So I flitted between repeats of Have I Got News For You on the Dave Channel and whatever was happening at the Diamond Jubilee Concert. It was altogether too ‘mainstream’ in its musical tastes for me (as I would expect). But here’s what struck me: you have the extraordinary visuals for Madness‘ wonderfully cheeky rendition of Our House:
Stevie Wonder got a bit confused between the notion of birthday and Jubilee:
And Paul McCartney certainly gave the gig a spectacular ending, not least with Live And Let Die (no, HRH, don’t take that literally about your mother):
But, but, but. What an embarrassment Elton John was. And I say that as someone who liked his early music. Well, the Seventies stuff, up to about the Blue Moves album. While I’ve posted the full performances above of Madness, Wonder and McCartney, I can’t bear to do that for Elt. The nadir, which epitomised the whole sorry performance, was Crocodile Rock, and it’s telling there are no decent quality clips of that track on YouTube this morning. I have a fondness for that shallow little song, because it brings back certain teenage memories. I used to co-edit a satirical school magazine in Sixth Form, and when our Physics teacher turned up one day in glasses for the first time, we ran posters around the school about Elton Vine and rewrote this song as Crocodile Clip. (I’ll pass on our deeply unChristian rewrite of Your Song as My Song.)
Crocodile Rock last night showed what has been obvious for years whenever Sir E H John has sung in public (at least, going on TV performances). He can’t reach the high notes any more. He tacitly admitted it by delegating the falsetto part not even to backing vocalists but to the crowd. McCartney and Wonder hit some bum notes, but they still had some decent range.
At the end of the set, the compère said Elton was someone who certainly knew how to put on a show.
He does. He just can’t sing anymore. Which is inconvenient but doesn’t get in the way. He’s living on past glories.
And we got something similar with the video montage of the Queen’s reign, set to the orchestral version of U2’s Beautiful Day. It all reinforced the ridiculous ‘Sixty Glorious Years’ slogan that has been repurposed from a 1930s film about Queen Victoria. Not that you’d expect an event like this to highlight Princess Margaret’s wild life, Randy Andy’s supposedly secret trysts with Koo Stark, the annus horribilis or the effect of Diana’s death on the royal family. There, too, like Reginald Dwight Esquire, we can live on past glories.
Not that we’d know anything about putting on a good show and living on past glories in the church. Oh, no.
Our hairdresser is a family friend. We go together to her house for haircuts. Earlier this year, we were at Gemma’s and we noticed some fabulous new photos of her daughter.
‘Where did you get those done?’
She replied that she had used a new photographer in town. We had a 20″ x 16″ portrait of the children in the dining room, but it was two years old. At the age of our small children, that’s a long time in which they had changed.
So we booked a session with Melanie, who was wonderful, and Debbie asked that one of the shots be a new 20″ x 16″ as a birthday present for her. Mark was impeccable during the shoot, and Rebekah started out well before switching into full drama queen mode.
A little while later, Melanie gave us a CD of the best shots, and we spent an evening narrowing down our choices. Eventually, we placed the order and last week I collected them. They are fabulous. The new big portrait is up. Mark’s cheeky smile radiates across the room, and in Rebekah’s case you can see glimpses of the beautiful young woman she will become. It’s stunning.
So the first purpose of this post is an unsolicited plug for Melanie’s work. I’m not posting copies of the photos here for two reasons: firstly, I would be breaching her copyright, and secondly I don’t in any case put photos of our children in the most public parts of the web. I only use parts of my Facebook profile and Flickr that friends can see.
But the extended purpose of this post is to meditate on change and continuity. It’s there in the different photos of our children, separated by two years. It’s even more obvious when you go to the church social and the ice-breaker game is stuck on the walls: ‘Guess which church member this is as a baby.’
This struck me even more on Friday night, when Debbie and I sat down to watch Friday Night With Jonathan Ross. The main guest was one of my musical heroes from the 1970s, Stevie Wonder. His run of albums from ‘Music Of My Mind’ to ‘Hotter Than July’ (excepting ‘Journey Through The Secret Life Of Plants’!) has to be one of the most sustained streaks of brilliance in popular music. I don’t care for much of his music since – indeed if ‘I Just Called To Say I Love You’ could be permanently deleted from the world’s memory, I’d be happy.
But I love his Seventies music as much today in my forties as in my teens. ‘Living For The City’ still has to be one of the great social justice songs. So am I behaving as an overgrown teenager when I put his music on, or am I still genuinely appreciating his music, despite the fact that I have grown – and hopefully matured?
One thing I did was ponder the roots of my musical taste. My love of some black music clearly comes from growing up in multi-racial north London. My best friend’s brother introduced me to Otis Redding and Stax.
But my taste is – well, the polite word is ‘eclectic’. Singer-songwriters feature prominently. Some of that comes from being a child in church during the Sixties when folk and protest music was acceptable in the mainline denominations. It was more respectable than that pop racket. Also, I’m quite an introspective person, so the Seventies singer-songwriters were an obvious touchstone for me – Jackson Browne, Joni Mitchell and so on.
And I’ve always had a thing about lyrics. I’m keen on meaning, so those people who say that lyrics don’t matter have little sympathy from me. Not only that, I tried writing songs with my best friend. Given that he was and is a musician and I never have been, the words were my department. Don’t worry, none of them has ever been released. You are safe. But it gave me a deeper appreciation of lyrics.
The serious side of me also went for prog rock – notably Genesis and Yes. (Genesis went down the pan when they became a pop band.) My love of the serious and the complex kept my loyalty to this kind of music in the punk wars. The late Alan Freeman once held a vote on his Saturday afternoon Radio 1 show. Punk yes or no? No won 51% to 49%. I was in the 51.
You can still trace a lot of these influences in music I enjoy thirty years later. Boo Hewerdine, John Hiatt and Aimee Mann are all currently trapped in my car CD player, strongly representing the singer-songwriter camp. I recently bought Stomu Yamashta‘s Complete Go Sessions on eBay on the prog front. And Stevie Wonder on the TV probably has me digging out some of those classic albums.
At the same time, however, there are aspects of my teenage record buying habits that I wouldn’t want people to know about. There are some singles I was glad disappeared when I finally and reluctantly said goodbye to vinyl. I’m too embarrassed to name them here, so I’ll just leave you to guess. Some of them should only have been bought by teenage girls, that’s all I’m saying. It’s change and continuity again.
All this is an extended introduction to say that holding together continuity and change is an important spiritual and theological issue. I’m not even referring to the management of change in a congregation, although there is plenty that could be said about that. At this point, I’m confining myself to the personal aspects.
The Reformation enshrined this when it said that people were simul justus et peccator, both justified and yet still sinners. Justification brings redemption and leads to sanctification, that is, change, yet we are still what we always were: sinners.
Or to put it another way: our past and our present go a long way to explaining us, and hope draws us on into God’s New Creation.
And in that respect, Tom Wright’s great sign of the New Creation to come is the Resurrection of Jesus, itself am expression of continuity and change in the nature of Christ’s resurrection body. There was continuity: once the disciples had got past their considerable intellectual barriers to resurrection happening in the middle of history, Jesus was recognisable. He was ‘known by the scars’, to take Michael Card‘s old phrase. But there was also change: whatever miracles Jesus did before the crucifixion, he never suddenly appeared in the middle of a locked room, as is recorded twice in John 20. In the Resurrection, Jesus is endowed with the ‘spiritual body’ of which Paul speaks in 1 Corinthians 15, and which my MPhil mentor Richard Bauckham used to say means, ‘a body animated by the Holy Spirit’.
So it isn’t necessarily a mark of immaturity if certain things remain from my youth. They may be part of an acceptable continuity that will travel with and in me throughout life in this age and the age to come.
Indeed, if the theory behind the Myers-Briggs Type Indicator is correct that we have the same personality type for life, then that is an expression of this. You’ll see from the description I gave about the roots of some of my musical taste that a fair bit has to do with personality. No personality type is perfect: all have weaknesses. However, this is not necessarily about moral failure or weakness. God made humans to be interdependent, and in the Church God made us to be the Body of Christ, with complementary gifts.
But other things will fall away and be replaced or renewed. And that’s OK, too. That’s where the issues of holiness come in. So for example years ago I read an article in Third Way magazine about one of my musical heroes, Van Morrison. The author (Martin Wroe?) acknowledged that Morrison was not so much a practitioner of faith as a student of religions. He also acknowledged the commonly known fact about Morrison’s personality, namely that he is a notorious curmudgeon. Rock’s Mister Grumpy, indeed. However, he expressed a hope that there would be a place for him in the kingdom of God.
If there is, then it will be by the grace of God, just as it is for all of us. However, the question will arise for him, as it does for everyone, of change. How will he and we be made ‘fit for heaven’ (or the New Creation)? Transformation begins in this life by the sanctifying work of the Spirit, but is it complete at death?
The classical Catholic answer to this has been in terms of Purgatory. Tom Wright makes a good response to this in ‘Surprised By Hope‘. He describes it as a medieval metaphor and myth, without biblical support, having more to do with Aquinas and Dante. He quotes the current Pope, who appeals to 1 Corinthians 3, where the Lord himself is the fire in judgment who purifies us. Purgatory is unnecessary. God will see to it that we are fit for heaven and the New Creation.
And when he does, in that favourite verse of babysitters, ‘We shall not all sleep but we shall all be changed.’ By the grace of God, he will make us worthy of his presence. And there will be a degree of recognition due to continuity, although exactly what that is becomes another difficult question. Suffice to say it must be about more than physical likeness.
Who knows, maybe even some of my music collection will survive!