Good hate and good righteous

If a bunch of women barely dressed, essentially in lingerie, came to an American school to entertain the children with a vulgar, lewd display of prancing and grinding, we'd all (well, all of us who still possess at least an ounce of gray matter) call it sick, warped, practically child abuse. 

At the very least most sentient humans would ask, "WHY?" 

But if the bunch of "women" are men in drag, suddenly it's progressive enlightenment and to utter a word in protest is "hate." 

Yeah well, hate is good. There's lots of things we've got to hate. If we hated nothing our civilization would crumble to dust. There's plenty I hate, among them seeing children used as the pawns for a pathological sociopolitical agenda. That's definitely worth hating. 

Hate what's hateful. It's the loving thing to do. 

Not sure you're hating the right thing? Here's a test: if it's right to hate A, there is absolutely a B out there somewhere, the polar opposite of A, that's supremely worthy of loving attention and promulgation. Go love it and promulgate it. Do good. If your hate is right, then your love will be right. 

If your hate was skewed, your love will probably short-circuit as well. But that will be a good lesson. And so we keep on learning and growing. 

But don't hate hate. Hate hateful things. And... prove it. With more than words, certainly more than cheap memes. 

Prove it by living it.

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It's just criminal that "righteous" has been degraded to an epithet.  But this is just more of the general dumbed-down pop-culture-drone illiteracy at work. 

Real righteousness is beautiful and magnificent, not to mention beneficent (note: that last word is NOT "ben-uh-FISH-int," a word that doesn't actually exist; "beneficent" is "be-NEH-fi-sent" and means "well-doing"). 

Try to be righteous. 

And try not to be self-righteous. 

It's the trying that counts.

What Does Our "Gut" Owe A Facebook Post?

 Something that helps you cope with Facebook's more annoying characteristics: always remember that anything anybody posts, they're posting on THEIR page, first and foremost. 

Their page is like their house, they run it, they feel at home there. What matters most to them is that what they post  makes sense to THEM. They don't need anybody's permission (except for when Facebook butts in, of course) to express themselves there for whatever reason, whether or not it makes the least sense to you or anybody else. 99 times out of 100, when they posted it you were absolutely nowhere on their mental radar, they never ever pondered for a moment whether you would see it or not. 

That's really hard to get used to, especially for any of us who lived most of our lives pre-cyber-age, pre-Internet, pre-social media. We're just hard-wired to assume a message is waiting for our response. It takes a lot of deep re-wiring to learn how to scroll by and ignore. 

Imagine it's 1975 and you're sitting at home watching television, let's say it's The Mary Tyler Moore Show. Suddenly the show fades out and in its place there's a message from somebody in your extended family, say 100 miles away: THIS IS JUST THE WORST, DON'T KNOW HOW I'M GOING TO COPE. 

How on earth did they get their message onto your television screen? And why? What's wrong, what's going on? You'd dash to the phone, expecting all kinds of terrible things. 

Imagine you phoned them and spluttered the moment they picked up, "Are you okay? What's wrong? Do you need help?" and they said, "Well, I got my hair done today and the color came out all wrong and it's totally mortifying, I don't know how I can go out in public!" 

😖

A lot of us are still wired, when we see these things on Facebook, to react as we would have, had somebody in our lives mysteriously managed to make the message pop up on our television screens in 1975. 

We take it immediately in a personal way, instinctively feeling the responsibility, the onus, even the guilt, to do something about it--at the very least (and, actually, this is the WORST) to "perform" viscerally, emotionally, to conjure up the expected feelings that prove we're decent, caring people. And that is perfectly corrosive psycho-viscerally, just pernicious. 

Yes, indeed, this marvelous cyberage of ours requires us to learn a new kind of callousness, unresponsiveness, precisely because Facebook, social media generally and the Internet have ratcheted up the boy-who-cried-wolf dynamic to stratospheric proportions. 

It's one thing when the bad hair job makes you look in the mirror and whine, "This is the worst, I just wanna die," but it's quite another if you trumpet it to the world without any explanation, and with no context. 

So when somebody's FB post shows up on my feed, and  I haven't the vaguest shred of a notion what it means or what it relates to, I remind myself: 

"This person isn't writing this to ME, this person is writing on his/her page, maybe for somebody else who really is in the know, maybe for nobody at all. The post is showing up on my news feed essentially by accident, and if the post is vague, enigmatic, evasive, contextless or simply outright gibberish, then it's nothing I bear the least emotive or moral relationship, much less duty, towards. Keep scrolling." 

Anybody who really needs to tell you something will contact you personally. Everything else on social media, including anything I post, is, when it comes to emotive or intellectual response, optional. None of it's from God, certainly. Least of all the stuff that claims to be.

Today's "Worship"—Where Did It Come From? Whaddya Think, ChatGPT?

Out of curiosity, I posed this question, or homework assignment, to ChatGPT: "Detail the genesis and evolution of today's predominant "worship style" (i.e. the use of music, physical postures, psycho-affective expectations) in "evangelical" (i.e., emphasizing the born-again experience and intimacy with Jesus) churches."

It produced the following historical survey. This paragraph, in particular, I found remarkably incisive: 

"Music: Worship music is now characterized by a "musical journey" structure, often with dynamic transitions, multiple "builds" or "climaxes," and a blend of genres such as rock, folk, electronic, and even rap. The music is produced to elicit emotional highs, and the use of repetition is a key feature. Songs like "How Great Is Our God" (Chris Tomlin) or "Reckless Love" (Cory Asbury) emphasize deep personal emotions and the love of God."

Yes, those "dynamic transitions, multiple 'builds' or 'climaxes'," (including the stultifyingly compulsive repetition of the final chorus in the obsessive pursuit of mass "never-want-it-to-stop" ecstasy)--that sums it up perfectly. It's precisely the thing that has me standing there feeling affectively numb, intellectually insulted and aesthetically appalled, because as a rule it's perfectly awful. And I know I'm being manipulated on all those levels--affectively, intellectually and aesthetically. Naturally I resist manipulation. 

This was ChatGPT's whole answer: 

The "worship style" prominent in many evangelical churches today, which blends contemporary music, physical postures, and a focus on emotional and spiritual intimacy, has evolved significantly over the past several decades. Its development is rooted in a combination of theological movements, cultural shifts, and technological innovations that have shaped how congregations experience and express their faith through music and liturgical practices. Below is a detailed examination of this evolution.

1. Historical Roots: Pre-20th Century Evangelical Worship

Before the 20th century, evangelical worship in Protestant churches was often formal and structured. Hymn-singing, based largely on the theological writings of people like Isaac Watts and Charles Wesley, was central. Music in worship was seen as a way to convey doctrinal truths, often in a relatively restrained manner, with an emphasis on reverence.

Evangelicalism, as a movement, emphasized personal conversion (the "born-again" experience) and a direct relationship with Jesus Christ. However, worship in the early stages of the movement, even in the revivals of the 18th and 19th centuries (e.g., the Great Awakenings), was still somewhat formal and centered around preaching, prayer, and scripture.

2. Early 20th Century: The Pentecostal and Charismatic Movements

The most significant shifts in evangelical worship began in the early 20th century, particularly with the rise of the Pentecostal and Charismatic movements. These movements, which emphasized the "baptism of the Holy Spirit," speaking in tongues, divine healing, and an experiential relationship with God, encouraged more expressive forms of worship.

• Music: Pentecostals began using gospel and spiritual songs in a more emotive, spontaneous way, moving away from the more formal hymns. This gave rise to the use of "choruses" (short, repetitive songs focusing on the presence of the Holy Spirit and praise to God).
• Physical Postures: During the same period, more expressive physical postures such as clapping, raising hands, dancing, and even spontaneous shouting became common in Pentecostal and Charismatic services. These practices were seen as natural responses to the presence of the Holy Spirit and an outward manifestation of an inner experience.
• Psycho-affective Expectations: The Charismatic movement emphasized the emotional experience of worship, with the expectation that congregants would encounter God in a personal, intimate, and transformative way during services. The worship experience was often framed as a "spiritual high" that was expected to evoke emotional responses ranging from tears to joy and ecstatic experiences.

3. 1960s–1970s: The Jesus Movement and the Emergence of Contemporary Christian Music

In the 1960s and 1970s, the Jesus Movement brought a new wave of young people into evangelicalism. They sought to express their faith in ways that were more aligned with their cultural context, and this included a new approach to worship. The music and worship styles of the counterculture (rock, folk, and pop) began to influence the church, resulting in the rise of contemporary Christian music (CCM).

• Music: The Jesus Movement led to the development of the "praise and worship" genre, which focused on simple, repetitive songs expressing devotion and a personal relationship with Jesus. This contrasted with older hymns that were often more doctrinally dense. Bands like Jesus People USA, and later Calvary Chapel and Hosanna! Music, began recording worship music that emphasized personal intimacy with God. The lyrics were often more direct and emotionally charged, expressing themes of personal devotion, love for Jesus, and spiritual renewal.
• Physical Postures: As the music became more informal and emotionally charged, physical expressions such as hand-raising, swaying, and clapping became even more common. These behaviors reflected a more participatory and expressive form of worship.
• Psycho-affective Expectations: The worship service became a key time for individual and collective emotional experiences, and the idea of worship as an encounter with God—marked by spiritual highs and deep personal moments—grew in importance. Services often encouraged attendees to expect to feel God's presence in tangible ways.

4. 1980s–1990s: The Rise of Modern Worship Movements and Megachurches

By the 1980s and 1990s, the fusion of contemporary music and evangelical worship reached its apex with the rise of the megachurches and the global spread of charismatic and Pentecostal theology. Worship became a central component of church life, with music designed to create an immersive spiritual experience.

• Music: The 1980s saw the emergence of worship leaders like Tommy Walker, Rick Founds, Darlene Zschech, and Paul Baloche. These leaders began crafting worship songs that were accessible, singable, and emotionally engaging. The worship service became more of a concert experience, with professional musicians leading the congregation in worship. This era also saw the creation of influential worship albums from churches like Hillsongin Australia, Bethel Church in Redding, CA, and Willow Creek Community Church in the U.S. The songs were simple and repetitive, often using repeated choruses and bridges to encourage emotional connection.
• Physical Postures: Physical expression in worship also evolved further, becoming more common and expected. The act of raising hands during worship became widespread, symbolizing both surrender and a desire to experience God's presence. Many churches began using stages, lighting, and other concert-style elements to enhance the sensory experience of worship, contributing to an atmosphere of emotional intensity.
• Psycho-affective Expectations: Worship was framed as an opportunity to "encounter" God in a real, immediate way. There was often an emphasis on a powerful, transformative experience of God's love, grace, and presence. The worship service was often viewed as a "catalyst" for emotional healing, personal renewal, and spiritual growth.

5. 2000s–Present: The Contemporary Worship Experience and the Influence of Technology

From the 2000s onward, the integration of technology and the professionalization of worship music led to the creation of highly polished, immersive worship experiences that resemble live concerts or theatrical productions. Churches like Elevation Church, Hillsong, Bethel Church, and Life.Church have popularized a style of worship that combines modern rock, pop, and electronic music with a focus on emotional connection.

• Music: Worship music is now characterized by a "musical journey" structure, often with dynamic transitions, multiple "builds" or "climaxes," and a blend of genres such as rock, folk, electronic, and even rap. The music is produced to elicit emotional highs, and the use of repetition is a key feature. Songs like "How Great Is Our God"(Chris Tomlin) or "Reckless Love" (Cory Asbury) emphasize deep personal emotions and the love of God.
• Physical Postures: The variety of physical expressions during worship has become more fluid. Raising hands, swaying, dancing, kneeling, and even laying prostrate before God are all common ways of engaging physically in worship. Some churches have even embraced spontaneous expressions such as "spiritual flagging" or the use of visual arts to engage congregants.
• Psycho-affective Expectations: The worship experience is now designed to be emotionally and spiritually transformative. The expectation is that worship will provide a sense of connection to God, an emotional encounter with His presence, and a communal sense of joy, peace, or healing. The use of technology—such as powerful lighting, visual effects, and high-quality sound systems—intensifies the emotional atmosphere and is aimed at facilitating a deeper connection to the divine.

6. Conclusion: The Intersection of Music, Emotions, and Theology

Today's predominant worship style in evangelical churches reflects a convergence of several cultural, theological, and technological factors. From the early 20th century's Pentecostal influences to the modern megachurch worship experience, music and emotional expression have become central to evangelical worship. There is an emphasis on intimacy with Jesus, personal transformation, and the communal experience of God's presence. Worship has evolved from a formal, doctrinally-driven exercise to a highly emotive, experiential practice that is designed to engage the heart, soul, and body in a transformative encounter with the divine. The "worship experience" is now a multifaceted phenomenon that combines music, physical postures, and emotional intensity to create a space where individuals expect to encounter God's presence in tangible ways.