
I like their music, but how not to be in love with a guy who plays in a band with his adolescent sons (or the idea, not the guy).
Check out this radio show where they're featured. Wonderful!
“Our place is not the auditorium but the stage—or, as the case may be, the field, workshop, study, laboratory—because we ourselves form part of the creative apparatus of God, or at least are meant to form part of the creative apparatus of God. He made us in order to use us, and use us in the most profitable way; for his purpose, not ours. To live a spiritual life means subordinating all other interests to that single fact.”
We are not called, she goes on to say, to be amateurs, messy and hap-hazard in our work, but to keep a steady hand on the plow, employing constancy, subordinating our own agendas to a larger agenda one may sometimes not understand.
This liberty—this rigorous, demanding vocation—to form part of the creative apparatus of God, is exhaustingly joyous... It is the sort of freedom and joy that the famed runner Eric Liddel, was trying to get at when his character in Chariots of Fire says, “I believe God made me for a purpose, but he also made me fast. And when I run I feel His pleasure.” Or the well-spoken commentary of Frederick Beuchner upon vocation: “The place God calls you to is the place where your deep gladness and the world’s deep hunger meet.”
"Real conversation uses different skills than online communication. It requires the participants to have patience with each other, and to reveal more of themselves than they would online. We dumb ourselves down in online conversation. We depend on sound bites. We expect responses faster and are more likely to relay only the polished version of what we are truly experiencing. Though social media consistently requests status updates, rarely does it require us to post anything of depth... ideas, especially important, difficult, maybe treasonous ones, need time, care, and interaction: around dinner tables, holding cups of coffee, or holed up in burntout bunkers."
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Photo by: Antonio Correia |