I got "saved" at a Carman concert when I was 12. It wasn’t the first time. But it was the first time I asked Jesus into my heart publicly, at an altar call. My friends and I became disciples overnight.
I wasn't, however, a disciple of Jesus—at least not directly. If I was discipled to anyone in middle school, it was to the pop stars of the contemporary Christian music scene.
When I am not involved in matters religious or scholarly, one of my favorite escapes is science fiction and fantasy literature or media. My favorite series is The Wheel of Time by Robert Jordan.
The series focuses on the actions of four friends, pushed by circumstances from their little village into the larger world. They discover along the way that they are meant to play central roles in the coming Last Battle of the Ages.
I'm grateful to Amy Frkyholm for her thoughtful response to my media column on clickbait. I have a religious autobiography similar to Amy's: raised in a highly emotional evangelical/charismatic church, which I left in young adulthood for high liturgy. My response to liturgical forms of worship was very much the same feeling of relief and freedom within structure that Amy describes so well. I appreciate, and in many ways share, her experience with and insight into the pitfalls of coerced emotionality—in worship, church groups, or online.
I'm not sure, however, that the parallel between clickbait and worship really works.
You can snarl and rage and roar and snipe at thugs and liars, Sure you can, and right you are for doing so, and you maybe Actually enjoy letting the lava soar out all righteously, right? But even so, there are lies inside you like viruses. You know What I am talking about; we don’t need to go into any detail. And we have been too familiar with a little thuggery, haven’t We? Not battery: You’ll say, rightfully, that you are innocent. No: I mean the times you knew about assault and battery, and Did zero. We just stood there. We pretend to be fascinated By something else that just happened to be happily elsewhere. We turned our heads, so it looked like we just hadn’t noticed; We can surely be excused if we didn’t see it, right? Right?
During Hitler’s siege of Leningrad in the winter of 1941–42, the Russian composer Dmitri Shostakovich and the entire Leningrad Philharmonic were evacuated from the city. A performance of Shostakovich’s seventh symphony, dedicated to the city of Leningrad, was planned for August 9, 1942. There were barely enough musicians left in the city to perform it. The score had to be flown in over German lines, and musicians were pulled from the front lines to bolster the meager ranks of musicians left behind. This performance was a show of resistance in a city which had just lost 1.2 million people (NPR, November 2).