PARADIGM SHIFT: Jason Nelson and company during the live recording of 'Shifting the Atmosphere.'
In an endless sea of new music, sometimes it’s easy to put your ears on autopilot and just allow one song to blend into another, one artist into the next. That would be a mistake with the music of pastor and worship leader Jason Nelson. Nelson’s new CD, Shifting the Atmosphere, recorded live in Baltimore, Maryland, is a 12-track gift of praise and worship that you don’t want to consign to that “generic music” category.
A Baltimore native, Nelson understands his music ministry as a “complement to his pastoral assignment” at the Greater Bethlehem Temple Church in Randallstown, Maryland. Particularly noteworthy is the fact that he participates within the worship moment he facilitates for others. At unpredictable moments, he slips into an intimate interval of thanksgiving or a vulnerable profession of love for God. The earnestness of such moments gives credibility to Nelson’s project. Witnessing his “shift” from the posture of worship leader to worshiper invites the listener to undergo a similar internal transition.
The new album has a taut feel — there are no throwaway tracks. Nelson comments on this dynamic, stating that he “worked hard to put together a CD with no fillers.” Each song advances the theme of shifting the atmosphere. “Don’t Count Me Out” is a hopeful affirmation, rooting positive expectation in the conviction that because God doesn’t count us out, neither should we count ourselves out. “No Words” merits special mention. The song elegantly captures an enduring paradox of faith: no concepts adequately describe God’s grandeur, yet we must speak to give voice to the hope of glory that lies within us. “Dominion” is another standout. It acknowledges that external conditions impact our lives, but denies that such circumstances exhaustively determine our lives. Finally, I must note that midway through the project, the listener is treated to a resplendent rendition of the hymn “Love Lifted Me.”
Months ago, I heard Mr. Nelson perform “Jubilee,” one of the album’s opening songs, at Allen Cathedral. He introduced the song by explaining the biblical tradition of Jubilee. Nelson mentioned that Jubilee represents a communal announcement of liberation: forgiving debts, returning land to its original holders, and setting the captives free. Next, he transitioned into a personal — and soul-stirring — appropriation of that tradition with a song of empowerment in the midst of impediments to fulfilling God’s purposes for our lives.
Calling his family his “greatest accomplishment,” Nelson speaks proudly of his wife Tonya and their children, Jaelyn and Jason Christopher. A skilled singer-songwriter, he composed the majority of the songs on Shifting the Atmosphere. Shifting is an engaging, well-executed, and uplifting album. The Verity Records project was released earlier this week. I wholeheartedly recommend the album to music lovers everywhere, particularly those who appreciate contemporary gospel music.
Check out a recent interview with Pastor Nelson below:
WORKING HARD: Donna Summer in the recording studio in 1977.
Disco great Donna Summer died yesterday at the age of 63. She was reportedly suffering from lung cancer and believed it to have been caused by exposure to toxins during the 2001 terrorist attacks on the World Trade Center in New York City.
The Sun reported that Summer was in a nearby apartment on September 11, 2001 and quoted her as saying, “I couldn’t go out, I didn’t want to talk to anybody. I had to keep the blinds down and stay in my bedroom. I went to church and light came back into my soul. That heaviness was gone.” It also described Summer as a “devout Christian.”
In a 2008 interview with ABC News’ “Nightline,” Summer recalled discovering her voice in church as a child. “I opened my mouth and … this voice just shot out of me. It shocked me and it shocked everybody in the room. I started crying, and I heard the voice of God say to me, ‘You’re going to be famous, and this is power and you’re never to misuse this power.”
CBN News reported that “Summer’s family said in a statement that they ‘are at peace celebrating her extraordinary life and her continued legacy.'” The network also said her former publicist Michael Levine said Christian faith was increasingly important to her as she got older. “She was very committed to God, spirituality, and religion,” Levine is quoted as saying. “Her passion in her life, besides music, was God, spirituality and religion.”
According to Elev8, Summer was “born again” in 1983 after a number of family tragedies and personal trials. “As her sudden, disco-era fame knocked her sideways Summer, who had already been suffering from headaches, insomnia and ulcers, was prescribed antidepressants, and developed what she described in a 1981 interview as ‘a very heavy’ dependence. In her 2003 autobiography,Ordinary Girl: The Journey, she describes how she almost committed suicide by jumping out of a hotel window,” the article said. It quotes the singer as saying, “I was Christian my whole life, but I didn’t really execute it – I didn’t live it. And I came back to realizing that without it I couldn’t get through this stuff I had to go through. I needed something that grounded me and it had to be really strong.”
Update:Terry Mattingly, editor of the media criticism site Get Religion, says some media sites got the timeline of Summer’s conversion wrong and attempted to link it to a decline in her career. “The actual sequence is more complex and looks like this — disco queen, depression, attempted suicide, reborn faith and then more hits in a variety of musical styles,” Mattingly wrote. It’s unclear from the post, however, when she was “born again.”
Were you a fan of Donna Summer? If so, which of her songs get your feet moving?
Recording artist Bootsy Collins is one of many artists Cornel West has inspired.
I’ve only known retiring Princeton University professor Cornel West as a celebrity activist. I’ve never read Race Matters, his most popular book, or any of his others (though I’m off to the library momentarily with a list). I first encountered West, with no clue as to who he was, at the 2007 American Academy of Religion annual meeting in San Diego, where he and talk show host Tavis Smiley shared a stage. In what became one of the most popular articles ever published on my personal blog, I described that experience as an exciting “gospel pep rally.”
Even in the hallways at AAR, West had the air of celebrity about him. Perhaps it was his appearance in two of the Matrix films. As I passed him, he seemed to expect people to recognize and stop him. When he called out a question from the back of the room at a panel discussion of philosopher Charles Taylor’s book A Secular Age, everyone paid attention.
I began paying attention too, both when he was campaigning for presidential candidate Barack Obama in 2008 and since he’s become one of the president’s most vocal critics on the political left. Last year, I heard West speak eloquently and passionately about racism in the criminal justice system at the Princeton University Imprisonment of a Race conference with author Michelle Alexander.
Eddie Glaude, Jr. said Cornel West has been his "saving grace."
I’m aware that some Black intellectuals have a “What have you done for me lately?” attitude towards West’s academic achievements. Glenn Loury of Brown University and John McWhorter of Columbia University, for example, dissected his intellectual output in a Blogging Heads dialogue last summer. Their basic critique was that West hasn’t produced any substantive academic work in at least a decade and has chosen instead to be famous.
I’m also aware that West’s theology makes some evangelicals uncomfortable. Earlier this year, a nationally known Black Christian leader told UrbanFaith that West had been disinvited from a speaking engagement at a popular conference because West was perceived as too controversial. Our source said other Black leaders were upset about this and were in discussions with conference organizers about the situation. In trying to discern if it was a story worth reporting, I called West’s office at Princeton University and spoke to an assistant. She said they knew nothing about it, but confirmed that a video crew was coming to film a segment rather than having him appear live at the event. Of course, I thought. What better way to save face and control the message. North Park University, on the other hand, welcomed West to its Justice Summit with open arms in March.
Hip-hop artist Lupe Fiasco has referenced Cornel West on four projects.
West is retiring from Princeton University after spending 40 years on and off as a part of the community, first as a doctoral student and then as a member of the Religion and African-American Studies faculty. He’ll be returning to Union Theological Seminary where he taught early in his career. Last night, when I attended his retirement celebration at the McCarter Theatre in Princeton, I didn’t go into the event as naively as I had the first time I heard him speak. But I knew it would be a good party, and it was. Musical performances ranged from gospel to show tunes to jazz to hip-hop to what my son described as trip-hop to funk. All the artists were stellar. What most interested me, though, was what people said about West.
Eddie Glaude, Jr., chair of the Center for African American Studies at Princeton, said West has “loved him to death” over many years. “As a deeply wounded young man from the coast of Mississippi, he has been my saving grace,” said Glaude. He also talked about the importance of West’s academic contributions, including how West “pushed and shaped how we think about Black liberation theology.”
Angela Groves spoke for many when she said Cornel West is a "master teacher."
“A generation of young African-American scholars found their feet in the expansiveness of Cornel’s intellectual imagination, reaching for his in-depth understanding of the western intellectual cannon and his profound grasp of the African-American intellectual tradition,” said Glaude, who also credited West with teaching him to stand in a tradition “defined by quality of mind and a disciplined practice.” On another personal note, Glaude said West once told him, “We’re all wounded and we have a choice. We can either be wounded healers or wounded hurters.” West, said Glaude, has chosen “to work at being a wounded healer.”
Princeton’s president, Shirley M. Tilghman, described West as a “prophetic Christian” who was raised in both the Black Baptist and the Black Panther traditions. She said his tenure as a professor at Harvard University (which ended badly) was a “period of self-inflicted exile” and recounted stories of West’s exploits both on and off the Princeton campus. Shortly after West returned to Princeton from Harvard in 2002, Tilghman was at an alumni dinner in Atlanta when someone asked a “querulous” question about West. “A young alumna stood up before I could even begin to answer and said, ‘You’ve got it all wrong. Cornel West was the most devoted teacher I had at Princeton and he changed my life,'” Tilghman recalled.
She talked about a group of graduate students in religion holding a marathon 11-hour seminar with West and about his generous response to a group of Black children that accosted him on campus. She also talked about walking down a Chicago street with him and realizing, perhaps for the first time, what a huge celebrity he is. Drivers honked their horns, taxi drivers stopped and offered rides, passengers in cars snapped photos. What all these people were responding to, she said, was “Cornel’s dedication to teaching, his wide-ranging intelligence, his enormous generosity of spirit, and his compassionate concern for the well-being of others.” “Princeton has been a far, far better place because he has been among us over the last 40 years,” Tilghman concluded.
Actor Harry Belefonte is inspired by Cornel West's public service.
Like the alumna Tilgham spoke of and the students featured in a video montage that played between musical acts, Angela Groves, Princeton University class of 2012, said West was a great teacher. “Thank you for showing us a manifestation of courage and faith. Thank you for igniting a fire under us to serve others, to fight for justice no matter the cost, to speak truth to power, and to constantly and fearlessly examine ourselves and examine the world around us. And thank you for showing us how to do all of this from a spirit of love and compassion,” said Groves.
The celebrities in attendance also spoke. Hip-hop artist Lupe Fiasco talked about West’s direct influence on popular culture, for example, and on his own music. He recalled hearing West say, “We have to make those things that are uncool cool and we have to make those things that are cool uncool.” The words stuck with him and found their way into his music. “This man is in love with love more than anybody I know,” said Fiasco.
Actor and activist Harry Belefonte said he had nearly given up on thinking there were any more “renowned figures” who use their platforms to put themselves “in the service of human need and struggle,” but then along came West. “Those of us who have been in the struggle a long time who have still got room to be inspired have been inspired by you.”
Like West and Fiasco, Belefonte has been an outspoken critic of President Obama. In that vein, he offered the only sour note of the evening, telling West, “I’ve been to the White House. These days you haven’t missed much.”
After being coaxed onstage, Cornel West embraced the opportunity to sing with George Clinton.
I was watching the show from the balcony and saw the stage manager try to coax West out of his seat to get up on stage with headliners George Clinton and Parliament Funkadelic. West kept resisting until she and others pressed him into service. Later, when he finally took the stage to thank everyone involved in the celebration, he spoke briefly and humbly. “I want each and every
one of you to know that when you heard those words about me, you were honoring my father, the late Clifton West, and you were honoring my mother, Irene B. West,” he said. “I hope and pray that even though tonight the focus has been on me, that it’s so much about faith in something bigger than you. …If you’re a Christian, you know that that first century Palestinian Jew named Jesus of Nazareth died for you and he’s bigger than you. … Keep the funk real, keep the vision real, keep the love real, keep the justice real, but in a spirit of self-critical smiling and laughing.”
Whatever you think of the man’s theology or politics, there’s something to be learned from his life of service grounded in faith and his dedication to the next generation, not to mention his wide-ranging taste in music. Bon voyage Dr. West!
THE WORLD ACCORDING TO KEY AND PEELE: Beyond being funny, Keegan Michael Key and Jordan Peele's irreverent comedy shines a light of truth on African American life.
In Part 1, we examined the connection between Comedy Central’s Key & Peele and the tension that Black men feel between being accepted by society and being true to one’s self.
Here in Part 2, we’re going to take a look at several Key & Peele sketches, get at some of the underlying issues behind the comedy, and see what biblical truths can be applied to them, particularly as they relate to the lives of young men like Trayvon Martin.
(Before I go any further, a DISCLAIMER: Key & Peele is rated TV-14, and while there are very few sexual references, there is a fair amount of profanity, albeit mostly bleeped out. As always, use discretion when viewing clips. You don’t want your 5-year-old repeating this stuff — or your 45-year-old boss, for that matter.)
(Also, let me say this for the record — despite the adult content, I think each of these sketches is absolutely hilarious. No, they’re not for children. But they’re funny nonetheless. In the following paragraphs I do a lot of cultural exegesis, breaking down the principles behind the humor. But never let it be said I don’t think it’s funny.)
“Yo Mama Has Health Problems,” is a depiction of a doctor with an Indian accent, trying to give a consultation to a younger Black guy with his posse standing behind. Every time the doctor tries to engage the guy in conversation about his mother’s failing health, dude has some juvenile comeback with which to delight his friends. Riffing on the classic pastime of playing the dozens, this sketch demonstrates the communication breakdown that happens to people with misplaced expectations and different cultural traditions.
The brilliance of the sketch is in its metaphysics — that it’s one long joke about people joking with another. The twist at the end is when the doctor figures out how to play along, and does so — with shockingly inappropriate results.
This sketch makes you laugh and cringe — often at the same time — because few things are more destructive to a relationship than a failed attempt at humor. This is not to say that we shouldn’t joke around with one another, but rather, we should understand how and when to do it. Gilbert Arenas had to learn this the hard way — there are times when jokes are not an appropriate way to make a point. After all, there’s a reason why, in Proverbs 26:18-19, careless jokesters are compared to arsonists.
What’s especially poignant is, a few minutes in when Jordan Peele’s wisecracking character lets down his guard, his acknowledgement rings true. Many people, Black White or otherwise, use humor as a coping mechanism. And this is not necessarily a bad thing, but the problem is in context. When others around us take their cues from our sketchy behavior, that creates misunderstandings of epic proportions. If those misunderstandings are propagated long enough, you end up with people resorting to smartphone apps to see if they’re allowed to say the n-word.
If we as Black folks want to help edify and build up others outside of our culture, it’s going to require, at times, that we rein in our sense of humor. Not mortally cripple it, just put some good boundaries around it. Otherwise we’ll continue to have tragic episodes of miscommunication, and the net result will be fewer people willing to take the risk of a potential offense for the sake of gaining greater clarity and perspective from someone outside their cultural context.
Given our nation’s overall racial divide, it’s clear that we as Christians need to share as much perspective and gain as much clarity as possible. It’s just one way to help our nation avoid more Trayvon-like incidents.
In the book of Acts, there is a profound story regarding Peter, a leader in the early church, and a vision he has regarding a blanket of food that the Lord told him was no longer considered to be unclean. Space constraints don’t permit me to fully break this down, but that vision leads Peter down a path of greater love and acceptance for outsiders.
This sketch reminds me of that story, except that the cultural model is inverted. Instead of ethnic-specific foods being outlawed, they’re actually preferred. And rather than exclude each other, we see Jordan and Keegan trying to outdo one another, proving their in-group status by ordering more and more “authentic” soul food, which comically regresses into more bizarre and less-edible fare.
There are many underlying truths in this sketch. The obvious one is that men are often hypercompetitive, and African American men are no exception. Another is that soul food, while an important component of African American culture, sometimes lacks in nutritional value.
This makes sense if you factor in the role slavery had in restricting the culinary habits of Black people in the nineteenth and twentieth centuries. Blacks rarely had access to choice cuts of meat, so had to adapt by eating the parts of animals that their White masters found undesirable.
Indeed, it seems as though ingenuity as a survival instinct has become a defining characteristic for African Americans; the history of hip-hop, for example, is full of people who took undesirable, marginal or forgotten elements of music and turned them into something original and innovative (graffiti, turntable scratching, sampling, etc.).
The downside, though, is that just because something is culturally authentic doesn’t make it good. It’s no wonder that a people who were subjugated and dehumanized for centuries might internalize behavioral ways of coping that are less than truly healthy. This dynamic is what is satirized by K&P by the pursuit of food that sounds less than edible.
My favorite moment of the “Soul Food” sketch is at the end, where Keegan says, in response to the server’s offer of gravy: “What’s a cellar door without gravy? It’s not food.”
Isaiah 55:1-2 calls out to people in this situation, who find themselves grabbing plate after plate of stuff that isn’t really food. Isaiah proclaims the compassion of the Lord, who wants His people to be satisfied with goodness and settle for nothing less.
Rather than chasing only what is culturally authentic, as Christians we should chase after what is anointed and Godly. Rather than competing for cultural acceptance, we should be spurring each other on toward love and good behavior, worrying less of what others think than of what the Lord thinks. That’s true for Black men, yes, but it’s true for everybody.
* * *
So now, in two of these K&P sketches, we’ve seen several aspects of Black masculinity on display, and identified a few solutions that can help our young Black men continue to develop and make the world a better place for all the other Trayvons out there.
But what about our relationships with women? There seems to be issues at play that affect our interactions with each other and with the opposite sex. Whether male or female, this is something worth paying attention to.
So make sure to check out Part 3 of this series, where we delve into the final sketch of our sample.
I have a confession to make. You might want to sit down for this: I am a young Black woman and I enjoyed the filmThink Like A Man.
Whew. Feels good to get it off my chest.
I’ll be honest, when I first heard that there was a film slated for 2012 based on the book, I did the obligatory eye roll and didn’t expect much. The past few times I made the grudging trek to the theatre to see movies with predominately Black cast — primarily so that I could keep my membership in the Black community — I was mildly disappointed. I say mildly because I have sadly grown to expect very little from Black movies. In real life, I find my community to include a wealth of comedic talent, natural artistic abilities, an eye for concepts that are abstract and often complex, and yet … on screen it seems that we often fall flat.
Nevertheless, Think Like a Man (TLAM) was everything you wanted a romantic comedy to be. It was witty, keen, and resonated for me as a young unmarried woman in her late 20s. I kept whispering to my best friend, “This is hilarious … This is so on point … This is so true!” He agreed.
But of course, EVERYONE doesn’t agree. Rahiel Tesfamariam, the founder and editor of Urban Cusp (a website I deeply respect), posited that TLAM served up “patriarchy with a smile.” Rahiel writes:
… Harvey, Tyler Perry, T.D. Jakes and countless others are making millions branding themselves as cultural gurus who understand the plight of black women.
Only a patriarchal mind set would constantly paint women with stereotypical, pathological brushstrokes and serve it up as digestible truth. As if real-world paternalism wasn’t enough, we can also have it to look forward to in black cinema.
She goes on to outline the four stereotypes of Black women found in the movie: the single mother, the promiscuous Jezebel, the never-satisfied control freak, and the emasculating powerful executive.
The problem here, though, is the article forgets the purpose of a romantic comedy. Have you ever seen a good rom-com where the women and men in the movie don’t have some serious flaw? That’s the whole point! Let’s break down these alleged stereotypes:
1. Single Mother – I’m not sure if “single mother” is a stereotype or if it’s a reality for many women, of all races. I’d be more inclined to believe that Regina Hall’s character was a stereotype if she were irresponsible, unable to care for her child, and dependent on welfare. But she wasn’t. She was the mother of one child who balanced healthy friendships, relationships, and a career. She was a single mother you’d be proud of!
2. Promiscuous Jezebel – Meagan Good’s character, Maya, just doesn’t fit this stereotype. She’s only shown sleeping with one man prior to her onscreen counterpart, Zeke. If anybody was seen as promiscuous, it was the man she was sleeping with who failed to remember her name and left the morning after. Was she more trusting than she should have been? Possibly. Promiscuous. Not sure on that one.
3. Never Satisfied Control Freak – I’m having trouble with the premise that Gabrielle Union’s character fell into this stereotype. She wanted the man she was dating to improve his career and commit to her…. Where’s the control freak part? Furthermore, when attempting to remodel their apartment, she asked for his input prior to making any decisions and only proceeded after he passed the reins over to her. Yeah, calling her a control freak is quite a stretch here.
4. Emasculating Powerful Executive – Here is where I can concede that there was a possibility that Taraji Henson’s character, Lauren fell into a stereotype, just not the one that Rahiel pointed out. What stuck out for me wasn’t Taraji’s power role, it was her ridiculous expectations for a man. She expected him to have a certain kind of career, pedigree, and power. The sad part is, while this is a stereotype, it’s one that I see in real life, much too often.
I’d be more inclined to believe that men are stereotyped in the film more than the women. You have:
1. The Reckless Rebounder – Kevin Hart’s character, Cedric, is the recently separated man who leaves a good woman he loves and embarks on a tour to get back on the dating scene and do nonsense in strip clubs.
2. The Playa – Romano Malco’s character, Zeke, is the ultimate player who wines and dines women, sleeps with them, then disappears.
3. The Mama’s Boy – Terrence J’s character, Michael, plays the ultimate cliché, the adult male who can’t quite let go of his dependence on mama.
4. The Normal White Guy – Gary Owen’s character, Bennett, is the White friend who has it all together and is in a happy marriage.
Unfortunately, though, calling out TLAM’s stereotypes of men doesn’t appear to fit in Rahiel’s overall theme that Steve Harvey and the film’s producers are serving up patriarchal ideals.
One other criticism lobbed at TLAM, not only by Rahiel but by others, is the lack of a spiritual message or any discussion of faith. In her commentary at The Washington Post, Rahiel says:
Matters of faith have historically been so deeply embedded into the black American psyche that’s its practically dishonest to reflect black women navigating concerns about love, family and careers without any substantive “God talk”…. Maintaining centrality in the character’s lives by providentially coaching them through life’s most important decisions, Harvey symbolically played the role of God.
Wow. Considering Steve Harvey’s frequent and often Tebow-like references to God in his comedy and on his radio show, I’m sure he’d be offended by the statement. As a Christian, though, I understand why matters of faith may have been strategically left out of the movie. A good portion of the movie centers around the “90-Day Rule,” in which Harvey posits that women should not have sex with a man until after 90 days of dating, because a good man who respects you will stick around for that long to “get the cookie.” The Christian perspective as outlined by the Bible, however, is in direct conflict with this advice. Sex outside of marriage is simply not an option for committed Christian couples. Steve Harvey knows this. And there clearly are contradictions inherent in his “God talk” and “relationship guru” personas. I cannot defend him on that. But this film is a separate matter, and I think viewers should judge TLAM for what it is, not what we want it to be.
How exactly could a movie with such a heavy focus on Steve Harvey’s 90 Day Rule also expect its characters to rely heavily on spiritual themes or guidance? If the characters did that, then they’d toss the book and its advice in the trash, and we would never have had a premise for this hilarious film that gives us something relevant to talk about with our friends.
In short, expecting a movie that does not purport to represent Christian values and themes to include references to “matters of faith” is a bit odd.
Think Like A Man is a keen, entertaining film with characters that I recognize from my daily life, but I believe many people expected it to suck — and probably for good reason. Unfortunately, when you start with low expectations, there is opportunity for self-fulfilling prophecy to take hold. You assume the movie is going to have you up in arms, so you find a way for the movie to, well, have you up in arms.
Give it a chance, if only for the lively discussions afterward.
A DISTINGUISHED BREAKTHROUGH?: Will this man, Lamar Hurd, become the first Black "Bachelor" on ABC's popular reality show?
When I stumbled upon the news that Lamar Hurd launched a campaign to become the first Black man cast on ABC’s The Bachelor, I sighed and shook my head.
Let me say this up front: I hold no ill will toward Lamar Hurd. A late-20s sportscaster based out of my hometown of Portland, Hurd is the type of guy I should have no problem finding likeable. He was a standout ballplayer at Oregon State, and went on to play pro ball overseas for a year before returning to build a career in broadcasting.
So what I want for him is the same thing I want for me, my loved ones, and really for all people in general — to have lives of significance, spent in the pursuit of our God-given purposes, developing meaningful relationships along the way. According to a recent interview, his faith is an important part of his life, so I think that he probably wants the same thing for himself.
Which is why I hope he changes his mind and stops trying to get on that show.
Because 20 years from now, I don’t think being the first Black guy on The Bachelor is something he’ll look back on with much pride or accomplishment. Even if we ignore the lawsuit that two other African American applicants filed decrying The Bachelor’s lack of diversity, the political or cultural implications of achieving diversity goals via class action litigation in general, and how it might negatively impact Hurd if he’s cast as a result of public pressure to fulfill a quota … even if we ignore all of that … it’s still a bad idea.
Not that I don’t understand the allure, though.
Having grown up in the Pacific Northwest, I understand the whole First Black Guy thing. My dad was the First Black Guy in his region to take a full-time staff role at a particular faith-based nonprofit. I was among the first few Black guys to graduate my elite private high school. There is a certain element of privilege at being able to break through a perceived color barrier, which is part of the reason why President Obama will always occupy a special place in history, regardless of the efficacy of his political legacy.
But we’re not talking about politics, or academics, or even sports. No, Lamar, we’re talking about reality television.
(Can I call you “Lamar?”)
This is the genre that made household names out of Kato Kaelin, Omarosa, and Jon Gosselin. Is this really the venue where you want to establish your reputation, a show where the male protagonist is encouraged to sample ladies like hors d’oeuvres at the supermarket? It’s not exactly consistent with the kind of sterling character and integrity that you spotlight in your campaign video below.
C’mon, Lamar. Not only does this have the potential to make you look bad, but seriously … do you really want to select a wife from a pool of women who are incentivized to actively compete for your attention? When the woman in Proverbs 31 is mentioned as being shrewd in the marketplace, she’s supposed to be the seller, not the product on display.
Plus, even if we assume that you and your prospective wife both succeed in participating in the show without degrading yourselves — a long shot, to be sure — it’s still no way to prepare for a long, committed, prosperous marriage. Because anytime she disappoints you by not living up to your expectations, you’ll be tempted to compare her to one of the other dozen ladies who caught your eye before, and think, “Shoot, I should have picked her instead.”
If you’re really serious about your faith, then put more of it in God than in a reality TV show. You may be surprised by how well He can meet your deepest needs and desires, even those you’re not aware of.
Or, if you prefer, think about this like a basketball player. Do some scouting. Research the last ten guys cast as The Bachelor. Find out how many of those guys are still dating or married to the woman they selected. Then ask yourself if this show will get you the best, highest-percentage shot at a successful marriage.
And if none of that works … just hit me up, bro. I know a few ladies who could be a good fit for you. I don’t know if they share any of your likes or dislikes, but I know they have more sense than to audition for The Bachelor.
The new album has a taut feel — there are no throwaway tracks. Nelson comments on this dynamic, stating that he “worked hard to put together a CD with no fillers.” Each song advances the theme of shifting the atmosphere. “Don’t Count Me Out” is a hopeful affirmation, rooting positive expectation in the conviction that because God doesn’t count us out, neither should we count ourselves out. “No Words” merits special mention. The song elegantly captures an enduring paradox of faith: no concepts adequately describe God’s grandeur, yet we must speak to give voice to the hope of glory that lies within us. “Dominion” is another standout. It acknowledges that external conditions impact our lives, but denies that such circumstances exhaustively determine our lives. Finally, I must note that midway through the project, the listener is treated to a resplendent rendition of the hymn “Love Lifted Me.”
I have a confession to make. You might want to sit down for this: I am a young Black woman and I enjoyed the film 