Constants for the Wanderer: Mute Math.

I first saw Mute Math in concert at The Knitting Factory, not long after I moved to New York.  I was so excited, I think I might have completely lamed out and worn a band t-shirt. I knew there was a distinct possibility that I’d be the only Black person there and I didn’t care. My live experience with this band had been years in the making and I wasn’t going to flake because of any race-related awkwardness. The fact was: I knew I belonged there. I belonged there so much, my skin prickled with goosebumps when I walked into the venue.

That I love this band is a given. They’re great showmen. Paul Meany used to do handstands on an organ at their shows. Just because. Darren duct-tapes headphones around his head during sound check, because he’s such a spastic, frenetic drummer that they’d likely fly off if they weren’t secured. Roy has an unflappable cool whether singing back-up, plucking an upright, playing bass or banging drumsticks on the sides of speakers. Greg has an open, earnest face at which you can’t help but stare when he open shows with the battle cry at the beginning of “Collapse.”

These men are an electric spectacle.

But my affinity for them goes far beyond their showmanship or their lyrics or their instrumentation (all of which are remarkable in limitless ways). You see, like Desmond Hume is to Daniel Faraday on Lost, this band is one of my Constants.

Truly, I’ve told myself on many a day, “If anything goes wrong, Mute Math will be my Constant.”

In the years leading up to the fateful move to New York that brought me face to face with my favorite band of all time, I was going through a painful separation. From my church. That’s a long, different story and one I won’t belabor here, but by the time I started grad school, I wasn’t regularly attending any church and wasn’t in any particular rush to find one after relocating.

The fact was: even when I attended church three times a week, which I’d done for the majority of my youth, I’d always felt like a bit of a misfit. For starters, I wanted to be a fiction writer—and not the kind who writes morality plays or romances where some reprobate finds faith through his love for a righteous woman. I wanted to write stories about women fighting over the death of a crack addict they’d both taken as a lover or tales about a biracial Canadian who infiltrates a slave plantation or simply stories about girls who drink beer and don’t wait until they’re married. And that didn’t really bode well for the pursuit of holiness.

So I hid my dreams of writing mainstream fiction (or my dreams of becoming a Professional Liar, depending on your point of view, I guess), and I wrote spiritual, spoken word poetry instead.

In the ’90s, rapid-fire spoken word was the thing. I came of age before the Love Jones trend hit the pulpit, so what I was writing seemed intriguing and anomalous to congregants. I penned critical poems about the trappings of materialism and greed and how true religion and undefiled before God was more about tending to the fatherless, widowed, hungry, sick, and afflicted than about building massive infrastructures within which to hold exorbitantly priced, cliché-laden mega-conferences.

People would clap at the end, but I felt largely unheard. In the intervening years, I realized that I was, in fact, noticed, if not wholly heard (and to be fair, I was quite difficult to follow with my mumbly, super-swift delivery and my inaccessible vocabulary). I’m still asked if I write these kinds of poems, poems that I felt were rebellious, anti-establishment, locust-and-honey-filled rallying cries. I do not. And mostly, I’m okay with that.

But even though I left my church and started writing whatever I wanted, rather than solely focusing on what would be acceptable to utter in front of an altar, I’ve always retained a reverence and concern for my faith and its survival—and that reverence and concern isn’t always easy to maintain.

Enter Mute Math. Well, no. Enter Earthsuit.

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Whose Soul Is “Single Ladies (Put a Ring On It)” Saving?

I have so much to say about church since I stopped going regularly. Usually, I find myself grappling to adequately articulate it all. There’s a delicate balance between criticism and cruelty, especially when discussing “The Church,” an institution that doesn’t exactly welcome criticism of its practices. In church, I was indirectly taught not to turn a critical eye to what was going on around me and to call my lack of intellectual investment “faith.” So even now, as I know that it’s quite natural to question an obviously erroneous exercise, I still feel a little guilt when the exercise I’m decrying is a church one.

And then there are days like today, when I log onto the ‘net and find a video like this one:

in which a “fictional character” named Mother Wisdom decides to offer a rallying cry to the single women in the congregation. That rallying cry: Beyonce’s “Single Ladies (Put a Ring On It).”

Now, I can see that this video’s been available on YouTube for nearly two months, so I know I’m late to the game, offering any kind of commentary. But there’s no statute of limitation on annoyance, right?

There are about three different facets of this footage that trigger knee-jerk responses for me. I’ll give you two:

1. I’ll start with the superficial. I grew up in churches where leaders frowned upon listening to non-gospel music. As a result, my peers and I were constantly “resetting.” We’d acquire “secular music” from various sources: dubbing radio broadcasts, borrowing CDs from cousins (so that if we were caught with them, we could say, “They ain’t mine!” and not be lying), or developing an afterschool BET-viewing habit.

Then our youth group or some visiting speaker would slam non-Christian musical recordings and we’d feel super-guilty about our secret acquisitions (folks in my church circle called this “feeling convicted,” a catch-all term that pretty much applies to anything that causes you even the slightest twinge of guilt. See: “I felt convicted after eating a fat slice of chocolate cake at 1 a.m.”).

So we’d “get rid of” all our “secular” music. We’d reset ourselves as truly penitent, secularity-abstaining young people… until the next Jay-Z single dropped.

At my church, this was an individual practice. But once, I went to a winter formal at a tiny Christian college in a tiny Pennsylvanian hamlet. I stayed overnight in the women’s dorm and found taped to more than one door several shards of “secular” CDs, CDs that had been broken in a public forum to prove that one’s addiction to the devil’s music was over.

I can’t speak for those young women, but I, for one, cannot attest to ever completely deadening my interest in non-gospel music. When I was a senior in college, I had one of these “conviction” spells. In a fit of pique, I tossed 20 “secular” CDs (all that I had acquired in my four, post-youth-group, living-on-my-own years) into a shoebox and left them in the lobby of my dorm, with a note attached that read, “Please Take.”

One month later, I heard the sophomore across the hall blasting my Cree Summer Street Faerie CD and I felt remorse of another kind. (Fortunately, I still had my newly purchased cassette promo of Bilal’s “Soul Sista” single–the one I eventually broke by incessantly rewinding the “Sometimes” snippet–to ease the pain.)

But back to the point, which is that few young music aficionados feel inclined to permanently confine themselves to one genre of music. If a Christian child could entirely escape all non-Christian music, videos like the above wouldn’t exist. There would be no frame of reference for them.

This is what has always annoyed me about the informal Secular Music Ban in The Church: when it doesn’t yield the expected results, people swing 180 degrees to the left, and start singing snatches of secular music to “win the young people.”

You won’t win souls by singing excerpts from “Single Ladies.” You just won’t.

What you’ll do is undermine everything you’ve ever said about secular music being “sinful,” and the only point you’ll effectively convey is how akin the church and the club can be. (You got your crowd amped by playing a popular radio single? Congrats! So does a DJ.)

2. Onto my second problem. The even more obvious one. After Mother Wisdom “gets the crowd hyped,” she gets to her tiny, practically whispered point, which is: “Wait.” She goes on to quote Romans 12:1 about presenting your body a living sacrifice to God. Turns out, this whole ill-advised display is about pre-marital abstinence.

Setting aside the fact that the lyrics of that song (as I interpret them) are the antithesis of abstinence-promotion (Isn’t the “it” to which Beyonce’s referring her own sexual prowess? Aren’t her leotard and stilletos in the video the archnemeses of modesty?), singling out the single ladies, making them stand in a coed congregation and tasking them and them alone with the burden of “waiting,” seems a bit… unbalanced, does it not?

And yet, like the informal ban on secularity, this is a pretty common practice, at least in the churches that raised me. When the risque subject of sex finally needs to be addressed within a youth group (usually full of 16-, 17-, and 18-year-olds who may very well already be sexually active–or at least have picked up a plethora of bad habits, rumors, and perceptions about sex that no one conversation in a church on a Friday night could ever hope to undo), the girls and the boys are separated. A male youth worker talks to men. A female youth worker talks to women.

I don’t know what the dudes are told, but chicks are told that we need to be virtuous and wait on the Lord for husbands. Chicks are told that we should dress modestly so as not to incite dudes to “stumble” and “lust after” us.

Maybe while we were being shamed about our femininity, dudes were receiving the same kinds of messages. But what I suspect was more likely is what this video illustrates: girls were getting the “take responsibility for your and your boyfriend’s abstinence” talk while dudes were told that, when the time came to select a wife, they should choose one who “waited” (… for him to do whatever he pleased with “single ladies” who didn’t care if he “put a ring on it”).

Interestingly, those messages don’t end when you’re no longer young enough to attend youth group. Churches also have these nifty things called “Singles Ministries,” where, in my experience, you congregate to drink punch and read all the scriptures there are about decrying fornication and the very few that the Apostle Paul wrote about the virtues of single living (… penned after his own divorce), while some married bible study teacher tells you how he “found” his wife and how his wife “waited” for him to “find” her and recognize that she was a “good thing.”

These people may also take you bowling. On Friday or Saturday nights. (Typically, there’s only one or two men in this “ministry.”)

I give you exhibit A. Sure, this seems to be a regular in-home “Young People’s Choir” practice, but I’m willing to wager these people are single. And this was a Friday or Saturday night. And before or after this “rehearsal,” the women pined over their future husbands:

Also: I can’t stress enough how very disturbing the pervasiveness of this song (and dance, apparently) has become, within church communities:

Blacks and the Jesus People Movement.

Image from http://www.hollywoodfreepaper.org.

Greetings All!

I’m working on a biography featuring African Americans who were integrally involved in the Jesus People Movement of the late 1960s and ’70s.

History has long suggested that African American involvement in the Movement was minimal; however the
music of artists like Andrae Crouch and Leon Patillo, as well as the story of South Chicago’s New Life Community (and its eventual fusion with Jesus People USA) suggest otherwise. The biography will focus on the pop cultural contributions; the unique challenges and triumphs; and the subsequent spiritual journeys
of African American “Jesus People.”

Current Jesus People USA members and former participants in the Movement who’d like to be interviewed for this book project should contact me here (in the comments section).

“Prodigal”

I do not believe I am prodigal. To proclaim me as such would mean assuming that I left the churches I attended or questioned my beliefs because I thought I knew better. You’d have to believe that I’m arrogant and need desperately to be humbled. You’d have to say that, even though I’ve asked Christ to redeem me, one or more of my actions thereafter have voided that redemption.

Though I adore Jesus’ parable, I cannot say that I relate to the son who demanded an early inheritance and swaggered boastfully off to destroy himself. I am not penniless in a pig’s trough and neither are any of my wandering, currently churchless friends. I’m confused and broken and spent, to be sure, and on occasion, I long for the days of old when the tufts of wool adorning my eyes still felt warm and comforting.

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Phantom Limbs

On occasion, I hear hymns. I hear Hosanna Integrity and Dayspring songs on AM radio. I see an infomercial about purchasing the latest Christian Contemporary compilation CD and watch as seas of tear-streaked faces gaze at ceilings with their arms upstretched and their fingers splayed, while 30-second snippets of Third Day and MercyMe songs play.

Other times, I find myself in a room full of people, and I happen to hear one guest greet the other.

“God is good!” the woman in the knee-length skirt calls.

“All the time,” the lady standing next to her answers.

“And all the time?” a man nearby chimes in.

“God is good!” they happily exclaim in unison.

Recently, I asked a fellow adjunct professor if she was considering the pursuit of a PhD, and she answered, “Only if that’s what God wants for me. I’d have to be intentional about it and make sure it’s His will. Otherwise, I’m not sure how far I’d get, trying to do it on my own.”

These are commonplace occurrences, though every time I hear a hymn or see a commercial full of earnest, tearful worshippers serenading Jesus with the lyrics of Jars of Clay or I try to make small talk with someone who only speaks Christianese, I feel like I’m having an out-of-body experience.

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Them

They’re wondering what happened to us, the youth leaders we left behind, the deacons and prophets who watched us sing solos with the children’s choir or mumble through recitations in Easter pageants. They do not feel that they’ve failed us. They think that we have failed them.

But we remember the day T.J. dropped dope in the men’s bathroom when he was fourteen and fatherless. We remember Eugene and Damont being gunned down before their twentieth birthdays. We remember the Park Heights cats with stony eyes and priors who rushed the stairs leading up to Youth Church, looking to jump Raheem. We remember the succession of girls whose bellies began to swell and recall how naively they loved, despite prophetic words and without prophylactics (because advocating teen birth control meant advocating sin). We still hear your voices hardening as you discussed them, as though all their adolescent missteps reduced them to footnotes in a series of cautionary tales.

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Gilded

Days before our annual New Year’s Eve Service, Pastor Robinson absently asked me to pen a poem and plan on reciting it some time after praise and worship and before his sermon. Because I had very little sense of self-preservation, I agreed.

I did not tell him that commissioned art requires ample notice.

I did not tell him that the rapid-fire performance pieces I recited didn’t spring from my head fully formed.

I did not tell him what I believed then—that I couldn’t write poems for church services without spending time praying and hand-wringing and lamenting, without asking God if the often scathing criticism I snuck in by rattling it off too quickly for listeners to immediately process was actually okay to repeat aloud.

I did not tell him that that settled, Yes, I do believe I’m free to write and recite this; No, I don’t need to further edit myself sensation—the one I was so sure then was the presence of God confirming the words He’d given me—simply could not be rushed.

I simply nodded and agreed, then spent the next four or so days panicking and envisioning myself in a room filled with hundreds of sequin-clad onlookers with absolutely nothing to say.

Somehow, I managed to get a poem written. I printed it out and spent the remaining day and a half before deadline desperately trying to commit the piece to memory. I was always terrified to stand in front of the church to share poems. Though all writing is nakedness, poetry is nakedness on a JumboTron; and I always found it comforting to have a page to hide behind. I’d approach the microphone, unable to hear any thought other than, Just get it over with. Just get it over with.

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