Saturday, June 17, 2017

FATHER’S DAY REFLECTION: ADVENTURES IN GEEKDOM


 

Growing up I would have never called myself a “geek.” In those days, geek was a label one desperately wanted to avoid. Still, like many 80s kids, I enjoyed my fair share of Star Wars, G.I. Joe, He-Man, Transformers, and Robotech. I happily acquired and played with related merchandise, although eventually all such things were left behind as childhood turned to adolescence. I didn’t think to keep them as “collectables” and certainly wouldn’t buy them today.

As a teen I was more of a music nerd, spending most of my time learning to play guitar, studying album sleeves, and (if I read at all) reading books about my favorite bands. The bands I loved tended to be fairly cerebral—Iron Maiden, Rush, Pink Floyd. It was music that helped me cope with rejection and alienation in the early years of high school, two of which I spent eating lunch not in the main cafeteria but in a classroom, the leper colonies of the secondary school social world. As a social exile, it was music that transported me into an imaginative universe of science fiction and fantasy. So, yeah, I really was a geek!

This music also had a formative effect. If it wasn’t for the songs of my favourite bands, I wouldn’t have encountered the Rime of the Ancient Mariner, Animal Farm, or the story of Alexander the Great. Later in life, I would pursue such themes as part of an academic career. As much as my parents may have been puzzled by some of my musical choices, I can confidently say now that they bore much important fruit.

Fast forward several years, I became a father when my son Alex was born. (I’ll admit that both Alexander the Great and Alex Lifeson were in my mind when I floated the name.) I knew that I’d be in store for something unique when he entered the world on Halloween (Devil’s Night to be exact). Ever since his birthday has been accompanied by imagination, mystery, costume, and of course candy.

INTO EQUESTRIA

As Alex grew up I could see that he had a tendency toward fandom. At two years old, after a cousin gave him a few die-caste Thomas the Tank Engine toys, we spent the next several years on the Island of Sodor. Next came Cars, the Wiggles, Star Wars, and even Doctor Who. The dialogue of entire films was memorized and relevant literature studiously devoured. A couple of years ago, however, Alex’s fandom took a rather surprising turn. A visiting six-year old cousin exposed him to one of her favorite shows—My Little Pony. Alex, as it turns out, fell deeply in love with the ponies of Ponyville—Applejack, Rainbow Dash, Fluttershy, and Pinkie Pie. All of this was unknown to me until his mom gave me a heads up about this new development. Alex, it seems, was reluctant to tell me about this new-found fandom.

I had heard of “Bronies” prior to this—for those who don’t know these are boys (and men) who appreciate MLP (as they call it). Like many people I had dismissed this phenomenon as one of the worst examples of what I’d considered a childish nostalgia culture. How wrong I was! A turning point came when we sat down to watch a Netflix documentary called A Brony Tale. It was an eye-opening and sympathetic portrait of the Brony subculture that revealed in a profound way just what all these boys and men (some of them US marines) saw in My Little Pony.


The key is this—the subtitle of the current MLP reboot is Friendship is Magic. The premise involves a studious and magically inclined young pony princess named Twilight Sparkle who is sent to Ponyville to learn the true meaning of friendship. This she accomplishes not through her enormous book-learning, but through often very ordinary interactions with her circle of friends. The series is a thoughtful (and I’ll admit cleverly entertaining) portrayal of relationship, loyalty, maturity, identity, and purpose. All values that resonate deeply with the audience, many of whom feel like misfits and outcasts. The Brony fandom binds a community together around a shared set of interests and values.

The purpose theme is central to the MLP ethos. Each pony in Equestria (the realm they all inhabit) receives a distinctive “cutie mark” when they find their purpose in life. (The metaphor for puberty is pretty clear). This gives each character a unique sense of identity and purpose that propels them forward and gives their lives meaning. Few people would object to this array of life lessons. It is certainly more than I took away from the stories of killer robots and conquering aliens that I enjoyed at his age.

Yet, it is one thing to privately enjoy such an animated series, even one primarily aimed at young girls, it is another to project that as part of your identity. Today, Alex proudly proclaims himself to be a Brony to anyone who will listen and he has multiple t-shirts and ballcaps that re-enforce this message. It is this more than anything, however, that has caused me the most anxiety.

One thing I’ve learned as a parent is that you relive your own childhood experience through your kid(s). I, for instance, had a difficult time in the first years of grade school, so when Alex was about to embark on that path I was beside myself with worry. He faced his own challenges, to be sure, but my perception of those challenges was colored by my own experience. Similarly, as he’s entered middle school, I’ve been afraid of how his Bronydom will be perceived. I’m acutely aware of how cruel kids can be. I know what it’s like to be ridiculed, bullied, and socially excluded. This is the last thing that anyone wants for their child, so I was terrified about how he would be perceived as he leapt from the little pond of primary school to the (somewhat) bigger pond of middle school. What assumptions would people make? Would he be marginalized?

So far, these fears have been unfounded. In fact, what makes me immensely proud is that Alex is aware of the possibility of negative perception. He knows full well that Bronies are misunderstood and mocked by mainstream culture. Still, he goes on undeterred. None of this prevents him from putting his Bronydom on full display as an ambassador of all things Equestrian. It also helps that he has found friends that share the same appreciation.

ENTER THE BATTLEFIELD

More recently, our journey through geekdom has taken yet another turn. For a while Alex had been hinting at getting into some sort of offline gaming, in particular Warhammer. As I quickly discovered, this would be an expensive proposition even to acquire the basis tools of gameplay. Again, Netflix intervened, when we happened to watch the documentary Enter the Battlefield, which explores the world of Magic: The Gathering, a popular trading card came. This, it seemed to me, could be a less expensive alternative. (Oh, how naïve I was at the time!). It also seemed like a good father-son bonding activity that would get us both away from screens and out interacting with other people. Soon we had acquired our first decks and began to learn the many, many rules of MTG (as players tend to call it).


Eventually we felt confident enough to attend our first “Friday Night Magic,” a weekly ritual at local gaming stores where players “gather” to cast their favorite spells. Our first experience wasn’t so great. In the basement of the downtown comic shop, we met a group of mostly twenty-something hardcore players. As newbies, neither of us felt very comfortable and left after a single round.

A few weeks later we learned of another group at a small gaming shop closer to home. This turned out to be a far more positive experience. The group was immediately welcoming, encouraging of beginners, as well as generally fun and friendly. It was also a far more diverse demographic. Although predominately male, it includes players from tweens to 40+. All of them are united by their common devotion to the game regardless of economic background, education level, sexual orientation, or linguistic profile. I’m impressed by the degree to which they’ve taken Alex under their wings, as well as their sheer intellectual prowess. These are extremely smart people. Many players can effortlessly rhyme off the stats and abilities of hundreds of different Magic cards and create intricate spell combinations resembling elegant mathematical formulas. Such complexity and skill can be daunting. In fact, I’ve sometimes thought of giving it up. It can be disheartening to have three university degrees and the ability to read seven languages, yet still be bewildered by the intricacies of a card game. As time goes on, I’ve come to appreciate this complexity and embrace it as a challenge. Also, I’ve come to appreciate that it’s not only about the game, it’s also about the community. Like the Brony fandom, MTG subculture is about building relationships with other people. That’s what keeps Alex and I coming back.

***

It’s easy to dismiss geek culture or to criticize it as childish, but I think this misses the point entirely. At its worst in certainly can be insular and tribal, although at its best it can create community and connection. Moreover, it can also serve as a bridge between the generations, where parents and children can connect over a mutual interest. 

Most geek subcultures involve some form of storytelling. For millennia people have told each other stories that communicate their shared values, fears, and aspirations. When past cultures have done this, we tend to call it mythology or epic. But one thing’s for sure, such stories have always been passed down from one generation to the next. In the past, it may have been the story of Troy. Today it could be Middle Earth or the Marvel universe. Although the content may change, the function remains the same.

So, next time you see pictures of parents and children cosplaying at a Comicon, or attend one yourself, don’t be too quick to judge. We all “geek out” over something, be it our favorite sports team, TV show, hobby, or musical genre. We just haven’t label those things in the same pejorative way. Geek and fandom cultures may not always be easy to understand. Sometimes our biases, fears, and anxieties get in the way. Mine certainly did. But happily, I overcame them. At the very least, they teach us something important about the inner lives of children, as well as those who remain children at heart.

Therefore, in honour of my own original geekdom, I'll let Rush end the reflection with some words of wisdom:

Spirits fly on dangerous missions
Imaginations on fire
Focused high on soaring ambitions
Consumed in a single desire
In the grip of
A nameless possession 
A slave to the drive of obsession 
A spirit with a vision
Is a dream with a mission



Wednesday, February 22, 2017

MUSIC AND RELIGION Far Away, So Close


U2 are arguably the world's biggest "Christian" rock band. Christian, not in the tediously parochial WOW worship style, but, to put it another way, U2 are one of the world's biggest bands that just happens to be Christian. That an Irish band would be interested in religious questions is by no means surprising. To be sure, many popular musicians have private religious sympathies which are sometimes expressed in a public way, even in their music, but the pervasively profound yet understated spirituality of U2 is of an entirely different order. In fact, it is totally unique. 

What's surprising is that U2's religiosity is curiously unknown to many, even those familiar with their music. Yet anyone who's inquired into their back story will understand that the band members met at Mount Temple, a north Dublin Christian school. If fact, as chronicled the classic biography of the band, spirituality seems to have been the band's primary motive early on, as well as a source of great tension with bassist Adam Clayton, the only non-religious member of the group.   

IN TE DOMINE

U2's religious optic is somewhat obscured on their first album Boy (1980), which deals primarily with themes of maturity and relationship, but is on full display in their 1981 follow-up October, notably in songs such as "Gloria":

I try to sing this song
I I try to stand up
But I can't find my feet
I try, I try to speak up
But only in you I'm complete

Gloria in te domine
Gloria exultate
Gloria Gloria
Oh Lord, loosen my lips


Similar sentiments are expressed even more explicitely in other songs such as "Rejoice" and "With a Shout":

Shout, shout
With a shout, shout it out
Shout...shout it out...

I want to go
To the foot of the messiah
To the foot of he who made me see
To the side of a hill
Where we were still
We were filled
With our love

We're gonna be there again
Jerusalem Jerusalem


At appeared at this point that the band was indeed headed down the path of producing "Christian rock" in a more conventional sense. Fortunately, they took a more ambitious direction. 

On 1983's decidedly more political War, the lyrical piety is more tempered but still evident, as in "Sunday Bloody Sunday," a song which itself deals an infamous case of sectarian religious violence, and pointedly asking: "Has the real battle yet begun / to claim the victory Jesus won?" The album also contains "40" a song based on Psalm 40 and that the band used frequently as a set closer.

I waited patiently for the Lord
He inclined and heard my cry
He brought me up out of the pit
Out of the miry clay

I will sing, sing a new song
I will sing, sing a new song


Hymnic, biblical, and totally U2. The spiritual content of U2's early songs is sometimes a juxtaposition of frustration and elation; frustration with intolerance and religiously motivated violence, yet elation as the potentiality of divine encounter.

IN GOD'S COUNTRY


1984's Unforgettable Fire saw the band breaking new sonic territory, thanks to the production efforts of Brian Eno and Daniel Lanois. As we might expect, even though Bono suffered from a severe case of writer's block through much of the recording sessions, spiritual themes came to run alongside images of nuclear annihilation and drug addiction. "Pride", for instance, evokes the legacy of Martin Luther King (as does the closing track "MLK") while simultaneously referencing "one man betrayed with a kiss". It was in this period that they gave a now historic performance at 1985's Live Aid concert for African famine relief. This was an era when musicians wore their social conscience on their sleeves.


After a string of progressively impressive albums, it was in 1987 that U2 gained full control of their writing and performing abilities, releasing their first masterpiece The Joshua Tree. Although the title references a park in California, the name also has obvious biblical implications. The album opens with the majestically soaring "Where the Streets Have No Names." In this song, Bono can be heard striving for a state of mystical ecstasy beyond the reference points of language and location.

I wanna run, I want to hide
I wanna tear down the walls
That hold me inside.
I wanna reach out
And touch the flame
Where the streets have no name



Even more spiritually poignant is track two, "I Still Haven't Found What I'm Looking For," a song which chronicles a desperate, but hopeful, search for the sacred amid darkness and confusion.

I have spoke with the tongue of angels
I have held the hand of a devil
It was warm in the night
I was cold as a stone

But I still haven't found
What I'm looking for
But I still haven't found
What I'm looking for

I believe in the Kingdom Come
Then all the colors will bleed into one
Bleed into one
But yes, I'm still running

You broke the bonds
And you loosed the chains
Carried the cross of my shame
Of my shame, you know I believe it


Other tracks from the album, such as "Bullet the Blue Sky" and "In God's Country" evoke more powerfully biblical imagery. The latter is a kind of Solomonic ode to sensuality in the holy aridity of the American wilderness.  



After a period of extensive touring in support of the Joshua Tree, which was both a critical and commercial success, U2 released at live album and concert film called Rattle and Hum in 1988. Conceived by the band as a sort of love letter to Americana, some observers considered the project a misstep, although both the album and film remain beloved by many fans and contain a number of strong compositions. One in particular, "God Part 2", is in hindsight a clear foreshadowing of the band's radical re-invention in the early 90s. True to form, biblical references abound, especially in a collaboration with B.B. King.



FAR AWAY, SO CLOSE



Critical ambivalence about Rattle and Hum aside, there can be no denying that U2 released a second master-stroke with 1991's Achtung Baby. Arguably the band's crowning achievement, the album inaugurated a new era of musical experimentation and (as yet untapped) sexual energy. Although perhaps less overtly religious than previous releases, Achtung Baby nonetheless contains one of Bono's most darkly spiritual meditations--"Until the End of the World":

Haven't seen you in quite a while
I was down the hold just passing time
Last time we met was a low-lit room
We were as close together as a bride and groom
We ate the food, we drank the wine
Everybody having a good time
Except you, You were talking about the end of the world

I took the money
I spiked your drink
You miss too much these days if you stop to think
You lead me on with those innocent eyes
You know I love the element of surprise
In the garden I was playing the tart
I kissed your lips and broke your heart
You, You were acting like it was the end of the world

Love, love, love

In my dream I was drowning my sorrows
But my sorrows, they learned to swim
Surrounding me, going down on me
Spilling over the brim
Waves of regret and waves of joy
I reached out for the one I tried to destroy
You, you said you'd wait
'Til the end of the world

Recounting the betrayal of Jesus from the perspective of Judas, the song is both violent and sexy; qualities which aptly describe the epic multimedia extravaganza that became the subsequent ZooTV tour.




Achtung Baby's juxtaposition between spirit and flesh is also evident in the hugely popular video for "Mysterious Ways" filmed in Morocco. Again, the title has obvious spiritual implications.



Remarkably, as the Achtung Baby tour worn on, Bono's on-stage persona morphed into a character called "Macphisto", a demonic trickster fond of making prank phone calls. This, however, was not the only unexpected development. In 1993, while on tour, the band released Zooropa, in many ways a companion piece to Achtung Baby. The lead single, "Stay (Far Away, So Close)", rivals "Still Haven't Found What I'm Looking For" in its longing spiritual pathos. 

If I could stay, then the night would give you up.
Stay, and the day would keep its trust.
Stay with the demons you drowned.
Stay with the spirit I found.
Stay, and the night would be enough.

Three o'clock in the morning
It's quiet, there's no one around,
Just the bang and the clatter
As an angel runs to ground.
Just the bang and the clatter
As an angel hits the ground

Once again, a classic video accompanied the song, replete with angelic imagery filmed by "Wings of Desire" director Wim Wenders.




What's also notable about Zooropa is that it gives us the first inklings of spiritual desolation in U2's catalogue, as subtly expressed in "The First Time":

My father is a rich man 
He wears a rich man's cloak 
Gave me the keys to his kingdom coming 
Gave me a cup of gold 

He said I have many mansions 
And there are many rooms to see 
But I left by the back door 
And I threw away the key 

Similar sentiments are expressed in the stand-alone single from 1995 "Miss Sarajevo". As it happens, much of the ZooTV and Zooropa tours coincided with the Bosnian War. This track, produced in collaboration with late Italian opera singer Pavarotti, captures the confusion and despair of this brutally sectarian conflict.  

Is there a time for first communion 
A time for east 17 
Is there a time to turn to Mecca 
Is there a time to be a beauty queen 
...
E non so pi pregare 
E nell'amore non so pi sperare 
E quell'amore non so pi aspettare 
[And I cannot pray anymore 
And I cannot hope in love anymore 
And I cannot wait for love anymore]



After an extended hiatus, U2 returned in 1997 with Pop, once again considered a misstep by some, brilliant by others. It seemed to depend on whether one saw irony in the apparent commercialism surrounding the release. Nevertheless, Pop does contain two more highlights from U2's spiritual song book--"If God Will Send His Angels" and "Wake Up Dead Man," both of which continue the theme of spiritual desolation by powerfully evoking the apparent absence of God.

Jesus, Jesus help me
I'm alone in this world 
And a fucked up world it is too
Tell me, tell me the story
The one about eternity 
And the way it's all gonna be

Wake up, wake up dead man
Wake up, wake up dead man

Jesus, I'm waiting here boss
I know you're looking out for us 
But maybe your hands aren't free
Your father, he made the world in seven
He's in charge of Heaven
Will you put a word in for me

Wake up, wake up dead man
Wake up, wake up dead man





These later songs display a lack of optimism and spiritual conviction that characterised early U2 efforts. On these tracks the band explores the depths of spiritual despair and alienation--to powerful effect. 

WALK ON

2000's All That You Can't Leave Behind sees the band returned to form. As the title seems to imply, there's a searching for simplicity and essential value on this album--a sense of renunciation and loss. This is a sentiment we see in one of the standout tracks "Walk On", which in the live version ends with a powerful spiritual refrain.

All that you fashion
All that you make
All that you build
All that you break
All that you measure
All that you feel
All this you can leave behind


After another short break, U2 released How to Dismantle an Atomic Bomb, a sonic and lyrical extension of the previous release. Here, spiritual themes pervade songs such as "Miracle Drug" and "Yahweh", and continue to be expressed on subsequent albums. 

***
As we can see, a deep spiritual sensibility can be discerned throughout much of U2's musical catalogue. Yet what is so remarkable about many such tracks is their often understated ambivalence. The listener is invited to take it or leave it. Those with no religious background might not even notice the spiritual imagery and themes, while those that do may enter into something deeper. It's entirely up to them. U2 does not overtly "evangelize" their audience, but allows them to pick up the themes as needed. Moreover, although ostensibly "Christian", the band's denominational orientation is left ambiguous. In fact, such sectarian divisions are set aside in favour universal themes of longing, alienation, love, and desire. They provide a positive, constructive, and accessible spiritual vision. One that isn't hung up on questions of doctrine or the politics of exclusion. In this way, it surely appeals to the "spiritual not religious" demographic. Those who search for meaning and encounter but do not necessarily fit into conventional religious categories. This, it seems, would at least partly explain the band's enormous and enduring appeal.