Scott Myers: Photographer

Scott Myers, a photographer at The Crossing, recently took some time to share his story of faith and reflect on how his journey from atheism to Christianity has revealed itself in his photography. He and I produced the following video together.

Please note there are short passages of the video that do not have visuals.

You can also discover more about his art here.

Scott Myers: Photographer from The Crossing on Vimeo.

Yeah!

101 Yeahs - directed and animated by Ryan Junell and Phillip Niemeyer using traditional stop-motion camera techniques.

Upular

Video remix artist Nick Bertke (aka Pogo) created this piece of music using chords, bass notes and vocal samples from the animated film Up (directed by Pete Docter). The result is inventive, winsomely listenable and definitively post-modern. What boggles my mind is how Pogo is able to conceptualize and actualize a piece of music from so many disparate musical and (traditionally) non-musical elements. However he does it, I can't get enough of it.



Pogo's take on Mary Poppins titles "Expialidocious."



and Alice and Wonderland.

Saint Patrick's Lorica

Last Sunday The Crossing used an excerpted version of Saint Patrick's Lorica as a corporate prayer. The Lorica is powerful reminder of our dependance God for all things and allows us to humble express a desire to submit ourselves more and more to his care. I thought it would be good to post the Lorica in the blog for use as an ongoing prayer throughout the month.

St Patrick’s Lorica
(St Patrick, ca. 377)

I arise today through a mighty strength,
    the invocation of the Trinity,
through a belief in the Threeness,
through confession of the Oneness
    of the Creator of creation.

I arise today through
    God’s strength to pilot me;
    God’s might to uphold me,
    God’s wisdom to guide me,
    God’s eye to look before me,
    God’s ear to hear me,
    God’s word to speak for me,
    God’s hand to guard me,
    God’s way to lie before me,
    God’s shield to protect me,
    God’s hosts to save me
    from snares of the devil,
    from temptations of vices,
    from every one who desires me ill,
    afar or anear,
    alone or in a multitude.

Christ with me,
    Christ before me,
        Christ behind me
Christ in me,
    Christ beneath me,
        Christ above me

Christ on my right,
    Christ on my left,
Christ when I lie down,
    Christ when I sit down,
Christ when I arise

Christ in the heart
    of every man who thinks of me,
Christ in the mouth
    of every man who speaks of me,
Christ in the eye
    that sees me,
Christ in the ear
    that hears me.

I arise today through a mighty strength,
    the invocation of the Trinity,
through a belief in the Threeness,
through confession of the Oneness
    of the Creator of creation.

Psalms, Hymns & Spiritual Songs: 09.12.30 (Advent 3)

This week we celebrated week three of Advent at The Crossing and the morning had several highlights for me, personally. We had a string trio as a part of the band which added a rich, warm texture to many of the songs while hinting at the of longing and need we're called to wait in during this season. 

We participated in communion together and also introduced a new/old hymn called "Savior of the Nations, Come" arranged by Bruce Benedict (a great musician and an acquaintance of mine). Bruce himself shares some thoughts on the hymn in his blog, Cardiphonia, that give some insight into its history and meaning.

Savior of the Nations, Come is a fairly obscure but ancient hymn that beautifully reflects the themes of advent as well as reinforcing the tenants of the Apostles Creed, the humility of Christ (Phil 2), His Intercession, and the gloried anticipation of his expected return.

Savior of the Nations, Come is an ancient hymn written by Ambrose (4th cent.)  Ambrose is a well known Latin Father, preacher and mentor of Augustine.   As early as 372ad Augustine attributes this hymn to the hand of Ambrose, originally composed in Latin as “Veni, Redemptor gentium.”  Martin Luther picks up this text in 1523 and as part of his reformation translates it into German for his congregations.  It is today probably one of the most beloved german advent hymns. It was first translated into English by William Reynolds in 1851.  This translation comes from Calvin Seerveld who prepared it for the Psalter Hymnal (1984).

You can also find more information on the hymn at Bruce's blog also contains some wonderful readings and hymns that he has adapted that serve as helpful guides for our journey through Advent. You can also find more information on "Savior of the Nations, Come" at The Hymnary. Be sure to check both out. 

Call to Worship 

Come, Thou Long Expected Jesus
Words: Charles Wesley
Hymns for the Nativity of Our Lord
(London: William Strahan, 1745), number 10.
Music: Hyfrydol, Rowland H. Prichard (1830)
Alternate tune: Traditional Welsh Melody
Recording by Red Mountain Church
From the album “Silent Night”

Coming Glory: Candle Lighting
Isaiah 46:2 

Joyous Light
Words by unknown author (late 3rd -early century 4th century)
Translated by John Keble (1834)
Alt. arrangement and additional chorus by Chris Tomlin,
David Crowder and Louie Giglio (2004)
Recording by Chris Tomlin 

O Come, Let Us Adore Him
Words: St. 1 attr. J.F. Wade, 1751; tr. F. Oakeley (1841)
sts. 2-4 anonymous,
Music: John F. Wades' Cantus Diversi (1751) 

Coming Glory: Prayer Litany
Psalm 96:1-3, Luke 24:25-27, 30-32, II Corinthians 4:6, 
Daniel 7:13-14, Revelation 7:11-12

Come, Lord Jesus (An Advent Song)
By Diane Thiel
Recording by Diane Thiel (Vineyard Music)
From the album “Is God Listening?” 

Coming Glory: The Advent of Jesus Christ, Part 3 
Luke 1:57-2:7 

Let All Mortal Flesh Keep Silence
Words: Liturgy of St. James (5th century),
Adapted by Gerard Moultrie (1864)
Music: PICARDY 8.7.8.7.8.7. French melody (17th century).
Arr. by Ralph Vaughan Williams (1906).
Recording by Red Mountain Church
From the album “Silent Night” 

Message:The Courage of Joseph
Shay Roush | Matthew 1:18-25

O Come, O Come Emmanuel
LM 88 88 (Veni Emmanuel), Words: Latin, 12th Cent; tr. composite
Tune: "Processionale:, 15th cent. ; adpt. Thomas Helmore, 1854
Recording by Red Mountain Church
From the album “Silent Night”

Savior of the Nations, Come
Words: Ambrose (4th Century), Martin Luther (1523),
Traditional: Calvin Seerveld (1984)
Music: Enchiridia, Erfurt (1524),
Arrangement: Bruce Benedict (2009)
Recording by Bruce Benedict 

Joy to the World
Words: Isaac Watts (1719) (based on Psalm 98)
Music: ANTIOCH C.M.rep. George Frederick Handel (1742)
Arr. Lowell Mason (1836)
Recording by Red Mountain Church
From the album “Silent Night” 

Musicians for 13 December 2009:
Vocals: Mark Collum
Bass: Nick Havens
Acoustic Guitar, Piano and Vocals: Scott Johnson
Percussion: Andrew Luley
Organ and Piano: Kerry Maggard
Reader: Claire Novak 
Cello: Josie Patton
Vocals: Kristen Pierce
Violin: Alison Tatum
Viola: Jake Wandel

Psalms, Hymns & Spiritual Songs: 09.11.30 (Advent 1)

The season of Advent is now upon us. Bruce Benedict writes that Advent (which means “coming” or “arrival”) is a time that "focuses our attention of Jesus Christ’s birth and ministry as well as his Second Coming. Since we can’t anticipate the day or hour of Christ’s return, we are filled with both a sense of Joyful expectation and humble reverence, with our spiritual focus being on lives of prayer and preparation."

Advent is one of my favorite times in the church calendar for the eason that it asks that we slow down and examine the story of Jesus Christ more closely. In the details of his arrival and birth we remember how God fulfilled his ancient promises to Israel. We then find encouragement has we hold fast to His promise that Christ will one day come again and restore this broken world.

The Crossing's services on 30 November ushered us into the season of Advent with songs scripture readings and silent prayer that helped us to be still, wait, understand our need and thus, go deeper in our longing for Christ, our Emmanuel (which means, "God with us").

Call to Worship

Joyous Light
Words by unknown author, late 3rd -early century 4th century;
Translated by John Keble, 1834,
Alt. arrangement and additional chorus by Chris Tomlin,
David Crowder and Louie Giglio.
Recording by Chris Tomlin

Coming Glory: Candle Lighting
Isaiah 9:2

Prepare a Place
By Michael W. Smith and Christine Dente
Recording by Michael W. Smith and Christine Dente
From the album “Gloria”

Coming Glory: Prayer Litany
Psalm 24:9-10, John 1:14, 2 Corinthians 3:9b,
Isaiah 40:3-5, Matthew 25:31-32a

O Come, O Come Emmanuel
LM 88 88 (Veni Emmanuel), Words: Latin, 12th Cent; tr. composite
Tune: "Processionale:, 15th cent. ; adpt. Thomas Helmore, 1854
Recording by Red Mountain Church
From the album “Silent Night”

Come, Thou Long Expected Jesus
Words: Charles Wesley
Hymns for the Nativity of Our Lord
(London: William Strahan, 1745), number 10.
Music: Hyfrydol, Rowland H. Prichard (1830)
Alternate tune: Traditional Welsh Melody
Recording by Red Mountain Church
From the album “Silent Night”

Coming Glory: The Advent of Jesus Christ, Part 1
Luke 1:1-25

Come, Lord Jesus (An Advent Song)
By Diane Thiel
Recording by Diane Thiel (Vineyard Music)
From the album “Is God Listening?” 

Message:
Finding Hope in the Ultimate Dysfunctional Family
Keith Simon | Matthew 1:1-17

The Gospel Song
Words by Drew Jones, Music by Bob Kauflin
Recording by Sovereign Grace
From the album “Songs for The Cross Centered Life”

Musicians for 30 November 2009:
Vocals: Mark Collum
Bass: Nick Havens
Acoustic Guitar and Vocals: Scott Johnson
Vocals: Megan McDonnell
Reader: Claire Novak 
Cello: Josie Patton 
Percussion: Stephen Varner
Piano: Ethan Vizitei
Organ: Cortney Wright

The Broken Beauty of Michael Jackson

Yesterday, I saw "This is It," the documentary culled from over 100 hours of rehearsal footage of what was to be Michael Jackson's final tour. I really enjoyed this film. So much so that I bought Thriller off of Amazon marketplace (24 years after the fact). As much as it is easy to say this after his death - it is a great, great album.

Here are some thoughts on the film...

I enjoyed the lack of artifice, hysteria and histrionics that usually accompanies a Michael Jackson production. Except for one section, there are no rapid cuts to screaming fans or shots that only serve to magnify the myth of Michael Jackson. Instead, we get to see the working artist in the trenches preparing himself for a tour and working hard. One is reminded that Jackson was very, very gifted artist... a fact that was somewhat lost amid the nonsense of the past 15 years. Some of the best moments of the film are simply watching the amazing control he had over his body as he effortlessly moved and danced around the stage. He also had a wonderful voice which is underscored in the way he effortlessly sings the coda of "Human Nature" with an aching beauty.

It was interesting to see how much the crew enjoyed the Jackson 5 songs that he performed, particularly; "I'll Be There." This segment brought a big smile to my face as I enjoyed the purity of those songs and what they mean to people. At the same time, I wondered if the J5 songs have the same aura of beauty and joy for Jackson as they have for his fans given the tumultuous lack of childhood he experience in that period of his life. Do they conjure good memories or bittersweet, painful ones? Wherever Jackson himself is at, there is a broken beauty when one witnesses the juxtaposition of the fresh faced 12 year old singing those songs to the 50-year-old version of Jackson that is markedly changed in appearance. I like what my Pastor, Dave Cover, wrote about this in a recent blog of his...

"It was clear that there is both a glory and a wretchedness to Michael, just like in everyone else. But it seems more obvious in him. He was so talented and, well, so obviously gloriously made in the image of God. And he was also so deformed and decrepitated by his own idolatries of fame and money. You could actually see the very physical toll his idolatry took on his appearance. I felt so sorry for him. Yet I’m sure God sees me the same way. My heart’s idols ruin me in so many ways that are clearly visible in my relationships, my emotions and attitudes, and yes, my own appearance."

One last thought - The Jackson I saw in the film is a distinctly lonely man. One gets the impression that there is an invisible barrier between him and his crew and, as a result, the viewer. Jackson's inner world is the living embodiment of the line used to describe the mystery of Willy Wonka's Chocolate Factory, "Nobody ever goes in and nobody ever goes out." As I became aware of this subtle undercurrent in the film, I started thinking about the success of Thriller. It was probably the best and worst thing to happen to Jackson in that it brought him incredible success and fame but at the cost of true relational community. Jackson himself once said in an early 80’s interview,

"Even at home, I'm lonely. I sit in my room sometimes and cry. It's so hard to make friends ... I sometimes walk around the neighborhood at night, just hoping to find someone to talk to. But I just end up coming home."

Jackson's loneliness is poignantly evident all these years later and probably the most tragic part of his whole story.