And just like that, the 50th Anniversary of the Doctor begins . . .
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And just like that, the 50th Anniversary of the Doctor begins . . .
I was excited to see a new trailer for The Hobbit: The Desolation of Smaug this past weekend. Which makes me a little surprised to see yet another trailer debut today. Then I remembered that tomorrow is the release of the extended version of An Unexpected Journey, so it makes a little more sense.
Strange. The thing I like most about this trailer and the last is the difference in music. You don’t get much of the “traditional” LOTR music here. I think that’s a wise move, especially if it means more new music in the next two movies. Guess we’ll see soon enough.
I didn’t quite know what to think yesterday when the guy on the radio announced that U2’s long-awaited follow-up to No Line on the Horizon would drop the day after Thanksgiving. How had I missed this news? A quick internet search yielded news both good and bad.
The bad news is that U2’s next album won’t drop until early next year. According to this Rolling Stone article, bassist Adam Clayton has acknowledged that the album will have twelve songs and be done by Christmas . . . but that it won’t drop until sometime in the new year. Clayton adds: “I think it’s a bit of a return to U2 of old, but with the maturity, if you like, of the U2 of the last 10 years. It’s a combination of those two things and it’s a really interesting hybrid.” So a little while longer for something very good.
The good news is that the band is releasing a new song the day after Thanksgiving as a single with a new version of “Breathe” as a kind of B-side. And the song, “Ordinary Love,” has actually made its way into the media via the second trailer for the upcoming bio-pic of Nelson Mandela, Mandela: Long Walk to Freedom. According to Rolling Stone, the two-song set will be available with “Back to Black Friday” as a limited edition 10″ vinyl record. You can check that trailer out below. “Ordinary Love” starts around the halfway mark.
James K. A. Smith, author of Desiring the Kingdom, recently released a collection of shorter writings. Discipleship in the Present Tense includes a number of quality pieces, many of them being good introductions to Smith’s view on culture and its liturgies. One of my favorite pieces is all about praise and worship. Praise and worship is a topic that gets many people passionate quickly. Smith’s “Open Letter to Praise Bands” is a brilliant attempt and being pointed and succinct, calling our attention to at least three times where what happens in a congregation “is not worship.”
The letter is also a great introduction to his concept of cultural liturgies. You can read the whole letter here. I think it’s balanced, appropriate, and worth a read.
Discipleship in the Present Tense is available online in paperback or digital here.
The folks at Christianity Today just posted an interview with Reed Arvin, the producer of much of the late Rich Mullins’ music. Turns out that it’s been twenty years since the release of A Liturgy, a Legacy, and a Ragamuffin Band. You heard me say it before: A Liturgy, a Legacy, and a Ragamuffin Band is one of my all-time favorite albums. So it’s cool to get an inside peek at things.
The interview gives us a real reminder of how different things were two decades ago, when CCM was at it’s height. The interviewer asks Arvin some questions I’d like to think that I’d ask myself, including one or two speculative questions. You can read the Christianity Today version of the interview here. And you can check out the complete interview here.
One of the best songs from the album is “The Color Green.” Here’s a recording of the song from 1997.
It’s a strange thing, traveling through the land that has informed so much of your imagination. The castles and keeps, the unending hills, the barrows (the barrows!), the city streets that wend and wind and turn in on themselves: it was all there. And that’s just the literary stuff.
I tried to talk British pop culture every chance I got. It wasn’t often, but it was good. King Arthur? Myth. Robin Hood? Myth. Douglas Adams? Who? Broadchurch? State of Play? Catherine Tate? Martin Freeman? Simon Pegg? I asked it all. The tour guide seemed impressed with my knowledge of Brit-pop, and that was nice. But it always came back to Doctor Who for me. “Oh yes. That scared me to death as a child.” And then: “my daughter is terrified of the Weeping Angels. She just can’t go to bed after seeing them.” Ah. Very nice.
It really is amazing to me how much quality work comes from England. They produce great stuff. They tap into something good and deep that lies just beyond the Wild West of the American imagination. And while it was great to hear about Wordsworth and the Bronte sisters and Shakespeare, it was of great comfort to find that some of the things that had made their ways across the Atlantic were important to both shores.
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In my list of favorite moments yesterday, I forgot to mention another great moment in Oxford. While visiting the university, we got to step into an exhibit of artwork as it related to magic in English literature. On display? At least two of Tolkien’s original covers to The Lord of the Rings as well as on of Lewis’ original Narnia maps. There was, alas, no photography allowed. Great moment, though. Made me love Oxford all the more.
It’s a strange thing, going “there and back again.” Travel can be a kind of parenthetical experience, one that should bring many new experiences but ought not (some might say) create any real change. A kind of existential gap can form, like the space between the car and the platform on the London Underground. If you’re not careful, you stumble as you move from one space to the next. “Mind the gap,” they say.
England was good, and it was good for me. I am often unsure of what to say when people ask if it met my expectations or what I liked best. And so through jet lag and a nasty cold, I’ve slowly been able to process some highlights, a list I’ll simplify here but would tell you more about in a heartbeat. And so, my greatest England moments:
Almost too short and simple, I know. There was more than that. So much more, really. It was a wonderfully balanced, almost mellow, trip. It was walking and singing and learning and writing and all kinds of things you have to work hard to capture well. I’ll mention a few more things over this week in an attempt to “mind the gap” and make some kind of transition back to life here and now. I’m glad to be back, but I’m more than glad to have gone.
Been in England a few days now. We started in Manchester, travelled the Lake District, visited Haworth, and settled in for a bit in Leeds. And while the locations have been amazing (Haworth is as close as I’ll get to Diagonal Alley, I imagine), it’s the countryside, the space between the places, that brings the consistent beauty. Hill upon hill upon hill, each with its own flock of sheep. A sky that won’t stop. Not much of a way to make a stop for that kind of countryside, though. I’ve tried to catch pictures of it, but the coach moves on. A feast for the eyes in the moment. And more than enough to keep you from reading the book you brought to help you pass time and think about where you are.
You can tell a lot about a show by how well it revisits its initial premise. It’s more than just flashbacks: it’s recall in order to remind us of how far characters have come. How I Met Your Mother has twisted in upon itself a number of times in its eight-year run. It’s introduction of and then maternal dismissal of Robin in the first episode brought in the series’ two dominant plots. And now, as they season prepares for Robin’s wedding and Ted’s introduction to the Mother, I think it’s fitting to look at the last scene before the last season. Having watched it again last week, I am reminded of it’s brilliance: how it sets a whole season up perfectly, how it gives each of the main players one last reflective moment, and then how it slowly but surely gives us a moment we’ve been waiting for.
I was no always sold on the idea of adding a ninth season. Then I heard of plans to make the whole season “take place” over the course of one weekend. I find myself ready, though, for the best that Carter and Bays can give us. The ending is a foregone conclusion. And while there might be some heartbreak along the way (Barney and Robin, really?), there should be a lot of great moments along the way, too.