Rock, religion, and relief

By Steve Beard

July/August 2005, Good News Magazine

Before they mounted the stage at the United Center in Chicago during their Vertigo Tour, the members of U2 were sent out with the not-so-subtle observation from a friend: The people who want to change the world, don’t seem to know God. And the people who know God don’t seem to want to change the world. For more than 25 years, the Dublin-based quartet has attempted to shake up that off-setting conundrum.

Recalling America’s creative leadership in space exploration, lead singer Bono has been prodding fans to address the dire poverty and death toll from AIDS in Africa. “When America leads, the world follows,” he tells sold-out audiences. “And now a new challenge is here – not to put man on the moon, but to put mankind back on earth and to bring equality to the people of Africa.” He goes on to emphasize, “That’s what we’re saying to President Bush and Tony Blair, ‘Lead and we will follow.’ We’re asking you to end extreme poverty in our lifetime in places like Africa.”

Through guitar riffs, a cell phone call-in campaign, and a gigantic unveiling of the first several articles of the Universal Declaration of Human Rights, U2 flexes its musical muscle on behalf of millions of poverty-stricken Africans who can’t afford one of their cds – let alone a concert ticket.

Bono’s motivation? “I’m not sure if it’s Catholic guilt or what, but I genuinely believe that second only to personal redemption, the most important thing in the Scriptures – 2,103 passages in all – refers to taking care of the world’s poor,” he told Los Angeles Times music critic Robert Hilburn.

The political minefield and spiritual sawdust trail that he attempts to navigate has garnered its fair share of criticism. Although sympathetic, their manager Paul McGuinness warned the band early on to expect a backlash. “Musicians are supposed to describe the problems of the world, not fix them,” he observed.

Although some dour critics have dismissed him as preachy and pretentious, everyone else has granted Bono grace in doing what he can to appeal to the better angels of our nature. While the singer was encouraging the audience to join forces with The One Campaign to end hunger and poverty, the woman next to me at the concert in Chicago said, “I will join because of him. He can preach to me anytime.” She’s probably not alone. The band is expected to have the year’s highest-grossing concert revenue – more than $300 million. That is higher than last year’s top three touring acts combined.

Bono remains the most significant and provocative celebrity on the planet. He was endorsed by The Los Angeles Times to head the World Bank, nominated for a Nobel Peace Prize, and launched a conscience-raising line of clothing called Edun. His concerts attract everyone from United Nations leader Kofi Annan to conservative talk show host Bill O’Reilly. He hangs out with the Kennedy clan and knows his way around the Bush White House. In between shows in Boston, he flew down to Washington D.C. to have lunch with Secretary of State Condoleezza Rice and lobby her for more foreign aid.

Bono has been utilizing his current tour to promote The One Campaign (One.org) – an effort launched by anti-poverty groups and faith-based hunger ministries such as World Vision to increase federal spending for dramatically impoverished nations. It seeks to boost U.S. development spending by 1 percent of the budget – roughly $25 billion.

The cause has attracted an eclectic alliance between Nelson Mandela, Sun Microsystems, hip hop mogul Sean “P. Diddy” Combs, and religious broadcaster Pat Robertson (“God calls us to lift up the poorest people of the world,” says the 700 Club host).

Writing in The New York Times, conservative columnist David Brooks observes that “we can have a culture war in this country, or we can have a war on poverty, but we can’t have both. That is to say, liberals and conservatives can go on bashing each other for being godless hedonists and primitive theocrats, or they can set those differences off to one side and work together to help the needy.

“The natural alliance for anti-poverty measures at home and abroad is between liberals and evangelical Christians. These are the only two groups that are really hyped up about these problems and willing to devote time and money to ameliorating them. If liberals and evangelicals don’t get together on anti-poverty measures, then there will be no majority for them and they won’t get done.”

Having attended a U2 concert with a group of evangelicals who joined forces with Bono’s cause, Brooks observes that the singer “is at the nexus of a vast alliance between socially conservative evangelicals and socially liberal [non-governmental organizations].”

Is it the power of the cause, rock ‘n’ roll, or the Spirit? Perhaps it’s a concoction  of all three. Unlike any other celebrity, Bono has the charm or anointing to draw incongruent elements together for a common cause.

“Bruce Springsteen comes close, but his message is that rock ‘n’ roll has the power to change lives,” observes journalist Donnie Moorhead. “Bono’s message is that God saves lives through rock ‘n’ roll. While you may leave a Springsteen show feeling like you want to do something with your life, you leave a U2 show feeling like you aren’t doing enough.”

In the recently published 323-page Q&A called Bono in Conversation with Michka Assayas, the singer describes a humorous story about one of his meetings with President Bush. “He banged the table at me once, when I was ranting at him about the ARV’s [AIDS drugs] not getting out quick enough,” he recalls. “You see, I’m Irish. When we get excited, we don’t pause for breath, no full stops or commas. He banged the table to ask me to let him reply. He smilingly reminded me he was the president. It was a heated debate. I was very impressed that he could get so passionate. And, let’s face it, tolerating an Irish rock star is not a necessity of his office.”

He found Bush to be amusing and quick-witted. “I got quickly to the point and the point was an unarguable one – that 6,500 people dying every day of a preventable and treatable disease would not be acceptable anywhere else other than Africa, and that before God and history this was a kind of racism that was unacceptable.”

According to Bono, the president said: “In fact, it’s a kind of genocide.”

It is a scandalous commentary on our political culture when it takes a rock star to prod politicians to grapple with the vast travesty taking place in Africa. “You know, celebrity is ridiculous,” Bono told Assayas, a French journalist. “It’s silly, but it’s a kind of currency, and you have to spend it wisely. And I’ve learned that much.…

“I see the embarrassment, excruciating at times, of ‘Rich rock star works on behalf of the poorest and most vulnerable.’ I mean, it’s a very embarrassing photograph. Yet, you can’t deny who you are. And if I gave all my money away, I’d just be a bigger star. (Laughs). Right?…I can use this ridiculous thing called celebrity to the advantage of these issues. That’s the only qualification I need. I’m there, I have the loud-hailer, and I’m gonna use it.”

Assayas asks Bono if “the money you have might lead you to develop very unrealistic views about the world. Don’t you tend to forget about the problems that an ordinary person has to face in an ordinary life?”

Undaunted in the righteousness of his cause, Bono responds: “But which reality am I not in touch with? You’re working on behalf of a billion people who live on less than a dollar a day. Isn’t it more important that I’m more in touch with their needs than the normal Western life you describe?”

Steve Beard is the founder of Thunderstruck.

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Star Power and Spiritual Activism

Bono greets fans outside the Balmoral Hotel in Edinburgh, Scotland on his way to meet with the leader of the G-8. Photo by Steve Beard.

By Steve Beard

September/October 2005, Good News Magazine

“Listen, I know what this looks like, rock star standing up here, shouting imperatives others have to fulfill. But that’s what we do, rock stars. Rock stars get to wave flags, shout at the barricades, and escape to the South of France. We’re unaccountable. We behave accordingly. But not you. You can’t. See, we’re counting on you.”
-Bono speaking at the 2004 Labour Party Conference

Leave it to the rock stars. They are equipped with an overdose of charisma, hair gel, and an uncanny lack of humility. Last year, Bono was haranguing British politicians to do something radical and substantial for Africa. This year he has been harping on the leaders of the G8 – the eight wealthiest nations – to do something for the ravished continent.

I don’t like getting berated by Barbara Streisand, Bianca Jagger, or other over-indulgent, spoiled celebrities any more than the next guy. Superstar opinion is no more profound than that of a short order cook, taxi cab driver, or investment banker. Causes use celebrities to draw publicity, not to rely upon as a braintrust. It is what it is.

However, when it comes to the issue of Africa, Irish rockers Bono and Bob Geldof have proven that they are worth listening to. For the past twenty years, they have immersed themselves into the minutia of mind-numbing economic studies and are capable of speaking coherently on the way that agricultural trade subsidies in the United States, Europe, and Japan ($350 billion a year – 16 times what the developed world gives in aid for Africa) devastate the ability of African farmers to compete on the world market. Continue reading

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The touch of Martha Williamson

By Steve Beard

For nine seasons, “Touched By An Angel” ruled Sunday night television. For CBS, it was the touch of Martha Williamson that took a disaster-waiting-to-happen idea and turned it into top ten hit. Known around CBS as the “Jesus Girl” because she went to church, Williamson was brought in to discuss a pilot about angels that was so bad she originally turned it down. Later, however, she came to realize that this was the opportunity that she had been praying for.

“I know how to make this show,” she told the network executives, “but I am not going to do this. If you want a show about angels, you have to do a show about God, and if you do a show about God, you have to realize that you are messing with 24 million people’s individual opinions of who God is. There is only one way that we can do this successfully and that is to use the Bible as our source.”

Writers don’t usually have the opportunity to speak to network brass with such bravado, but Williamson concluded she had nothing to lose. “They were desperate,” she recalls with a laugh. Continue reading

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Stray Cat Patron Saint: Brian Setzer leans on St. Jude

Guitarist-singer Brian Setzer plays with his orchestra June 29, 2006 in the East Room of the White House, during the entertainment following the official dinner in honor of Japanese Prime Minister Junichiro Koizumi’s visit to the United States. White House photo by Eric Draper.

 

 

 

 

 

 

 

 

 

 

By Steve Beard

January 7, 2004, National Review

In the early 1980s, Stray Cats front man Brian Setzer stood up in the moshpit of the punk-rock/new-wave revolution and daringly waved a big, greasy flag for rockabilly. Reviving 1950s-inspired rock ‘n’ roll was far more defiant than it may seem. After all in the mainstream-music world, Ozzy was biting off bat heads, The J. Giles Band was scoring with “Centerfold,” and radio was hooked on “Maneater” from Hall and Oates.

Nitro_Burnin_Funny_DaddyNevertheless, Setzer captured the imagination of the freshman class of the emerging MTV generation with his peroxide pompadour, pleated baggies, patent leather Creepers, and his 1959 Gretsch guitar strapped over his leather clad shoulder. Joined by fellow bandmates Slim Jim Phantom and Lee Rocker, Setzer had hits with “Rock This Town,” “Runaway Boys,” and “Stray Cat Strut.”

Ten years later, he directed his revivalist mojo to the sounds of swing and big-band rock. When the Brian Setzer Orchestra launched in the early 1990s, the music scene was captivated by grunge acts such as Pearl Jam and the gansta rap of Dr. Dre.

Undaunted, Setzer turned heads with his audaciously ambitious guitar-led 17-piece band–an idea inspired by watching Doc Severinsen’s orchestra on The Tonight Show hosted by Johnny Carson. Setzer’s hipster big-band sound (and his fetching back-up singers) caught on and his sold-out shows became one of the hottest tickets in town. It also garnered Setzer a handful of well-deserved Grammy Awards.

His 2002 Boogie Woogie Christmas album turned out to be a huge hit and Setzer gave Harry Connick Jr. a run for his money as the hippest holiday crooner. The album features a seven-minute swinging version of Tchaikovsky’s “The Nutcracker Suite” and is further graced with a duet on “Baby It’s Cold Outside” with actress Ann-Margaret. In December, Setzer and his orchestra were booked for seven national TV appearances in the three weeks prior to Christmas-even performing at the tree lighting ceremony at Rockefeller Center in New York City.

His 2004 album, Nitro Burnin’ Funny Daddy, returned Setzer to his stripped-down roots. The album is kicked off with the gritty roadhouse “Sixty Years,” written shortly after the death of his close friend Joe Strummer of the Clash. “Saint Peter didn’t put you here/ For no reason at all/ So when it’s time to go/ Oh brother stand tall,” Setzer sings. “This is the most personal album I’ve ever done,” Setzer has confessed. “Lyrically, I go into areas I’ve never touched before–relationships, spirituality. I just wanted to let my whole life out, more than just the hot-rod rockabilly side.”

With the death of Strummer, as well as that of Joey Ramone, Setzer began thinking more about mortality and the brevity of life, figuring that hard-living rock ‘n’ rollers were only given about 60 years before they met their Maker.

In addition to the standard rockabilly formula of whiskey, hotrods, and stiletto-heeled women, Setzer daringly touches upon his spiritual underpinnings on the song “St. Jude”–a prayerful meditation to the patron saint of the impossible, lost causes, and the doomed. In the song, he describes spirituality as “scorned from the left/ And abused by the right/ It’s something so misunderstood/ And ignored in daily life.”

Setzer goes on to affirm his convictions: “If you proclaim the mystery of faith/ You’ll be absolved from daily strife/ Through Him, in Him, and within Him/ Springs our eternal life.”

With the exception of singing “O Holy Night” on his Christmas album, this kind of song was new terrain for the guitar impresario. As with so many other musicians, the September 11 terrorist attack sparked a willingness to grapple with the kind of transcendent issues that are either scorned or often put on the back burner in rock ‘n’ roll.

“I hate to say anything about 9/11, because everybody exploits the hell out of that,” Setzer has pointed out, “but we’ve been hearing all kinds of stuff about what we should do: we should beat people up, we shouldn’t beat people up, we should do this, that, and the other thing…but how about prayer? I believe in prayer; I never let that out in a song before, but it’s true. And sometimes it’s the most important thing you can do.”

On “St. Jude,” Setzer sings, “Spirituality is a thing of the past/ And it’s something that money can’t buy.”

“Seems to me that’s true,” he told the Desert Sun. “You’ve got MTV and Howard Stern and shock jocks who make fun of religion. It’s something to be derided almost, and nobody seems to say anything about it. I’m shocked by that. I’m shocked by the lack of respect for spirituality and religion.”

“I’m a religious person,” he states matter-of-factly. “I’m a Catholic. But I think any kind of spirituality is good. My chosen spirituality is Catholicism and I believe in Jesus.

“Now, if I was to say that in Rolling Stone, it would probably either get edited out or there would be some snide comment about that. And that’s what I was talking about in a song like (“St. Jude”): How spirituality or religion is almost something people deride. A lot of the reason is because of the caricatures of religion, people like Jimmy Swaggart, Jim Bakker. Young people see that and say, ‘This is a joke.’ A lot of it is the fault of these people and a lot of it is the fault of the whole left-wing journalism of Spin magazine or Rolling Stone. It’s not ‘cool.’

“I’m just saying I think it’s a wrong thing to be poking fun at. There should be some respect of people’s spirituality and/or religion.”

The heavily tattooed and hot-rod loving Setzer would certainly seem to be an unlikely crusader for Christian spirituality, traditional values, and prayer. Not surprisingly, however, his outspoken musings offer provocative food for thought. But no one should be surprised. After all, he has been blessed with a 20-year career of swimming upstream and making old things new again with fresh pizzazz and style.

Steve Beard is the creator of Thunderstruck.Org and a contributing author to Spiritual Journeys: How Faith Has Influenced Twelve Music Icons. This article appeared on National Review Online on January 7, 2004.

 

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Tolkien & Civilization: John Rhys-Davies squares up

By Steve Beard

2003 National Review

When you see him in person, John Rhys-Davies looks a lot taller than he does on the screen. That’s because clever camera angles and movie magic were utilized to make the 6’1 British actor fit the part of his height-challenged and axe-wielding dwarf character named Gimli in The Lord of the Rings trilogy. On the day of the Hollywood premiere, he stormed into our press suite at the Four Seasons Hotel with all of the gregariousness and dry wit of his irrepressible character. (He also provides the voice for Treebeard.)

Crammed around a table in the center of the room sat a handful of journalists and film critics who had seen The Return of the King – the final installment of the trilogy – the night before. “Ok, let’s try to sabotage a career again!” he said jokingly, hinting at his willingness to make the interview more memorable—whether he was talking about the filmability of J.R.R. Tolkien’s The Lord of the Rings or the potential downfall of Western Civilization. Continue reading

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The Man Came Around: Johnny Cash’s search for Heaven.

By Steve Beard

September 15, 2003, National Review

“We’ve seen the secret things revealed by God/ And we heard what the angels had to say/ Should you go first, or if you follow me/ Will you meet me in Heaven someday?”

Johnny Cash wrote those lyrics many years ago for his wife, June Carter. The song is entitled “Meet Me In Heaven” and it testifies to the irreplaceable bond of love, trust, and devotion that was shared by the couple throughout their 35-year marriage.

On Friday, September 12, Johnny Cash died at age 71 of complications from his longstanding bout with diabetes. Nearly four months after the passing of his beloved wife June Carter, the legendary Man In Black discovered the answer to his lyrical question.

It is strangely fitting that his last album, The Man Comes Around, will epitomize his legacy. It deftly embodied the gritty and brooding sound that marked his remarkable career. Continue reading

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Johnny Cash’s “radical” video rattles viewers

By Steve Beard

May/June 2003, Good News

One of the surprising hits on Johnny Cash’s latest album When The Man Comes Around is his rendition of “Hurt” written by the dark and brooding Trent Reznor of the hard rock band Nine Inch Nails. “I hurt myself today/ To see if I still feel/ I focus on the pain/ The only thing that’s real,” Cash sings. “The needle tears a hole/ The old familiar sting/ Try to kill it all away/ But I remember everything” – a poignant reminder of his dark years in the 1960s.

“I think ‘Hurt’ is the best anti-drug song I ever heard,” said Cash, an outspoken Christian and country music icon. “It’s a song about a man’s pain and what we’re capable of doing to ourselves and the possibility that we don’t have to do that anymore. I could relate to that from the very beginning.” He says, “I would have written something like that in the ‘60s, if l had been that good.” Continue reading

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Johnny Cash approaches Judgment Day with faith

By Steve Beard

One gets the feeling that when his time on earth is complete, Johnny Cash will be at the pearly gates with a guitar around his neck looking around for a microphone. There doesn’t appear to be any kind of retirement plans for the man in black – and we are all the beneficiaries of his work ethic.

Cash’s latest album, The Man Comes Around, embodies the jagged and prophetic sound that has marked his career – and testifies to the fact that, at age 70, he still has more grit and bang than all the newfangled pop stars combined.

The title track is about the Judgment Day and the notion that there will be an accounting for the way in which we live on earth. According to Cash, he spent more time writing this song than any other in his illustrious career.

“It’s a gospel song,” Cash collaborator Marty Stuart has said of the song. “It is the most strangely marvelous, wonderful, gothic, mysterious, Christian thing that only God and Johnny Cash could create together.” Continue reading

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Bono launches AIDS awareness tour

Bono speaks at the Northeast Christian Church in Louisville, Kentucky, in December 2002. Photo by Steve Beard.

By Steve Beard

December 7, 2002

United Methodist News Service

When rock star Bono wanted to tour the American Midwest to draw attention to the devastating plague of AIDS in Africa, he turned to the Church. On Sunday, December 1, the Irish singer found himself sitting on the front row through two infant baptisms and a traditional lighting of the Advent Wreath before he had his turn to speak at Saint Paul United Methodist Church in Lincoln, Nebraska.

Launched on World AIDS Day, the week-long, seven-city “Heart of America Tour: Africa’s Future and Ours” was sponsored by DATA (Debt, AIDS, Trade in Africa), a political advocacy organization that Bono helped found.

An estimated 42 million people worldwide live with HIV, with 75 percent of them living in sub-Saharan Africa. AIDS kills 6,500 Africans every day and a projected 2.5 million Africans will die next year because they lack the medicine to fight the virus.

The situation in Africa is near to the hearts of United Methodists in Nebraska. They are in partnership with fellow United Methodists in Nigeria, actively involved in various projects including raising money for an orphanage there. Margery Ambrosius, one of the leaders of the denominational partnership, is a member at Saint Paul and was enthusiastic to have Bono at her church. “He is willing to use his celebrity to have an impact on the world, instead of just building more mansions, like others might do,” she told the Lincoln Journal Star.

The Sunday morning program included an energetic youth choir from Ghana called the Gateway Ambassadors and the sobering testimony of Agnes Nyamayarwo, an HIV-positive Ugandan nurse who lost her husband and 6-year-old son to AIDS. Continue reading

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Bono’s Message

By Steve Beard

2002

There is something deliciously ironic about having the world’s most well-known rock star promoting the Bible. But that is exactly what Bono, the globe-trotting lead singer of the band U2, has been doing for the last few years – further adding to his reputation as rock-n-roll’s most effective and enigmatic spiritual provocateur.

When Rolling Stone magazine asked him last year what he was reading, Bono responded: “… there’s a translation of Scriptures – the New Testament and the Books of Wisdom – that this guy Eugene Peterson has undertaken. It has been a great strength to me. He’s a poet and a scholar, and he’s brought the text back to the tone in which the books were written.”

The singer has been anything but timid in promoting ‘The Message (NavPress), a version of the Bible in contemporary language written by Eugene Peterson, a well-known theologian and professor emeritus at Regent College in Vancouver, B.C.

The good folks at the U2 Conference have gathered stellar material regarding Eugene Peterson, The Message, and the Psalms HERE. Check it out.

Shortly after the death of his father last year, Bono told the Irish magazine Hot Press that he had read The Message aloud at his father’s bedside. He went on to recommend Peterson’s translation of the Bible: “It’s just incredible stuff.”

Bono quoted from Psalm 116 in The Message at one point or another throughout U2’s world-wide tour. Each night, Bono would give a slight variation on the text which reads: “What can I give back to God for the blessings he’s poured out on me! I’ll lift high the cup of salvation – a toast to God! I’ll pray in the name of God; I’ll complete what I promised God I’d do, And I’ll do it together with his people.”

In an interview with the website @U2 (www.atU2.com), Peterson was asked what he knew about Bono and U2. “A year or so ago (maybe less) their chaplain/pastor who was traveling with them at the time, called and asked me to come to Chicago to meet them,” Peterson responded. “I wasn’t able to get away at the time but I had a lovely conversation with him. And many of my younger friends and ex-students keep me posted on the latest from U2. When the Rolling Stone interview with them came out a few months ago, I got clippings sent to me from all over the world!”

When asked by the website what his reaction was to having The Message quoted in concert arenas around the world, Peterson said: “My reaction! Pleased, very pleased. Bono is singing to the very people I did this work for. I feel that we are allies in this. He is helping get me and The Message into the company of the very people Jesus spent much of his time with.”

A few years ago, Bono made headlines in the United Kingdom for penning the forward to the book of Psalms. It was in his essay that Bono made the case that the Psalms were the first blues songs. “Abandonment and displacement are the stuff of my favorite psalms. The Psalter may be a font of gospel music, but for me it’s despair that the psalmist really reveals the nature of his special relationship with God. Honesty, even to the point of anger. ‘How long, Lord! Wilt thou hide thyself forever?’ (Psalm 89), or ‘Answer me when I call’ (Psalm 5).”

Bono also noted his affection for the psalmist David, who he referred to as the “Elvis of the Bible.” The singer writes, “That the Scriptures are brim full of hustlers, murderers, cowards, adulterers and mercenaries used to shock me.  Now it is a source of great comfort.”

It was reported that Bono wrote the following forward to They’ve Hijacked God, a critique of the modern church by Irish Christian writer Adam Harbinson: “I find solace in places I never could have imagined … the quiet sprinkling of my child’s head in Baptism, a gospel choir drunk on the Holy Spirit in Memphis, or the back of a cathedral in Rome watching the first cinematographers play with light and colour in stainglass stories of the Passion. I am still amazed at how big, how enormous a love and mystery God is – and how small are the minds that attempt to corral this life force into rules and taboos, cults, and sects. Mercifully God transcends the Church which is, I think, the subject of this book.”

This article originally appeared in the July/August 2002 issue of Good News.

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