Visit rouses questions, not answers

March 29, 2006

Battling sleep deprivation, stress and nerves, I followed members of Soulforce's Equality Ride around Monday, talking one-on-one with several of the riders and attending various forums.

Each hour brought with it more unanswered questions, and when people occasionally asked how my day was going, I probably unnerved them when I relayed my ensuing existential breakdown before moving to the next event.

My confusion probably mirrors many students' with Soulforce's visit producing more questions than answers. Aside from our now-permanent red handprints from self-congratulatory pats on the back on how we handled the situation, th repercussions of this visit are far from over and the journey ahead for the university in regards to its discussions on sexuality remains unclear.

It's easy for a group of straight Christians to come to a conclusion on homosexuality, but when you're looking a gay man, lesbian, bisexual or transgendered person in the eye, you're forced to reconsider the lessons you've been taught.

The most telling conversations during the visit occurred in closed sessions, mainly during small groups' discussions during meals or in invitation-only forums where students were allowed to ask Soulforce members anything they wanted. Yet even these conversations were stilted to a degree, and upon reflection of the day's events, neither ACU nor Soulforce truly engaged in an open dialogue with the other.

Yes, we were nice to them and cared for them. We opened our doors; provided ARAMARK meals, microphones and PowerPoint presentation capabilities; but were we fair to them? Our constant call was to love them as Christ loves us, but how can you love someone without really listening to them? Not hearing -- listening.

We -- ACU and Soulforce -- each entered the arena with our minds made up. We knew where we stood, but avoided turning to scripture for fear of inciting a feud. Those planning the event feared overindoctrinating us, and a point-counterpoint battle about scripture would have served no purpose. Still, the conversation about why we each believe what we do should have been had in a more public venue.

So we stood there, gazing at each other from across the confusing divide, mainly thankful that violence hadn't erupted, but our intellectual dishonesty damaged our chances of making headway on the topic of homosexuality.

When students mingled with the riders in the afternoon in the Hilton Room, many asked questions and listened to the personal stories of the 34 people traveling cross-country to make their point. To say the least, the sight of the various clumps of talking students and Soulforce members was inspiring. But this much honesty could not be found during official meeting times when university representatives spoke, constantly aware of the image they must maintain and the stances from which they were told not to stray.

The conversations must continue, and perhaps the administration will provide more opportunities for students to ask questions openly in a non-threatening environment - a place we can productively delve into scripture, not use it as a trump card to stifle conversation.

Although it's understandable this type of environment can't occur with 4,000 people in a coliseum, more small-group gatherings and forums should be formed to address the issues brought to students' attention because of Soulforce.

Surely there must be a balance between yielding your time on the floor without yielding your position. We haven't found it yet, but we stepped closer to it Monday. Now we just need to start walking.

Remember, Remember, the 5th of November

I thoroughly enjoyed V for Vendetta, and you should all read its review by my friend Dee Travis. It takes a while to get used to watching the character of V on screen, him never taking off his mask and having to use his body language to make up for the loss of using facial expression to convey an emotion. But, even though we can't see his face, I couldn't help picturing the actor behind the mask, Hugo Weaving, throughout the film. I mean, it's Elrond. Or 'that guy from The Matrix.' Still, he's great, and watching the anarchy he initiates was highly entertaining and disturbing all at once. Tchaikovsky's "1812 Overture" will never be the same for me again.

i want one.

I'm not sure what chemicals in my brain are triggered when I see this picture of Tai Shan, a panda cub at the National Zoo in Washington, D.C., but I smile, squint my eyes and start making baby noises. Daniel said he saw a show about this reaction on TLC one time, saying that when we see something like this panda, or a baby, or hear one crying, something in our brains clicks and we go into defense-mode, wanting to protect it. All I know is that this panda is freaking cute, so here are more pictures to make you smile this Friday (I'm so cheesy).

S-E-N-I-O-R-I-T-I-S

I'm losing my mind. All spring break while at home, I had the feeling that I had left my apartment unlocked. I had daydreams of my roommate coming home early to find our apartment emptied of its valuables, then calling and yelling at me. I mailed of job applications this week, realizing too little too late that I had a typo on my cover page. I sent jobs for copy editing positions that mentioned looking forward to discussing a reporting internship position at the bottom of my letter. At least I didn't misspell California (Daniel). When I drove back to Abilene today, I missed my turn after Brady and ended up having to double back (because I don't have a map in my car), adding a good 45 minutes to my trip. I have no desire to go to class or do schoolwork and have spent the past few days only caring about rereading Harry Potter and the Half-Blood Prince, which is still amazing.

All this to say, please don't ask me what I'm doing after graduation, or if I'm still looking, or what I want to be when I grow up, etc. I am fully aware that I need to find a place of employment. So, for now, please think of another conversation starter. If you can't and choose to small talk with me about future plans because you can't think of anything else, then you probably don't know me very well anyways, and I'll just make this easy and say now that I don't feel like talking to you.

Side Note: PAUL ANTHONY: WHERE IS YOUR BLOG? I AM UPSET.

Wikipedia, which helped me not completely fail my Judaism midterm, has a great page about Senioritis. A great excerpt:

Medically speaking, Senioritis is an affective psychological disorder, similar to other affective disorders (depression, anxiety, and in particular attention-deficit hyperactivity disorder). It is not recognized by the American Psychological Association as a distinct illness, but may generally be considered as a combination of attention-deficit disorder and amotivational syndrome.

Senioritis does not affect all people in the same way. While some show apathy, others show mania. In this way, the syndrome can prevent students from performing routine tasks because of the heightened stress associated with preparing for graduation. When taking excessive course loads to fulfill scholastic requirements, many seniors show an inability to find work, control emotional swings, consummate relationships, maintain personal hygiene, etc.

I understand completely.

God's Lovin' It

You need to go and watch this video - The McPassion. I think it's hilarious, but then again, like the filmmakers, people think I'm bitter and blasphemous, too. Here's Terry Mattingly's column explaining it:


WASHINGTON BUREAU: Terry Mattingly's religion column for 3/15/06.

People are supposed to meditate in church, but the epiphany that rocked
filmmaker Rik Swartzwelder two years ago was different.

It started when he visited several churches in Charlotte, N.C., while
visiting family. In service after service he heard preachers telling
people it was their "Christian duty" to rush out and buy a ticket for "The
Passion of the Christ." There were brochures for Mel Gibson's bloody epic
in the bulletins, posters in sanctuary lobbies and preview clips for the
faithful.

Swartzwelder began thinking about the biblical drama in which, as St. Mark
said, "Jesus went into the temple, and began to cast out them that sold
and bought in the temple, and overthrew the tables of the moneychangers,
and the seats of them that sold doves; And would not suffer that any man
should carry any vessel through the temple."

So he pounded out a sarcastic -- some would say bitter or blasphemous --
script entitled "The McPassion," a feverish vision of what would happen if
Hollywood and the fast-food industry teamed up to sell Holy Week. The
script sat on a shelf until Swartzwelder decided that Tinseltown's love
affair with born-again marketing was growing instead of fading.

The results have been posted at www.TheMcPassion.com, a 4-minute blast
that opens with chipper children scarfing down their McPassion meals,
complete with a crown of thorns and round fries that the announcer notes
are "shaped just like the Eucharist." Then there's the McLast Supper from
Burger King of Kings or the McLoaves and Fish Sticks dinner (all you can
eat, while supplies last). The meals come with toys, like the pretend
stigmata tattoos, a simulated leather cat of nine tails, Shroud of Turin
towelettes, a kid-sized crucifix and the "cool McPassion hammer."

The pitch ends with this call to commerce: "Buy one today! Make Jesus
happy! ... Alleluia, God's lovin' it!"

None of this is terribly subtle.

"I want people to wince," said Swartzwelder. "I wince when the girl says
that dipping the body of Christ in ketchup is fun. I wince when the boy
hits the girl's palm with the toy hammer and you hear that clink, clink
sound."

The goal was to inspire heated discussions and Swartzwelder and director
Benjamin Hershleder were more than willing to infuriate many Christian
viewers in order to get their point across. The result was an online
firestorm that has been both painful and gratifying.

"I keep reminding people that I am a Christian and that, if they really
want to know, I am a big fan of what I thought was a courageous movie by
Mel Gibson," said Swartzwelder, a freelance filmmaker in Burbank, Calif.
He is best known as the creator of "The Least of These," a short film
released in 2002 that won 27 awards and played at mainstream and religious
film festivals around the world.

The Emmy Award-winner stressed that he is glad that "The Passion" rang up
$370 million at the U.S. box office, opening doors for more artists to
make more films -- From "The Exorcism of Emily Rose" to "The End of the
Spear" -- that can tap into a faith-friendly marketplace out in Middle
America. As an admirer of Christian apologist C.S. Lewis, he is glad that
the "The Chronicles of Narnia: The Lion, the Witch and the Wardrobe" is
rising toward $290 million in U.S. ticket sales.

Swartzwelder is even pleased that many evangelicals, after decades of
merely throwing stones at Hollywood, are now seeking positive ways to
engage the world of entertainment.

The problem, he said, is that some religious leaders have allowed movie
publicity campaigns to bleed out of the marketplace and into the church
sanctuaries that are supposed to be safe havens for vulnerable souls.

"At some point we have to ask: What is the purpose of worship? What is the
purpose of the pulpit?", asked Swartzwelder, who also has led filmmaking
workshops at Calvin College in Grand Rapids, Mich.

"Even with the best of intentions, using the pulpit to push movies -- even
good ones -- is dangerous. And what happens when we start seeing more
people making more movies for this audience? How do we decide which movies
to plug? There could be, no there will be, abuses and that's going to lead
us into murky waters."

so much free time on my hands

Sarah -- [adjective]: Pretentiously academian 'How will you be defined in the dictionary?' at QuizGalaxy.com

Chappelle, Brooklyn, throw 'Party' to remember

Published March 10, 2006
The Optimist

On a September day in 2004, residents from neighborhoods in Brooklyn, N.Y., and Dayton, Ohio, experienced "the greatest single day" of comedian Dave Chappelle's career.

Using his celebrity connections with major rap, hip hop and soul artists, Chappelle gathered his performer friends together to treat a corner of Brooklyn to its own block party, documented in the appropriately named "Dave Chappelle's Block Party" - a testament to the power of music and, as cliché as it is, the American dream.

The documentary/concert film begins with a scene of a Brooklyn bystander whose car won't start. Chappelle has been roaming the streets the day before the concert with a bullhorn announcing the party, and he and his crew film the interaction of the bystander and another man trying to help him start his car.

Next, we travel back two days to Chappelle's hometown of Dayton, Ohio, where he, again, roams the streets, announcing his concert and passing out golden tickets for random residents to travel by bus to Brooklyn for the free show. All types of people agree to come, from young black kids who worship Chappelle because of his Comedy Central show, or older white grandmothers who see him around town and just think he's funny.

It's after seeing the sequences in Dayton that the opening car repair scene makes sense. Chappelle is trying to show real people in real settings, ultimately bringing them all together for a concert, transcending the boundaries of race or social class for the sake of entertainment.

That summary may be slightly bloated. Chappelle's intentions aren't to change the world, just to deliver a great night of music to a variety of people. Still, through his endeavors, he manages to deliver an entertaining glimpse into the lives of the artists performing and those lucky enough to come along for the ride.

The highlights of the show come from Kanye West, Mos Def, The Roots, John Legend, Erykah Baduh, Jill Scott and, reunited for the first time in seven years, the Fugees. Even if you're not into rap or hip hop, watching the performances intertwined with backstage encounters and Chappelle's comedy is sure to have you smiling and wishing you had been there.

A highlight of the film comes from the marching band at Ohio Central State University, a group that's invited by Chappelle to join the caravan of charter buses from Ohio to New York to open the party. The students are star-struck and are thrilled to perform "Jesus Walks" alongside Kanye West, and to talk with Wyclef Jean of the Fugees about their futures.

Jean talks with the students, all of whom are black, about how lucky they are to have the opportunity to have an education and that they shouldn't blame society or any other race for problems in their life. They have a say in their future, and they should make it the best they can. All are wide-eyed and encouraged, having heard what really is the heart of the film: taking advantage of opportunities and following your dreams.

The neighborhood Chappelle selects for the block party is an area of Brooklyn where several famous rappers were raised, from Jay-Z to Mos Def to Biggie Smalls. The artists were fortunate enough to strike it big, becoming successful in their fields but not forgetting their roots. Informal interviews with the stars are interspersed throughout, providing a glimpse into who they are, where they came from and the struggles it took to achieve success.

"Block Party" wouldn't be a Chappelle production if it didn't contain the comedian's biting wit, killer timing and jokes about sensitive subjects, such as racism and the barrier between social classes. He comments about the disparity between certain neighborhoods in Brooklyn, how one street looks like "The Cosby Show" coming back from a commercial break, while a street next to it looks more like "Good Times." The jabs aren't bitter or in bad taste, though, just honest.

"Dave Chappelle's Block Party" is a great return for the comedian, who left his cable show and a $50 million contract in 2004 to visit Africa and clear his head. The talent of Chappelle and all the artists is undeniable, and music fans shouldn't be disappointed. We can only hope that Chappelle decides to return to the mainstream in some way or another, continuing to push the envelope but, most importantly, entertain us.

OH! Now I understand why people get into car wrecks. It's because we're racist...

“And finally, I would say that, you know, we are a little bit out of touch in Hollywood every once in a while, I think. It’s probably a good thing. Uhm, we’re the ones who talk[ed] about AIDS when it was just being whispered. And we talked about civil rights when it wasn’t really popular. And we, uh, you know, we bring up subjects … we are the ones … this Academy, this group of people gave Hattie McDaniel an Oscar in 1939 when blacks were still sitting in the backs of theaters. I’m proud to be a part of this Academy. I’m proud to be part of this community. I’m proud to be out of touch. And I thank you so much for this.” - George Clooney, accepting his Best Supporting Actor Oscar for Syriana

Best acceptance speech from the night.

Alright, Alright. I admit my defeat to my brother. But don't expect any cash or checks in the mail, Daniel. My continued friendship is your reward.

Words can't express how dissapointed I am that Crash won. I watched it for the first time Saturday night and at the end, when the camera pans up to the Los Angeles skyline and fake snow falls, I said "You're kidding me. It can't be over," out loud in my apartment. Granted, it has a few shocking moments, but no substance to justify them or explain them. It was interesting, but Crash was in no way of the same caliber of Brokeback Mountain, Capote, Good Night, and Good Luck, or Munich. Come to think of it, Speilberg's Munich was jipped at this year's award shows. Oh well. I'm going to pretend it didn't happen.

"In popular culture, things are getting worse. You know, I can give you -- I could sit here and give you examples all day. Let me just give you this example, and this is a controversial example. This gay cowboy movie -- and it's going to win, you know, a lot of awards all over, and they're -- the media is pushing this like crazy." - Bill O'Reilly

While some are complaining that Hollywood's "liberal" agenda led to the serious and controversial Best Picture Oscar nominees, they'd should first step back and consider whether any film that had more mild or family-friendly content was as well-executed or on the same par as the nominees. Sure, you might have liked End of the Spear - though I can't imagine why - but you must admit that technically, it sucked. If conservatives are so angry about this so-called agenda of a business almost purely in it for the money, then maybe they should venture into the business themselves or support filmmakers with their values. All the Best Picture nominees deal with pertinent cultural issues in our society. These issues are everywhere - in our churches, schools, work places and in the news. Shouldn't we be discussing homosexuality, the role of the media, the role of politicians, and terrorism in our art? Or is it because the conclusions the the artists come to don't line up with what the conclusions of the conservatives, hence the latter's anger? Can you really not learn anything from one of these movies, even if you don't completely agree with all the subject matter? Quit whining that Hollywood doesn't follow mainstream American "values." Get off your keister and do something about it yourself.

Now, for the Oscar picks. My brother and I are having a competition, though I haven't chosen winners from quite as many categories, and a lot of our picks are the same. If I win, I get a new video iPod. If he wins, he gets bragging rights. Sounds fair.

Best Picture: Brokeback Mountain
Best Director: Ang Lee, Brokeback Mountain
Best Actor: Philip Seymour Hoffman, Capote
Best Actress: Reese Witherspoon, Walk the Line
Best Supporting Actor: George Clooney, Syriana
Best Supporting Actress: Rachel Weisz, The Constant Gardener
Best Adapted Screenplay: Larry McMurtry and Diana Ossana, Brokeback Mountain
Best Original Screenplay:
My pick: Noah Baumbach for The Squid and the Whale.
Who will probably win: Paul Haggis and Bobby Moresco, Crash
Best Original Score:
My pick: Dario Marianelli, Pride & Prejudice
Who will probably win: John Williams, Memoirs of a Geisha
Best Original Song: "It's Hard Out Here for a Pimp," Hustle and Flow
Best Animated Film: Wallace and Gromit: The Curse of the Were-Rabbit
Best Foreign-Language Film: Paradise Now, Palestine
Best Visual Effects: King Kong
Best Cinematography:
My pick: Robert Elswit, Good Night, and Good Luck
Who will probably win: Rodrigo Prieto, Brokeback Mountain
Best Costume Design: Colleen Atwood, Memoirs of a Geisha
Best Film Editing: Claire Simpson, The Constant Gardener
Best Makeup: Howard Berger and Tami Lane, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
Best Art Direction: Jim Bissell and Jan Pascale, Good Night, and Good Luck
Best Documentary Feature: March of the Penguins
Best Documentar Short Subject: God Sleeps in Rwanda
Best Sound Editing: Mike Hopkins and Ethan Van der Ryn, King Kong
Best Sound Mixing: Paul Massey, D.M. Hemphill and Peter F. Kurland, Walk the Line

Fast Times at Hogwarts High

Oh, Hermione.

For all we know, this could be a studio still from the set of Harry Potter and the Order of the Phoenix, which features a scene dealing with the unpleasant—but all too common—realities of underage drinking, in which the young wizards get s***faced on butterbeer and draw genitals on Ron Weasley’s face with their wands after he passes out. Read more at the Defamer's post.

But, for your ultimate viewing pleasure, please, please click on this link and enjoy pictures of Emma Watson drinking with Jimmy Buffet playing in the background.

i actually made this issue's comic

That's me on the left. Good times.