of the Hospital
AP
GALVESTON, Texas (Jan. 26) - B.B. King  was discharged from a Galveston hospital Saturday following treatment for a fever and was "back to his old self," a spokeswoman for his management agency said.
 
 
B.B. King
AP
Despite a lack of information as to why King was in the hospital, all seems to be well according to a hospital official.
 
The 81-year-old, Grammy-winning bluesman was "feeling fabulous," said Tina France, vice president of Lieberman Management of New York.

King had been scheduled to perform Thursday at the Grand Opera House, but was admitted to The University of Texas Medical Branch at Galveston, said Paul McCarthy, a hospital administrator.

King still plans to perform Tuesday in Fort Worth, France said. Concerts that had been scheduled before then in Galveston, Orange and Tyler will be rescheduled for June, she said.

King, who has a history of diabetes, had a 100.4-degree fever following a bout with the flu, and monitoring was required because of his age, said France. Doctors treated him with antibiotics, she said.

He was kept in the hospital's elderly acute care unit as a precaution, said John Koloen, a spokesman for the hospital in Galveston, about 50 miles southeast of Houston.

With his trademark guitar that he named "Lucille," King is one of the nation's most influential and best-known blues musicians. His long list of hits includes "The Thrill is Gone," "Every Day I Have the Blues" and "You Upset Me Baby," and he was awarded a Grammy Lifetime Achievement Award in 1987.

He has become a spokesman in the fight against diabetes, and in December President Bush awarded him the Presidential Medal of Freedom.

Rod Stewart, John Legend to perform at Jazz Fest

Rod Stewart, John Legend to perform at Jazz Fest
Rod Stewart will join Norah Jones and Brad Paisley at  this year's New Orleans Jazz & Heritage Festival.
By Matt Sayles, AP
Rod Stewart will join Norah Jones and Brad Paisley at this year's New Orleans Jazz & Heritage Festival.
NEW ORLEANS (AP) — Rod Stewart, Norah Jones and Brad Paisley will join New Orleans favorites such as Irma Thomas, Dr. John and Allen Toussaint as headliners for this year's New Orleans Jazz & Heritage Festival.

The festival, spanning two weekends in April and May, will feature hundreds of the city's most beloved musicians and a host of national headliners at the New Orleans Fair Grounds, a horse racing track that flooded and was seriously damaged by Hurricane Katrina in 2005.

Headliners for the first weekend, April 27-29, include Stewart, Van Morrison, Jones, Paisley, Ludacris and Bonnie Raitt. Steely Dan, ZZ Top, John Legend, Counting Crows and New Edition will perform the second weekend, May 4-6.

The festival be closed by Harry Connick Jr., a New Orleans native. He is expected to perform selections from his Oh, My Nola album, due out Tuesday on Sony BMG's Sony label. The CD covers New Orleans standards linked with the likes of Toussaint, Dr. John and Louis Armstrong and includes original material.

"We have a lot of people who have never played the festival before and a lot of women headliners," said Quint Davis, the festival's producer.

Still, like last year, more than 80% of the performers are from Louisiana. "If you look at the lineup you see that the New Orleans music scene, which is really what this festival is all about, is as strong as ever," he said.

Among New Orleans' own who are scheduled to perform: Kermit Ruffins, Troy Trombone Shorty Andrews, Irvin Mayfield, Henry Butler, Clarence Frogman Henry, Ellis Marsalis, Rolan Guerin and Donald Harrison.

Pete Fountain, who performed at the first Jazz Fest in 1969, said he's excited to perform again: "It means I'm still alive," the 76-year-old jazz clarinetist said, laughing.

"It's one of the highlights of my life, because, you know I played the first one, so it's something special and something I look forward to every year," Fountain said.

Copyright 2007 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Bluesman B.B. King 'back to old self' after being released from Texas hospital

Bluesman B.B. King 'back to old self' after being released from Texas hospital
 A spokesman for bluesman B.B. King said the musician was "feeling fabulous" after being admitted to a Texas hospital for a fever.
By Robyn Beck, AFP/Getty Images
A spokesman for bluesman B.B. King said the musician was "feeling fabulous" after being admitted to a Texas hospital for a fever.
HOUSTON (AP) — B.B. King was discharged from a Galveston hospital Saturday following treatment for a fever and was "back to his old self," a spokeswoman for his management agency said.

The 81-year-old, Grammy-winning bluesman was "feeling fabulous," said Tina France, vice president of Lieberman Management of New York.

King had been scheduled to perform Thursday at the Grand Opera House, but was admitted to The University of Texas Medical Branch at Galveston, said Paul McCarthy, a hospital administrator.

King still plans to perform Tuesday in Fort Worth, France said. Concerts that had been scheduled before then in Galveston, Orange and Tyler will be rescheduled for June, she said.

King, who has a history of diabetes, had a 100.4-degree fever following a bout with the flu, and monitoring was required because of his age, said France. Doctors treated him with antibiotics, she said.

He was kept in the hospital's elderly acute care unit as a precaution, said John Koloen, a spokesman for the hospital in Galveston, about 50 miles southeast of Houston.

With his trademark guitar that he named Lucille, King isone of the nation's most influential and best-known blues musicians. His long list of hits includes The Thrill is Gone,Every Day I Have the Blues and You Upset Me Baby, and he was awarded a Grammy Lifetime Achievement Award in 1987.

He has become a spokesman in the fight against diabetes, and in December President Bush awarded him the Presidential Medal of Freedom.

Copyright 2007 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Michael Jackson returns to the U.S.

Michael Jackson returns to the U.S.
According to his publicist, Michael Jackson is back in the U.S. after  a year of self-imposed exile following his child molestation trial. He was acquitted in 2005.
By Koji Sasahara, AP
According to his publicist, Michael Jackson is back in the U.S. after a year of self-imposed exile following his child molestation trial. He was acquitted in 2005.
TOKYO (AP) — Michael Jackson is back in the United States after living in Bahrain, France and Ireland. He emerged with his spokeswoman Friday to confirm to The Associated Press that he is back after more than a year in self-imposed exile following his acquittal in a high-profile child molestation trial that ended in June 2005.

They also said he is on the comeback trail — planning a pair of "fan appreciation events" in Japan in March, one of which will charge $3,300 for the opportunity to meet the Gloved One.

"I can confirm that he is in the United States," spokeswoman Raymone K. Bain said. "We don't give out information regarding our client's whereabouts because of safety, and this is just an ongoing policy."

During the brief conference call, Jackson read a statement prepared for The Associated Press about his plans to visit Japan and allowed only one question: How are you?

"I'm fine, thank you," was his reply.

Jackson, one of the best-selling artists of all time, said he has chosen to come back to Japan because of the strong support he enjoys there.

"My friends and fans in Japan have been so supportive of me and my family for many, many years," he said. "My fans in Japan helped me achieve historic milestones in the music industry."

Broderick Morris, the promoter working the Japan side of Jackson's trip, said they have sold 220 of 300 tickets to a "platinum VIP party" on March 8. Guests will have dinner, get autographed photos and be able to "meet and greet" Jackson for 30 seconds to one minute, he said.

A less-exclusive party is scheduled for the following day. Jackson is not obligated to perform at either event, and promoters refused to comment on how much Jackson, 48, would be paid.

Jackson made his first official foray back into the spotlight after his acquittal with an appearance — again, in Tokyo — to accept MTV Japan's "Legend Award." Last November, he allowed the syndicated TV show Access Hollywood to film him in the studio, working on music with producer will.i.am from the Black Eyed Peas.

Copyright 2007 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Trudy Pitts, Greg Osby and the Organization

 
Published: January 27, 2007   Trudy Pitts on organ, Paul Bollenback on guitar and Greg Osby on alto saxophone at the Jazz Standard on Thursday night
The saxophonist Greg Osby is one of the most specific writers and arrangers in jazz. He makes small-group music that can be aslant with odd or long meter, and serenely played; it’s not battering or superexpressive, but glows within its own tight structure. Always, he comes with a grid.
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But the group under his name at the Jazz Standard this week, Greg Osby and the Organization, is more casual. It’s a quartet that includes the Philadelphia organist Trudy Pitts, who is now in her 70s and an important link to the history of her city’s jazz scene. Mr. Osby is deferential toward her, and more willing than usual to wing it. In Thursday’s late set, for all intents and purposes, she was as much the boss as he was.

Ms. Pitts began the set on piano and, with Mr. Osby alone, played “Body and Soul.” She allowed a lot of open space into her playing, and she transferred some of the organ’s inherent drama to the piano: she presented ideas one after the other, sequentially and charismatically, swelling and quieting. Mr. Osby picked around the famous melody subversively, running parallel to Ms. Pitts, taking wide harmonic routes around the horn without going dissonant.

They were joined by the guitarist Paul Bollenback and the drummer Gene Jackson — crisp, clean-sounding musicians — and they started a version of Milt Jackson’s blues “Bags’ Groove,” with Ms. Pitts on organ. The Hammond B-3 is a high-expression machine: if you are not riding the volume pedal and the vibrato control, you are not really playing it.

Ms. Pitts wrung them out, going from a muted tinkle to a rippling, volcanic roar. (There was visual theater in the solo as well: the sight of Ms. Pitts, amiable and grandmotherly, wincing and shaking her head, magicked by her own sounds.)

When she finished her solo, she seemed to leave a crater behind her. And Mr. Osby, in emergency mode, started to sound more outgoing, working blues phrases and sweet, high-register shouts into his playing, channeling bits of Cannonball Adderley.

Mr. Bollenback, for his part, is fluent in 1960s-style organ-jazz guitar accompaniment as an almost classical style: the muted tone; the short, fast runs; and subtle slides. His response to this challenge, and all those that followed, was to play faster and more smoothly, using sweep-picking and extended harmony.

Warming to her work, Ms. Pitts began adding extras to songs, directing arrangements and shaping the set. She sang an introduction to “Autumn Leaves,” elongating phrases as she liked; she added a cadenza in that same song, interpolating Handel’s “Hallelujah” chorus; she transformed “Caravan” into “Amazing Grace.”

Ms. Pitts had personality to spread around, and there was nothing to be done about it: the rest of the band sounded narrower in her presence.

Greg Osby and the Organization, featuring Trudy Pitts, continues through tomorrow night at the Jazz Standard, 116 East 27th Street, Manhattan; (212) 576-2232.

Thursday, January 25, 2007

Five Streams of the Emerging Church

 
Five Streams of the Emerging Church
Key elements of the most controversial and misunderstood movement in the church today.

It is said that emerging Christians confess their faith like mainliners—meaning they say things publicly they don't really believe. They drink like Southern Baptists—meaning, to adapt some words from Mark Twain, they are teetotalers when it is judicious. They talk like Catholics—meaning they cuss and use naughty words. They evangelize and theologize like the Reformed—meaning they rarely evangelize, yet theologize all the time. They worship like charismatics—meaning with their whole bodies, some parts tattooed. They vote like Episcopalians—meaning they eat, drink, and sleep on their left side. And, they deny the truth—meaning they've got a latte-soaked copy of Derrida in their smoke- and beer-stained backpacks.

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Along with unfair stereotypes of other traditions, such are the urban legends surrounding the emerging church—one of the most controversial and misunderstood movements today. As a theologian, I have studied the movement and interacted with its key leaders for years—even more, I happily consider myself part of this movement or "conversation." As an evangelical, I've had my concerns, but overall I think what emerging Christians bring to the table is vital for the overall health of the church.

In this article, I want to undermine the urban legends and provide a more accurate description of the emerging movement. Though the movement has an international dimension, I will focus on the North American scene.

To define a movement, we must, as a courtesy, let it say what it is. Eddie Gibbs and Ryan Bolger, in their book, Emerging Churches: Creating Christian Community in Postmodern Cultures (Baker Academic, 2005) define emerging in this way:

Emerging churches are communities that practice the way of Jesus within postmodern cultures. This definition encompasses nine practices. Emerging churches (1) identify with the life of Jesus, (2) transform the secular realm, and (3) live highly communal lives. Because of these three activities, they (4) welcome the stranger, (5) serve with generosity, (6) participate as producers, (7) create as created beings, (8) lead as a body, and (9) take part in spiritual activities.

This definition is both descriptive and analytical. D. A. Carson's Becoming Conversant with the Emerging Church (Zondervan, 2005) is not alone in pointing to the problems in the emerging movement, and I shall point out a few myself in what follows. But as a description of the movement, Carson's book lacks firsthand awareness and suffers from an overly narrow focus—on Brian McLaren and postmodern epistemology.

To prevent confusion, a distinction needs to be made between "emerging" and "Emergent." Emerging is the wider, informal, global, ecclesial (church-centered) focus of the movement, while Emergent is an official organization in the U.S. and the U.K. Emergent Village, the organization, is directed by Tony Jones, a Ph.D. student at Princeton Theological Seminary and a world traveler on behalf of all things both Emergent and emerging. Other names connected with Emergent Village include Doug Pagitt, Chris Seay, Tim Keel, Karen Ward, Ivy Beckwith, Brian McLaren, and Mark Oestreicher. Emergent U.K. is directed by Jason Clark. While Emergent is the intellectual and philosophical network of the emerging movement, it is a mistake to narrow all of emerging to the Emergent Village.

Emerging catches into one term the global reshaping of how to "do church" in postmodern culture. It has no central offices, and it is as varied as evangelicalism itself. If I were to point to one centrist expression of the emerging movement in the U.S., it would be Dan Kimball's Vintage Church in Santa Cruz, California. His U.K. counterpart is Andrew Jones, known on the internet as Tall Skinny Kiwi. Jones is a world-traveling speaker, teacher, and activist for simple churches, house churches, and churches without worship services.

Following are five themes that characterize the emerging movement. I see them as streams flowing into the emerging lake. No one says the emerging movement is the only group of Christians doing these things, but together they crystallize into the emerging movement.

Prophetic (or at least provocative)

One of the streams flowing into the emerging lake is prophetic rhetoric. The emerging movement is consciously and deliberately provocative. Emerging Christians believe the church needs to change, and they are beginning to live as if that change had already occurred. Since I swim in the emerging lake, I can self-critically admit that we sometimes exaggerate.

Our language frequently borrows the kind of rhetoric found in Old Testament prophets like Hosea: "For I desire mercy, not sacrifice, and acknowledgment of God rather than burnt offerings" (6:6). Hosea engages here in deliberate overstatement, for God never forbids Temple worship. In a similar way, none in the emerging crowd is more rhetorically effective than Brian McLaren in Generous Orthodoxy: "Often I don't think Jesus would be caught dead as a Christian, were he physically here today. … Generally, I don't think Christians would like Jesus if he showed up today as he did 2,000 years ago. In fact, I think we'd call him a heretic and plot to kill him, too." McLaren, on the very next page, calls this statement an exaggeration. Still, the rhetoric is in place.

Consider this quote from an Irish emerging Christian, Peter Rollins, author of How (Not) to Speak of God (Paraclete, 2006): "Thus orthodoxy is no longer (mis)understood as the opposite of heresy but rather is understood as a term that signals a way of being in the world rather than a means of believing things about the world." The age-old canard of orthodoxy versus orthopraxy plays itself out once again.

Such rhetoric makes its point, but it sometimes divides. I hope those of us who use it (and this critique can't be restricted to the emerging movement) will learn when to avoid such language.

Postmodern

Mark Twain said the mistake God made was in not forbidding Adam to eat the serpent. Had God forbidden the serpent, Adam would certainly have eaten him. When the evangelical world prohibited postmodernity, as if it were fruit from the forbidden tree, the postmodern "fallen" among us—like F. LeRon Shults, Jamie Smith, Kevin Vanhoozer, John Franke, and Peter Rollins—chose to eat it to see what it might taste like. We found that it tasted good, even if at times we found ourselves spitting out hard chunks of nonsense. A second stream of emerging water is postmodernism.

Postmodernity cannot be reduced to the denial of truth. Instead, it is the collapse of inherited metanarratives (overarching explanations of life) like those of science or Marxism. Why have they collapsed? Because of the impossibility of getting outside their assumptions.

While there are good as well as naughty consequences of opting for a postmodern stance (and not all in the emerging movement are as careful as they should be), evangelical Christians can rightfully embrace certain elements of postmodernity. Jamie Smith, a professor at Calvin College, argues in Who's Afraid of Postmodernity? (Baker Academic, 2006) that such thinking is compatible, in some ways, with classical Augustinian epistemology. No one points the way forward in this regard more carefully than longtime missionary to India Lesslie Newbigin, especially in his book Proper Confidence: Faith, Doubt, and Certainty in Christian Discipleship (Eerdmans, 1995). Emerging upholds faith seeking understanding, and trust preceding the apprehension or comprehension of gospel truths.

Living as a Christian in a postmodern context means different things to different people. Some—to borrow categories I first heard from Doug Pagitt, pastor at Solomon's Porch in Minneapolis—will minister to postmoderns, others with postmoderns, and still others as postmoderns.

David Wells at Gordon-Conwell Theological Seminary falls into the to category, seeing postmoderns as trapped in moral relativism and epistemological bankruptcy out of which they must be rescued.

Others minister with postmoderns. That is, they live with, work with, and converse with postmoderns, accepting their postmodernity as a fact of life in our world. Such Christians view postmodernity as a present condition into which we are called to proclaim and live out the gospel.

The vast majority of emerging Christians and churches fit these first two categories. They don't deny truth, they don't deny that Jesus Christ is truth, and they don't deny the Bible is truth.

The third kind of emerging postmodernity attracts all the attention. Some have chosen to minister as postmoderns. That is, they embrace the idea that we cannot know absolute truth, or, at least, that we cannot know truth absolutely. They speak of the end of metanarratives and the importance of social location in shaping one's view of truth. They frequently express nervousness about propositional truth. LeRon Shults, formerly a professor of theology at Bethel Theological Seminary, writes:

From a theological perspective, this fixation with propositions can easily lead to the attempt to use the finite tool of language on an absolute Presence that transcends and embraces all finite reality. Languages are culturally constructed symbol systems that enable humans to communicate by designating one finite reality in distinction from another. The truly infinite God of Christian faith is beyond all our linguistic grasping, as all the great theologians from Irenaeus to Calvin have insisted, and so the struggle to capture God in our finite propositional structures is nothing short of linguistic idolatry.
Praxis-oriented

The emerging movement's connection to postmodernity may grab attention and garner criticism, but what most characterizes emerging is the stream best called praxis—how the faith is lived out. At its core, the emerging movement is an attempt to fashion a new ecclesiology (doctrine of the church). Its distinctive emphases can be seen in its worship, its concern with orthopraxy, and its missional orientation.

Worship: I've heard folks describe the emerging movement as "funky worship" or "candles and incense" or "smells and bells." It's true; many in the emerging movement are creative, experiential, and sensory in their worship gatherings.

Evangelicals sometimes forget that God cares about sacred space and ritual—he told Moses how to design the tabernacle and gave detailed directions to Solomon for building a majestic Temple. Neither Jesus nor Paul said much about aesthetics, but the author of Hebrews did. And we should not forget that some Reformers, knowing the power of aesthetics, stripped churches clean of all artwork.

Some emerging Christians see churches with pulpits in the center of a hall-like room with hard, wooden pews lined up in neat rows, and they wonder if there is another way to express—theologically, aesthetically, and anthropologically—what we do when we gather. They ask these sorts of questions: Is the sermon the most important thing on Sunday morning? If we sat in a circle would we foster a different theology and praxis? If we lit incense, would we practice our prayers differently? If we put the preacher on the same level as the congregation, would we create a clearer sense of the priesthood of all believers? If we acted out what we believe, would we encounter more emphatically the Incarnation?

Orthopraxy: A notable emphasis of the emerging movement is orthopraxy, that is, right living. The contention is that how a person lives is more important than what he or she believes. Many will immediately claim that we need both or that orthopraxy flows from orthodoxy. Most in the emerging movement agree we need both, but they contest the second claim: Experience does not prove that those who believe the right things live the right way. No matter how much sense the traditional connection makes, it does not necessarily work itself out in practice. Public scandals in the church—along with those not made public—prove this point time and again.

Here is an emerging, provocative way of saying it: "By their fruits [not their theology] you will know them." As Jesus' brother James said, "Faith without works is dead." Rhetorical exaggerations aside, I know of no one in the emerging movement who believes that one's relationship with God is established by how one lives. Nor do I know anyone who thinks that it doesn't matter what one believes about Jesus Christ. But the focus is shifted. Gibbs and Bolger define emerging churches as those who practice "the way of Jesus" in the postmodern era.

Jesus declared that we will be judged according to how we treat the least of these (Matt. 25:31-46) and that the wise man is the one who practices the words of Jesus (Matt. 7:24-27). In addition, every judgment scene in the Bible is portrayed as a judgment based on works; no judgment scene looks like a theological articulation test.

Missional: The foremost concern of the praxis stream is being missional. What does this mean? First, the emerging movement becomes missional by participating, with God, in the redemptive work of God in this world. In essence, it joins with the apostle Paul in saying that God has given us "the ministry of reconciliation" (2 Cor. 5:18).

Second, it seeks to become missional by participating in the community where God's redemptive work occurs. The church is the community through which God works and in which God manifests the credibility of the gospel.

Third, becoming missional means participating in the holistic redemptive work of God in this world. The Spirit groans, thecreation groans, and we groan for the redemption of God (see Rom. 8:18-27).

This holistic emphasis finds perfect expression in the ministry of Jesus, who went about doing good to bodies, spirits, families, and societies. He picked the marginalized up from the floor and put them back in their seats at the table; he attracted harlots and tax collectors; he made the lame walk and opened the ears of the deaf. He cared, in other words, not just about lost souls, but also about whole persons and whole societies.

Post-evangelical

A fourth stream flowing into the emerging lake is characterized by the term post-evangelical. The emerging movement is a protest against much of evangelicalism as currently practiced. It is post-evangelical in the way that neo-evangelicalism (in the 1950s) was post-fundamentalist. It would not be unfair to call it postmodern evangelicalism. This stream flows from the conviction that the church must always be reforming itself.

The vast majority of emerging Christians are evangelical theologically. But they are post-evangelical in at least two ways.

Post-systematic theology: The emerging movement tends to be suspicious of systematic theology. Why? Not because we don't read systematics, but because the diversity of theologies alarms us, no genuine consensus has been achieved, God didn't reveal a systematic theology but a storied narrative, and no language is capable of capturing the Absolute Truth who alone is God. Frankly, the emerging movement loves ideas and theology. It just doesn't have an airtight system or statement of faith. We believe the Great Tradition offers various ways for telling the truth about God's redemption in Christ, but we don't believe any one theology gets it absolutely right.

Hence, a trademark feature of the emerging movement is that we believe all theology will remain a conversation about the Truth who is God in Christ through the Spirit, and about God's story of redemption at work in the church. No systematic theology can be final. In this sense, the emerging movement is radically Reformed. It turns its chastened epistemology against itself, saying, "This is what I believe, but I could be wrong. What do you think? Let's talk."

In versus out: An admittedly controversial element of post-evangelicalism is that many in the emerging movement are skeptical about the "in versus out" mentality of much of evangelicalism. Even if one is an exclusivist (believing that there is a dividing line between Christians and non-Christians), the issue of who is in and who is out pains the emerging generation.

Some emerging Christians point to the words of Jesus: "Whoever is not against us is for us" (Mark 9:40). Others, borrowing the words of the old hymn, point to a "wideness in God's mercy." Still others take postmodernity's crushing of metanarratives and extend that to master theological narratives—like Christianity. They say what really matters is orthopraxy and that it doesn't matter which religion one belongs to, as long as one loves God and one's neighbor as one's self. Some even accept Spencer Burke's unbiblical contention in A Heretic's Guide to Eternity (Jossey-Bass, 2006) that all are born "in" and only some "opt out."

This emerging ambivalence about who is in and who is out creates a serious problem for evangelism. The emerging movement is not known for it, but I wish it were. Unless you proclaim the Good News of Jesus Christ, there is no good news at all—and if there is no Good News, then there is no Christianity, emerging or evangelical.

Personally, I'm an evangelist. Not so much the tract-toting, door-knocking kind, but the Jesus-talking and Jesus-teaching kind. I spend time praying in my office before class and pondering about how to teach in order to bring home the message of the gospel.

So I offer here a warning to the emerging movement: Any movement that is not evangelistic is failing the Lord. We may be humble about what we believe, and we may be careful to make the gospel and its commitments clear, but we must always keep the proper goal in mind: summoning everyone to follow Jesus Christ and to discover the redemptive work of God in Christ through the Spirit of God.

Political

A final stream flowing into the emerging lake is politics. Tony Jones is regularly told that the emerging movement is a latte-drinking, backpack-lugging, Birkenstock-wearing group of 21st-century, left-wing, hippie wannabes. Put directly, they are Democrats. And that spells "post" for conservative-evangelical-politics-as-usual.

I have publicly aligned myself with the emerging movement. What attracts me is its soft postmodernism (or critical realism) and its praxis/missional focus. I also lean left in politics. I tell my friends that I have voted Democrat for years for all the wrong reasons. I don't think the Democratic Party is worth a hoot, but its historic commitment to the poor and to centralizing government for social justice is what I think government should do. I don't support abortion—in fact, I think it is immoral. I believe in civil rights, but I don't believe homosexuality is God's design. And, like many in the emerging movement, I think the Religious Right doesn't see what it is doing. Books like Randy Balmer's Thy Kingdom Come: How the Religious Right Distorts the Faith and Threatens America: An Evangelical's Lament (Basic Books, 2006) and David Kuo's Tempting Faith: An Inside Story of Political Seduction (Free Press, 2006) make their rounds in emerging circles because they say things we think need to be said.

Sometimes, however, when I look at emerging politics, I see Walter Rauschenbusch, the architect of the social gospel. Without trying to deny the spiritual gospel, he led his followers into the social gospel. The results were devastating for mainline Christianity's ability to summon sinners to personal conversion. The results were also devastating for evangelical Christianity, which has itself struggled to maintain a proper balance.

I ask my fellow emerging Christians to maintain their missional and ecclesial focus, just as I urge my fellow evangelicals to engage in the social as well.

All in all, it is unlikely that the emerging movement will disappear anytime soon. If I were a prophet, I'd say that it will influence most of evangelicalism in its chastened epistemology (if it hasn't already), its emphasis on praxis, and its missional orientation. I see the emerging movement much like the Jesus and charismatic movements of the 1960s, which undoubtedly have found a place in the quilt called evangelicalism.

Scot McKnight is professor of religious studies at North Park Theological Seminary in Chicago, Illinois. He is author of The Jesus Creed (Paraclete, 2004) and, most recently, The Real Mary: Why Evangelicals Can Embrace the Mother of Jesus (Paraclete, 2006 ). This article is condensed and adapted from a lecture given at Westminster Theological Seminary, Philadelphia, in October 2006. See the blog JesusCreed.org for more of McKnight's emerging musings.

John Lennon's Born-Again Phase

 
John Lennon's Born-Again Phase
"Can He love me?" the former Beatle asked Oral Roberts. "I want out of hell."

In March 1977 Yoko traveled with John Green to Catagena in Colombia to meet a witch who had been recommended to her as someone "who could do anything." Green had to accompany her to check out the witch's validity. Yoko paid the witch sixty thousand dollars to perform a series of rituals culminating in the sacrifice of a dove. When they returned to New York; Yoko insisted that they had to fly via Los Angeles and Alaska to avoid having to fly in a northeasterly direction because she believed this would bring her bad fortune.

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Next came one of the most extraordinary turnabouts in John's life. A television addict for many years (it was his way of looking at the world since he could no longer walk around anonymously), he enjoyed watching some of America's best-known evangelists—Pat Robertson, Billy Graham, Jim Bakker, and Oral Roberts. In 1972 he had written a desperate letter to Roberts confessing his dependence on drugs and his fear of facing up to "the problems of life." He expressed regret that he had said that the Beatles were more popular than Jesus and enclosed a gift for the Oral Roberts University. After quoting the line "money can't buy me love" from "Can't Buy Me Love" he said, "It's true. The point is this, I want happiness. I don't want to keep on with drugs. Paul told me once, 'You made fun of me for taking drugs, but you will regret it in the end.' Explain to me what Christianity can do for me. Is it phoney? Can He love me? I want out of hell."

Roberts sent him a copy of his book Miracle of Seed Faith and several letters explaining basic Christian beliefs. In the second of his letters Roberts said:

John, we saw you and the Beatles on television when you first came to America. Your talent with music was almost awesome and your popularity touched millions. Your influence became so widespread and powerful that your statement-the Beatles are more popular than Jesus- might have had some truth in it at that moment. But you know, our Lord said, I am alive for ever more. People, the Bible says, are like sheep and are often fickle, following this one day and something else the next. However, there are millions who have received Jesus Christ as their personal Savior and have been filled with the Holy Spirit. They love him. To them He is the most wonderful and popular man who ever lived because he is the Son of God and His name endures.
I thank God that you see this, John, and finally regret thinking any man or group could be more popular than Jesus. Jesus is the only reality. It is Jesus who said "I am the way, the truth, and the life." So, you see, your statement that because of your hard background you've never wanted to face reality is actually really saying you've never wanted to face our loving Lord. What I want to say, as I tried to say in my other letter, is that Jesus, the true reality, is not hard to face. He said, "Come unto me all ye that labour and are heavy laden, and I will give you rest. … For my yoke is easy, and my burden is light." You said, John, that you take drugs because reality frightens you. Remember as you open your life to Jesus, He will take all the fear away and give you peace. Peace that passes all understanding.

This correspondence and his exposure to TV evangelism didn't appear to have any effect until he suddenly announced to close friends in the spring of 1977 that he'd become a born-again Christian. He had been particularly moved by the U.S. television premiere of Franco Zeffirelli's Jesus of Nazareth, starring Robert Powell as Jesus, which NBC showed in two three-hour segments on Palm Sunday, April 3, 1977. A week later, on Easter day, he took Yoko and Sean to a local church service.

Over the following months he baffled those close to him by constantly praising "the Lord," writing Christian songs with titles like "Talking with Jesus" and "Amen" (the Lord's Prayer set to music), and trying to convert nonbelievers. He also called the prayer line of The 700 Club, Pat Robertson's program. The change in his life perturbed Yoko, who tried to talk him out of it. She reminded him of what he'd said about his vulnerability to strong religious leaders because of his emotionally deprived background. She knew that if the press found out about it they would have a field day with another John and Jesus story. John became antagonistic toward her, blaming her for practicing the dark arts and telling her that she couldn't see the truth because her eyes had been blinded by Satan.

Those close to the couple sensed that the real reason she was concerned was that it threatened her control over John's life. If he became a follower of Jesus he would no longer depend on her and the occultists. During long, passionate arguments she attacked the key points of his fledgling faith. They met with a couple of Norwegian missionaries whom Yoko questioned fiercely about the divinity of Christ, knowing that this was the teaching that John had always found the most difficult to accept. Their answers didn't satisfy her, and John began to waver in his commitment.

In an unpublished song, "You Saved My Soul," he spoke about "nearly falling" for a TV preacher while feeling "lonely and scared" in a Tokyo hotel. This must have referred to a trip to Japan at the end of May when he stayed at the Okura Hotel for over two months while Yoko visited relatives. Feeling isolated because of the language barrier, he locked himself away in his room for long stretches of time. At night he suffered terrifying nightmares. According to John Green, who makes no mention of the born-again period in his book, John told him, "I'd lie in bed all day [in Tokyo], not talk, not eat, and just withdraw. And a funny thing happened. I began to see all these different parts of me. I felt like a hollow temple filled with many spirits, each one passing through me, each inhabiting me for a little time and then leaving to be replaced by another."

The image was remarkably like one suggested by Jesus and recorded in Luke 11. It's hard to imagine that John was unfamiliar with the passage. Jesus was warning of the danger of merely ridding oneself of evil spirits without taking in the good. He says that an unclean or evil spirit, finding nowhere to rest, will return. "And when he cometh, he findeth it swept and garnished. Then goeth he, and taketh to him seven other spirits more wicked than himself; and they enter in, and dwell there: and the last state of that man is worse than the first."

Whatever happened in Tokyo, it marked the end of his personal interest in Jesus. "You Saved My Soul" said that he "nearly" fell for the TV preacher, but that Yoko "saved me from that suicide." So the salvation of the title refers to being saved from God, not by God. Yoko had again become the captain of his soul, the mistress of his destiny. Yet his life didn't improve. He sank into a depression, concerned that his creativity had deserted him and that he had no real purpose in life. The only real joy he experienced came from spending time with his son, Sean.

His life was out of his control. He worried about his health and his eyesight, about making the right investments with his money, about his personal safety. The only way out, as far as he could see, was to pay for the services of people who claimed to see into the future. But then, which ones could he trust? If the advice of the tarot card reader contradicted that of the astrologer, which should he follow? Instead of the freedom he wanted when he broke away from the Beatles, he was now completely enslaved. He couldn't travel anywhere without advice from a directionalist, do deals with anyone without knowing their star sign, or make plans for the future without consulting the I Ching.

In January 1979 he and Yoko traveled to Cairo, having heard that there was a major illicit archeological dig taking place. Both of them believed that ancient Egyptian artifacts contained magical powers, and Yoko had dedicated one of the rooms in their apartment to Egyptian artifacts. "I love Egyptian art," she said. "I make sure I get all the Egyptian things, not for their value but for their magic power. Each piece has a certain magic power." They stayed at the Nile Hilton and toured the pyramids, but when word got out about their intentions they were prevented from visiting the dig.

By the time Frederic Seaman became John's personal assistant in February 1979, John's main interest was reading books on religion, psychic phenomena, the occult, death, history, archeology, and anthropology. Specific books Seaman can remember him asking for included Rebel in the Soul: An Ancient Egyptian Dialogue Between a Man and His Destiny, by Bika Reed; Drawing Down the Moon: Witches, Druids, Goddess Worshippers, and Other Pagans in America Today, by Margot Adler; and Practical Occultism, by (Madame) H. P Blavatsky. He also listened to a thousand dollars' worth of taped lectures by Alan Watts.

Vacationing in Florida in the spring, he again watched Jesus of Nazareth on its by now regular Easter showing, but his reaction was completely different from the one he had had two years before. He kept joking that they should just get on with it and fast-forward to the crucifixion. Seaman, who was present with John's sons, Sean and Julian, recalled, "John began working himself up into a tirade against Christianity, saying that it had virtually destroyed what was left of pagan culture and spirituality in Europe-a great loss to civilization." He then announced that he was now a "born again pagan."

Later in the year Bob Dylan recorded Slow Train Coming, a gospel album born out of personal experience. Dylan told Robert Hilburn of the Los Angeles Times that he'd recently accepted that "Jesus was real … I had this feeling, this vision and feeling. I truly had a born-again experience, if you want to call it that. It's an over-used term. But it's something that people can relate to." Hilburn asked him what "born again" meant. "Born once," he answered, "is born from the spirit below, which is when you're born. It's the spirit you're born with. Born again is born with the Spirit from above, which is a little bit different."

Slow Train Coming was a direct and challenging album. Unlike most gospel recordings, it didn't simply praise Jesus but attacked opposition to him, whether that was religious syncretism, false saviors, or lack of commitment. It was addressed to people like John. In "Precious Angel," the first single, Dylan sang, "Ya either got faith or ya got unbelief and there ain't no neutral ground.' In the title track he sang of "Fools glorifying themselves, trying to manipulate Satan."

Dylan's transformation took John completely by surprise. After all, Dylan had been the Beatles' only peer and remained someone whom he deeply respected. What made it particularly galling was that everything Dylan sang about on the album was delivered with a confidence that had always seemed to elude John. Dylan seemed certain that his sins were forgiven, his eternal security was assured, and that God was actively involved in his life.

When asked in 1980 about his response to Dylan's conversion, John was less than honest. He said he was surprised that "old Bobby boy did go that way," but "if he needs it, let him do it." His only objection, he said, was that Dylan was presenting Christ as the only way. He disliked this because "There isn't one answer to anything." This is why he favored Buddhism. It didn't proselytize. In what can now be seen as an allusion to his own born-again period, which hadn't yet been made public, he said, "But I understand it. I understand him completely, how he got in there, because I've been frightened enough myself to want to latch onto something."

His private feelings about the conversion were expressed in his songwriting. He was particularly incensed by the track "Gotta Serve Somebody" because it opposed his view that there was no single truth. The song said, as bluntly as possible, that whatever your station in life, you were either serving God or the devil. This wasn't an avoidable choice. John wrote a riposte titled "Serve Yourself," arguing that no one can save you. The only person you have to serve is yourself. "He was kind of upset [about Dylan's song] and it was a dialogue," said Yoko in 1998. "He showed his anger but also … his sense of humour."

Excerpted from The Gospel According to the Beatles by Steve Turner, published by Westminster John Knox Press, 2006. Used with permission.