In which the atheist rants at some length without conclusion on matters of religious hypocrisy.

There’s this thought I’ve had about huckster preachers who scam their congregations and promise eternal rewards for handing over their temporal earnings. This is just a matter of public-facing behaviour of those who claim to be generally christians.

In these cases, they, it seems to me, can’t actually be ‘real’ Christians – they can’t actually believe in the afterlife they preach. If they did, they would obviously live their lives differently (rich man / camel / eye of needle – you know the drill) knowing that a vengeful god would have it in for them at the other end of things.

I throw around vague terms but the people I mean include American preachers who lead megachurches and live in mansions, Catholic priests who collect tithes for Rome but whose congregations live in poverty. And a few other types.

Those who believe in deathbed conversions have to step carefully given how easy it is for death to sneak up without warning.

Do I have a philosophical case to make regarding the benefits of atheism or living a Christian life without the hypocrisy of those of the cloth? Great question.

Listen. I’ll say it again. I’m a lapsed Jew with occasional tendencies towards Christian imagery in my writing and a firm belief that Jesus was a nice Jewish boy who got in with the wrong crowd but eventually made good. In addition, I’m fond of end of the world apocalyptic movies like The Omen and that one with Schwarzenegger from the 90s.

On the other hand, I carry animus towards exploitative religions and religious behaviour no matter their origins. Anyone who works against the protection of the young / the helpless / those in danger or in harm’s way is, however, working against the tenets of basic biblical teaching. The same holds for government officials who vote against the best interests of people in favour of corporations but show up in church on Sunday as if the latter cleansed them of the former – not doing the Lord’s work, really.

What does the huckster who leads such a congregation actually believe? Is there some special feeling that the afterlife of their preaching will be theirs anyway, despite the harm? I’m reminded of an article I read years ago about the tobacco industry. The writer was at an industry convention and there were cigarettes by the carton simply on display. ‘May I take one of these?’ ‘Of course, take two.’ In this moment, the writer realised the executives he was interviewing didn’t themselves smoke and he asked them about it. The reply, ‘No, we leave that to the stupid and the n****ers.’ (I’m 80% certain the article was in Rolling Stone, and probably in the early 1990s.)

Is this how megachurch preachers see their congregants? Live by actual biblical teaching? Nah, we’ll leave that to the gullible. We’ve got ours, jack. It seems to me that if you believe in a Christian version of the afterlife, then bilking followers (and at the far end of the spectrum, preaching actual hate) will keep you from that promised land. If you do believe, then doing good works, is the key.

There’s a strain of Christian philosophy in which what the believer believes has more weight than what the believer does in determining entrance to the afterlife of choice. If you believe a certain way, then your works aren’t necessary to get into heaven and that if you don’t believe, no amount of work you do will get you there.

Brother Andre Marie over at catholocism.org (note – there’s a bias here) suggests that the fundamentalist (Calvinist/Lutheran/Baptist) view is that faith is sufficient, whereas the Catholic take is that humans must participate in their salvation by doing good works. Faith alone is insufficient. The Jewish take (as emphasized in the Haggadah, read at Passover) is that we tell the story of Exodus as ‘what the L-rd did for me when he brought us out of Egypt’, thereby acknowledging the deity and taking part in our own salvation.

Again, I’m an atheist. I haven’t studied divinity (though I do have a friend with a degree in the subject and should corner her on her thoughts on the matter) and my reading of the bible tends to be to make sure I get an allusion correct rather than using it as words to live by. That said, as one who is at least aware of the tradition of rabbinic debate on all kinds of topics, this kind of concept slicing makes sense as brain-stretching thought exercises. However, it is the worst kind of game playing when you’re talking about making life better or worse in the now for large (if not huge) numbers of people.

The main reasons to practice a religion include community, indoctrination, desire for salvation, utility as a guide for living, the existence of a supreme deity gives meaning or structure to life. All quite good and meaningful. The issue becomes where the organisation of religion oversteps into the lives of believers/followers. The Catholic requirement of confession is an aspect of this – belief and inclusion in the community include giving priests all the secrets of the community to hold. Those who don’t confess are shunned and those who know the secrets of those in power are compelled to release them at personal risk, the seal of the confessional notwithstanding. From the outside, it’s another tool of coercive behaviour. From the inside?

I also know that there are issues with writing about religion as a monolithic thing. One is that I don’t want to consider religion as a block of problems intractable of solution. For many, religion/faith *is* the solution. I want to consider merit in the teachings of religion and not discount what it provides to many. This goes hand in hand with rejecting Burroughs’ tenet in Words of Advice for Young People. ‘Don’t trust a religious SOB. Get it in writing.’

I’m beyond the age at which I find this humorous or useful anymore. It’s a matter of contempt – holding a person to be beyond worth due to professed belief or membership in a group. I may find that in examining the subject from the position of contempt will open me to accusations of intolerance. This is worth considering too.

I’m not easygoing when it comes to religion. I’m adamant about my agnosticism – I don’t have blind faith in a god of any kind. It falls in the category of religion not providing a better answer to questions that have been answered through application of the scientific method. I generally don’t put my trust in that which doesn’t subject itself to repeatability. (I know that there are some interesting limits to this as discussed in Adam Conover’s interview with oncologist Azra Raza.)

Each person has the choice to follow or not follow leaders, be they religious or secular, to parrot the BS found in social media, and to hold those with differing views in contempt. Bloody conservatives, stupid liberals, gun owners, and firearms absolutists being current objects of contempt in the matters of how we as humans at this late date hold others to be outside the pale of discussion.

god-hates-flagsThe issue I want to examine in greater depth is how those in positions of religious leadership preach one thing, or one set of things, based on salvation and faith in one interpretation of a set of teachings but flout the same standards, often flagrantly. The obvious example is the Westboro Baptist folks who quote a couple passages of Leviticus to preach a gospel of hate and derision.

The question of whether one can condemn the gay to hell both in this life and the next based on one bit of Leviticus, but still eat lobster is at the heart of this discussion.

If kashrut, polycotton blends, and interaction with men during menstruation are no longer matters of much contention and attention, then why homosexuality?

Of course, the reason is that homosexuality is a distraction from all the rest of what the huckster does that is obviously sin. ‘But I’m not gay – that’s the worst thing – this is what keeps the nation from being a shining city on the hill.’ And oddly, you end up with antigay preachers who are also practicing sodomites, hypocrisy being another aspect of hucksterism.

There’s obviously more to consider, but I wanted to get these notes out of my notebook and into the blogosphere.

E’G/Warner Bros., 1984

One could argue that the three albums by the Fripp/Bruford/Levin/Belew lineup, and especially the last two, have the flavour of Belew’s solo albums of the time, just featuring legendary supporting players, but that’s really not fair. For all of the bits of it that are very much of their moment, there’s also a lot of that transcendent KC magic here. The more I listen to it, the more falls together and achieves a kind of unity that Discipline has, but that I feel Beat lacks.

Addressing the album song by song doesn’t do it justice. As a work, the pieces fall together quite effectively.

The Left Side

king-crimson-3-of-a-perfect-pairOpening with four vocal tracks, none of which (on the face of it) is that demanding on the listener. Title track/opener, Three of a Perfect Pair is an interesting one because it stayed in King Crimson/Crimson ProjeKct set lists well into the 21st century, and as a fan, it’s easy to find that it’s just a little overplayed. Belew is right to be impressed with his ability to play the guitar in one time signature and sing in another, but it’s only because he’s the vocalist that this makes him unique in the band. The song itself being about the breakdown of a relationship seems an apt one as this incarnation of KC was on the verge of collapse at the end of the Beat sessions (and after the tour for this album, these four would not reconvene for 10 years).

Model Man, oddly, presents us with another relationship song in which the narrator begs for understanding (‘imperfect in a word…but I give you everything I have’) from the one who always has him on edge (‘look[ing] for the sights…the symptoms…the slight calm before the storm).

Sleepless, the single that should have been a hit. Warners even ponied up for a video in which everyone seems a little uncomfortable. The song is the most distinctly new wave of the album (especially the Clearmountain remix which was used instead of the original on the first pressings of the album). The interplay of the rhythm section is what I find most interesting about this song.

Man with an Open Heart should have been both a single and a hit. Of the four lyric tracks on the album, three address relationship issues and this one seems especially personal. Its changing time signatures anchor it in the KC universe as well.

The most surprising aspect of this album (and Beat for that matter) is how far in the shadows Robert Fripp seems to be. His guitar work through Discipline is always the most distinctive aspect of a KC recording. However, with Nuages (That Which Passes, Passes like Clouds), the instrumental that closes the Left Side, Fripp’s voice comes to the fore. It feels like one of his soundscapes as it flows through the ears, but has a rather non-cloudlike feel for a song with its title. It’s anchored by an almost underwater-feeling percussion.

The Right Side consists of three interesting instrumentals and a decidedly different vocal.

Industry is almost an extended meditation that relies heavily on the interplay between Fripp and Levin. It works on one level, as a continuation of Nuages, not the opening of a different suite of songs. It’s structured more as a bolero – each instrument building in intensity and than slipping away again.

Dig Me, welcomes Belew’s voice back into the fray with an oddly sad follow-up to the previous album’s opener, Neal and Jack and Me. In this episode, what was once a proud automobile stretching out on the open highway is now rusting, unhinged, and what ‘was deluxe becomes debris’. On a certain level, it’s of a piece with the relationship songs on the Left Side, but is also markedly different.

No Warning feels like a more pure KC improv, but kept short and to the point. It has the energy of one of those moments where the band just locks together.

And then there’s the album’s closer, Larks’ Tongues in Aspic Part III. It’s an oddly titled jam that doesn’t seem of a piece with the other two songs that are its namesake. After more than twenty years of listening to this album (as with all the other entries in this series of reviews), never so diligently and with such interest as I have in the last week, I’ve never quite gotten what it was about this composition that invited adding it to the other two. And I’m still not, but I’ve got a feeling there’s something in the musical structure that lends itself or was consciously taken for that reason.

Sleepless has long been my favourite track on the album for purposes of sheer grooving. Of the vocals I’m now more drawn to Man With An Open Heart than I ever was before. I’m not sure I have a favourite of the instrumentals – they all feel of a single piece.

Next up: Vrooom and Thrak, but I’m going to take a KC break first.

E’G/Warner Bros., 1982

I’m honestly not sure what to make of this album as a whole. Beat has the same hard/weird/beautiful combination that we’ve come to know and love from King Crimson, but it also leans heavily on the New York sound of its predecessor. I first had this on CD in about 1987 and I recall listening to a few tracks a lot and not knowing what to do with others. I didn’t have a lot of King Crimson context, but loved Heartbeat when it was on the radio when I was in high school. I at least had a little to go on with Neal and Jack and Me. Two Hands is beautiful, but the instrumentals kind of baffled me. It might be the weakest of the early 80s trilogy and (at least according to Wikipedia) was difficult to make. Belew and Fripp went head to head and Fripp was ready to call it a day on this version of the Crims, but they got it together and toured (and recorded another album).

Discipline pointed at a thematic fascination with the Beat generation writers (The Sheltering Sky), and this album continues with it. Opener, Neal and Jack and Me namechecks Jack Kerouac and Neal Cassady in its title. While the lyrics seem to have the point of view of the cars the titular characters drove in On The Road, they could also be spoken by Carolyn Cassady, lover of both whose memoir Heart Beat was published in 1976. A film version was released in 1980.

Which brings us to track two, Heartbeat, which seems to be a love song or a lost-love song. For me it was an evocation of intertwined love and lust and made me want to be landed with someone, which I mostly wasn’t in high school and college. While band members have suggested that this track and side 2’s Two Hands shouldn’t have been on the album, they’re both quite beautiful. They’re just not really King Crimson songs. (Belew would rerecord Heartbeat for his 1990 solo album Young Lions, though I don’t recall that version being wildly different.)

Sartori in Tangier, the album’s first instrumental takes its title from both Kerouac’s Satori in Paris and the city of Tangier where many of the Beats lived, including Paul Bowles, author of the novel The Sheltering Sky. For being only three and a half minutes, it still has the structure of a Crimson multi-part epic. Tony Levin’s Chapman Stick into leads into a strange combination of downtown funk and middle eastern rhythms. Stick Men (Levin and Pat Mastelotto’s project with Markus Reuter) have been performing a version of this recently that works quite well.

Oh, and here’s a really intense rendition which (based on the opening still) is from a Japanese date on the Beat tour. Seems that the string battle is just between Levin and Fripp, because Belew is on percussion.

NC_HB_Germany_1980Side one closes out with Waiting Man, another distinctive Belew vocal which like the title track of the follow-up album seems to have the vocals in one time signature against instrumentation in another. Bill Bruford’s drumming on this piece (as with a lot of the percussion in this period of KC history) seems to owe a bit to Steve Reich’s phase works such as 1971’s Drumming.

Side 2 opens with Neurotica which is an odd combination of spoken word in the style of Thela Hun Ginjeet and something much jazzier. I find the vocal portion, which describes or lists animals roaming the city (heat in the jungle indeed) to be less interesting than the music.

Two Hands wraps a fairly sparse arrangement around a lyric by Belew’s then wife Margaret. The strange point of view (I am a face in the painting on the wall / I pose and shudder and watch them from the foot of the bed) gives the song this weird voyeurism. From one perspective, an outsider of sorts recognizes love in the pair he (she?) sees. From another, the narrator of the song is watching people he doesn’t necessarily know make love. Again, an odd addition to the Crimson catalog.

The Howler poises a generally funky bassline against some rather interesting noise in the service of a relatively abstract lyric. The band doesn’t seem to know quite what to do with it and the song fades out. I imagine that a few live workouts would have made the song more interesting.

The album closes with Requiem, an improvisation in which the members of the band seem to be playing at cross purposes. This isn’t uncommon in KC improvs, but the fadeout at the end seems to indicate that this was going to be the last song of this version of the band. Fripp pulled it together and they gathered for another tour and album.

Next up: Three Of A Perfect Pair.

E’G/Warner Bros., 1981

Released in 1981, Discipline was the first album by the reformed King Crimson after a seven-year hiatus. Prefigured by Robert Fripp’s 1980 LP League of Gentlemen, in the dead wax of which was inscribed The Next Step Is Discipline. The League of Gentlemen was an interesting exercise in angular new/no wave and featured Barry Andrews (at the time between XTC and Shriekback) and Sara Lee (who would go on to Gang of Four, the B-52s and a few other acts).

Fripp himself had spent the previous couple of years producing projects with Peter Gabriel (Scratch), Daryl Hall (Sacred Songs), and the Roches’ first album (and later their third) amongst others. Not to mention his own solo release, Exposure which included guest spots from those three and several others, including Peter Hammill.

The act Fripp was putting together after League was to be called Discipline, but at some point, he changed his mind and decided it would be the next incarnation of KC. As was the case with almost all previous releases, this album featured a new line-up. Bill Bruford returned from the mid-70s crew and was joined by Adrian Belew and Tony Levin.

Levin and Fripp had already worked together on Peter Gabriel’s first two solo albums. Belew and Fripp crossed paths on David Bowie’s Heroes – Fripp played guitar on the album, and Belew on the tour and Bowie’s next album, Lodger. Despite his work on the edges of rock and roll as a member of Frank Zappa’s band, Belew brought a distinctly pop sensibility to the proceedings. (On his 1983 solo album, there’s a cover of the Beatles’ I’m Down – he knows his power pop.)

devito_disciplineDiscipline runs the gamut from essentially downtown New York new wave to strangely beautiful downtempo work. Some pieces harken tot the noise mastered by the mid-70s line-up. What’s most interesting about this album (and its two successors) is that Fripp for the first time had a guitar foil in the band who was an equally forceful player. Belew also acted as frontman in a way the earlier singers (including Wetton and Lake) hadn’t. Belew never subsumed his vocal quirkiness to any greater KC ethos. This is also the first album with a co-producer from outside the band. Rhett Davies had recent credits with the second Talking Heads album, Dire Straits’ debut, and multiple Roxy Music and Bryan Ferry albums. It’s possible that he enforced on the band a certain rigid approach, despite what I’m about to say next.

KC to this point hadn’t done an album with a unified mood, and this album is no different. Down tempo pieces such as The Sheltering Sky share sides with rockers like Thela Hun Ginjeet, whilst the meditative Matte Kudesai sits between the bass-driven funk of Elephant Talk and Indiscipline.

It’s possible that the opening track, Elephant Talk, was the first King Crimson song I ever heard. KROQ (Los Angeles’ new wave station which started using the tag line ‘Rock of the 80s’ in about 1978) had it in rotation when it came out even though historically the band weren’t exactly new wave. (Around the same time, they were happy to have Jon and Vangelis’ Friends of Mr. Cairo in rotation as well, even though neither name over the title had new wave cred either.) It’s a strange bit of Belew weirdness in which he rattles off words beginning with the first few letters of the alphabet over a pretty funky bass line.

Frame By Frame might not be the first KC piece with backing vocals, but it’s one of very few, I think. Fripp makes himself known with some of his trademark arpeggios.

Matte Kudesai features a plaintive Belew vocal over a Frippertronics loop. Recently I saw a live video of k.d. lang crooning this, which seemed a really incongruous pairing of singer and song. But in her introduction, she said that it had been an influence on her album Ingenue. Curious, but if you listen to the lang album with this in mind, it’s kind of obvious.

Side 2 opens with Thela Hun Gingeet, a real group effort. Guitars, bass, and drums all play off one another in service of another piece informed by the NY funk scene. The vocal is a tape of Ade talking about meeting some very paranoid folks on the street who think he’s a narc. There are recordings from the time on which he speaks the text found on the tape (like this bootleg from 1981), but in others (including recent Crimson ProjeKct gigs) the original tape (or a digitisation thereof) is used.

The Sheltering Sky, the album’s longest track at over 8 minutes features the interplay of Fripp and Bruford which becomes more complex as the piece evolves. Bruford’s toms are relatively simple and metronomic and might themselves be looped. On the one hand, it harkens to the extended instrumental strangeness of Red and Larks’ Tongues Part II, but it’s really its own beast. Thematically, The Sheltering Sky presages the follow-up’s focus on, well, the Beats, informed by Paul Bowles’ novel of the same name.

Levin and Belew return for the title track which closes the album. Figures from other tracks on the album weave in and out as the musicians take on its complex and ever-changing rhythms.

While Discipline (along with the next two albums) sits uneasily with their previous work, a case can probably be made that the ‘73-’74 albums are also of a piece that doesn’t sit with their other work either.

I give this disc four stars.

Next up: Beat.

(Image credit: Chris DeVito’s tattoo of the knot on the cover of Discipline.)

I’m just going to riff on this for a bit and see if I reach any conclusions. Let’s start, as my friend Brian suggests, with more than one legally owned firearm for every man woman and child in the US. In other words, we can’t make something immediately illegal tomorrow that was legal yesterday.

The big news this week is that kids are now leading the fight for common-sense gun laws and (as heard on the BBC yesterday) companies are now starting to dissociate themselves from the National Rifle Association. Firms that formerly gave discounts to NRA members are no longer doing so. That’s a huge step in the right direction – the NRA brand has never been this toxic. For decades, Wayne LaPierre and his cold-dead-hands predecessors have fought for money to buy off legislators so that it’s always easy to get guns, no matter what your criminal background. Of course, state by state, your mileage may vary. And once you commit a crime with a gun, in many states including Florida, these stand-your-ground laws have made it more possible to get off if you happen to be white or white-ish. I’m looking at you, George Zimmerman. (NRA-written statutes enacted in Florida in 2005 and in two dozen other states made it impossible to arrest Zimmerman because he claimed self-defense. In addition, jury instructions made it impossible for them to convict even though Zimmerman stalked Martin and was told by the cops to back down and not confront the teenager.)

Martin had just turned 17 at the time and was killed six years ago this week (26 February, 2012).

Of course, there are racist aspects to how the various laws regarding gun ownership and use are treated. Note the cold-blooded murder of Philando Castile, a black Minneapolis school employee who noted to the officer at a traffic stop that he had a concealed carry permit. Within twenty seconds of reaching for his ID had five bullets fired into him. The officer in question was acquitted of all charges, despite dashcam footage from the cop car and Castile’s death livestreamed by his girlfriend just after the shots were fired. Arming school employees is all well and good, I suppose, but I can’t (as others who have pointed to the Castile case in the wake of the Florida massacre two weeks ago) see such things working out equally for all concerned. I tried to read the Wikipedia article on Castile’s murder and couldn’t stomach the heartlessness of the cop, of the jury, of the system.

And lets not lose sight of the domestic terror aspect of this latest case. Who trained N.C. (let’s stop naming the animals who do this stuff, please) to carry out his massacre? Had it been a Black or Muslim organization, they would have been hounded out of the woodwork so quickly heads would be spinning. As it stands, he was raised by a member of Republic of Florida, a white supremacist group. The ROF leader who claimed Cruz trained with them has since walked that back.

There’s also the speech by Florida AG Pam Bondi in the direct aftermath of the shooting. I recognize that there was a certain pressure to say something, but for crying out loud, couldn’t she have talked about something other than what the state of Florida was going to pay for? When someone carelessly breaks something precious and irreplaceable, the last thing you want to hear is that person saying they’ll pay for it. (Are Florida Governor Rick Scott and Bondi shills for the NRA in the same way Florida Senator Ted Cruz is ($77,000 in the 2012 election cycle alone)? I’m not sure. Yes, linking to a tangentially related article like that is shitty and shoddy journalism.) But what we’re not hearing from any of these people in so-called leadership positions is how to prevent these things.

The same Brian I quote at the top shared the following response to calls the current arguments:

Things a Constitutional amendment banning firearms will not fix:

An absence of compassion for fellow citizens.
An absence of value of lives of fellow citizens.
An absence of value in the success of others.
An absence of value in the health of others.
An absence of value in the welfare of others.
An absence of value in the education of others.
The patriarchy.
Toxic masculinity.
Radical conservationism.
Selfishness.
Dangerous nationalism.
Xenophobia.
Homophobia (not a phobia, you’re just an asshole).
Institutionalized racism.
General racism.
Intentional incarceration of minorities to deny their communities of viable male role models, at a critical mass, to actively prevent the establishment of viable successful family models.
Redlining.
Predatory lending.
Criminalization of poverty.
Criminalization of homelessness.
Criminalization of addiction.

And and infinite list of other things.

Our culture is diseased, broken, and rotting, but by all means, keep overlooking that, and keep focusing on the end-result.

There are a lot of one-liners out there in response to these latest deaths – If teachers should be armed, presidents should be required to read is one. Another compares the gun rights supporter (and presumed Republican) suggesting that those who don’t know the difference between certain kinds of firearms shouldn’t legislate from a position of ignorance, to which the gun rights opponent (and presumed liberal) responds: Please draw and explain the female reproductive system.

Image credit: http://military.wikia.com/wiki/FlintlockHowever, this evinces the kind of whataboutism that makes political discussion today such a bloody fraught proposition. The gist is that occasionally white people are refreshed in the fears for themselves and their children that POCs live under all the expletivedeleted time. This is something that happened in Florida this month – nice suburban white high school terrorized by a young man with a gun irrationally marching through what should have been a safe space to learn and grow. Black Americans going about their daily business should expect and experience not being harassed or killed without probable cause, right? And I’m engaging in a variation of the same whataboutism, I suppose. A recent parallel is the Netflix dramatization of Margaret Atwood’s The Handmaid’s Tale. Again, not an original though on my part, but in Atwoods’ vision of the future, white women are treated the same way black women have been treated in America for centuries. I’m sure I’m not the only one to draw this comparison between Atwood’s fiction and the news treatment of our various tragedies. This situation is wrapped up in a lot of other American situations including the school to prison pipeline, Riker’s Island, and the stop-and-frisk policies all over the country.

As noted, I’m riffing. There are no conclusions here, just frustration.