Category Religion

A few years ago, I was writing a script and coordinating with a production company to create a short video with narration and music. Part of my task was to amass a large cache of photos, each of which could match relevant parts of the narration. The protocol in such projects is to give the editor far more photos than he or she will need, and I dutifully performed that function to what I thought was completion.

So I was rather taken aback when the editor complained the next week that he didn’t have nearly enough photos to finish the job. The conversation went something like this:

Me: “How could this be? A hundred and fifty photos for a five-minute show isn’t enough?”
Him: “No way.”
Me: “By my count, that’s one every two seconds!”
Him: “People these days want really fast-moving pictures. They get bored if it’s too slow.”
Me: “People these days?…Bored? Too slow?”

And so on.

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I’m put in mind of that co...

It’s a by now familiar state of, if not  bliss, then at least deep contentment: listening to “Messiah,” first performed 280 years ago and ever since performed by one orchestra and choral group or another around the world whose members raise their voices to the celestial vision George Frideric Handel was setting to music from the words of the King James Bible as rendered by his librettist and friend Charles Jennens.

I’ve heard the work live probably 10 times, sung along with it (gamely!) several more when performances presented that option to audience members, and listened/sung with recordings countless more.

And so it was again earlier this month at the annual kickoff to the Christmas season at Duke University Chapel.

So identified with the oratorio is Handel that his last name is attached to the work almost inseparably in every performance or recording you’ll ever come across—never just the official ...

“Oh senseless, man, who cannot possibly make a worm or a flea and yet will create God by the dozens.” The quote is from the French philosopher and wit Voltaire, poking fun at the universal human penchant to gaze up at the heavens and conjure some supreme creator who waved its hand a few times (because, like us, it has hands) and made everything there is.

Voltaire was right, of course: We are not (yet) God enough to create a worm. (We should note, though, that worms are infinitely more complex than we might think at first glance. Come to think of it, pretty much everything is more complex than we tend to think or tweet self-righteously about at first glance.)

But oh, can our human imagination take us places! It’s one of our more useful, charming, alternately troublesome and transcendent qualities, actually.

Seven more days then unfold almost exactly like the first two, and in nine days I have watched t...

Many critics are lumping Adamma Ebo’s “Honk for Jesus. Save Your Soul.” into the comedy genre, and suggest the movie should have stuck to its lane in drawing laughs at the hypocrisy and thinly disguised greed on display with a certain kind of evangelical megachurch pastor who at best has his hands in your pocket and at worst isn’t looking only for money when he’s fishing around in there.

Yes, there are plenty of cringey laughs at the usual sendups of avaricious preachers in expensive suits and palatial homes pounding away at a “prosperity gospel” that reserves most all the prosperity for themselves.

But Ebo’s film debut, in conjunction with her twin sister Adanne as producer, is much more notable for its dark and tragic elements that underscore the dismal con job such ostensible conduits to the divine perpetrate not only on their flocks, but on themselves, too...

“Gone With the Wind” is an alternately enchanting, preposterous, compulsively readable/watchable turbo-charged romance of seduction, goodness and cynicism. Along the way, it is also top-heavy on the myth of a doomed Southern nobility fighting to preserve its way of life against the “invading hordes” of abolitionist heathens.

Watching the movie version the other night for probably the fifth or sixth time thanks to the cultural treasure of “Turner Classic Movies,“  I was struck more than once with cynical guffaws and groans as scenes of wildly extravagant balls and untold riches played out under a patina of honor and chivalry that was in truth built upon the backs of slaves.

That said, I was also struck as never before by the character of Melanie Wilkes, the noble Ashley’s golden-hearted, ever-faithful wife.

Melanie contends with main character Scarlett O’Hara’s long-running obsession with stealing Ashley a...