Messiah Complex[ities] I bought a great magazine book yesterday morning: "Uncut legends #1" - Dylan. Bob Dylan has entered my life late, as it seems a lot of things have over the past 10+ years. I was asleep in the lap of Augustinian dualism for the first 40 years of my life. I have a small collection of Dylan CD's and they are playing now. On the same stacker is Handel's Messiah. Last night Mavis and I went to the Brisbane Chorale's performance of George Fredrick Handel's "The Messiah" at the beautiful old Brisbane City Hall. In the tradition of that great oratorio, most people stood during the Hallelujah Chorus and a handful remained seated. JW's or athiests or Jews or problems with haemorrhoids - who knows why! But as I sat - or stood! - listening enthralled and at times deeply moved by words and music and reflections on my own understanding of the gospel story, I had Bob Dylan's enigmatic face and haunting music jostling for attention in my mind. A strang mix indeed. The sub title for the Dylan Uncut mag is "From Folk Hero to Electric Messiah." Messiah. As a believer in Jesus, I believe he is, as they say about Neo in "The Matrix" - the one. For lots of reasons. Some I don't understand! And the ones I do understand are being reworked, pondered, rejected or accepted. Constantly. Some are influenced by too many ideas that have led to wars, oppression, injustice, lack of creativity and elitism. Some are influenced by ideas that have led to great movements of social justice and life change. But Bob Dylan is a kind of messiah. When I read the notes about Handel's composition and read more of Dylan's story I see some connection or shared humanity.Both part genius, part opportunist, part poet, part depressed introvert, part inspired prophet. What about these words from Dylan: "The songs are there. They exist by themselves, just waiting for someone to write them down. If I don't do it, someone else would." NY 1962. "Music attracts the angels in the universe. A group of angels sitting at table are going to be attracted to that..." Rolling Stone Mag 1978. Handel was a successful composer. But when he wrote Messiah in 22 days in 1741, he had been in a pit of despair and introspection. His and another opera company had both been destroyed in the 1730's by their mutual competition. One of Dylan's greatest records is "Blood on the tracks" [1975] and was written and produced after his divorce. It is "an emotionally complex and painful album.. one of the most peerless albums of the...decade." What grabbed me at the Brisbane City Hall last night was the wonder of Handel's grasp of the gospel story and wonder of the story itself, and in particular the hope that we felt in the light and dark of the music itself. Dylan's foray into Christianity led to to some amazing lyrics and "...dramatic and committed performances that rank among the greatest of his career." I would like to think that a Handel performance and a great Dylan concert have some kind of connection. But maybe that is too simple. Too reductionist. Being human and subject to a gamut of emotions and life experience leads us to great insights and rushes of creativity or even evil. But as I understand the mystery of the Spirit of creativity, he rushes in to appear or inspire all kinds of people in all kinds of ways that shout truth or beauty or hope in the strangest of ways. So why not Dylan and Handel? And so I have hope that where there is a willingness to be ourselves and to get back up again and to look for hope and to compose a life of inspiration, that somehow the Spirit is present. Because I think he is. And that is absolutely critical for me to have hope. A closing laugh from Dylan: "I do know what my songs are about. And what's that? Oh, some are about four minutes. Some are about five. And some, believe it or not, are about eleven or twelve." NY 1966. Let grace flow. Peter Breen. Think again: b.. Go to links. c.. Go to sojourners. d.. Go to the uncompassionate conservative on the left column on the home page. Did it make you think again?
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