The closing talk from our Spring NYC Conference – only loosely related to the talk of the same name given in Tyler:
We’re only just beginning to roll out the clips from our pair of Spring Conferences. Here’s the next installment from Tyler – same name but not the (exact) same talk as the Dylan-centric one DZ gave in New York a couple weeks later. Enjoy:
A Texas-sized thank-you to everyone who helped put on our conference in Tyler last month, especially the fabulous–and ridiculously ecumenical–steering committee, led by the indefatigable Matt Magill. Huge thanks to all the sponsors as well: B3 Ministries, Bethel Bible, Christ Episcopal, Porch Culture Coffee Roasters, and True Vine Brewery, not to mention Mark and David Babikow, who once again came to our rescue on the A/V front. Vielen dank to Richard Dvorak for taking such awesome photos, too.
As per usual, we’re making the recordings available at no charge; we only ask that those who were not able to attend this year *consider* tossing something in the hat to help cover the cost of the event. Download links are followed by an in-line player for each session. The main sessions were also videotaped, and we’ll be rolling the clips out gradually over the next few weeks.
TALK 1. Lay Down Your Weary Tune: Everyday Life and the Roots of Exhaustion – David Zahl
TALK 2. Does Jesus Like Donuts? The After-Party for the Sermon on the Mount – Aaron Zimmerman
BREAKOUT 1. Hiding in the Bathroom: Why Inspired Parenting Will Kill You – Sarah Condon (click here for Powerpoint)
BREAKOUT 2. What the #$%* is A Jackson Pollock: The Messy Grace of Modern Art – Randy Randall
BREAKOUT 3. Where Everybody Knows Your Name: Beer is Good, God is Great, People are Lonely – Ryan Dixon
BREAKOUT 4. Management, Control, and Getting It Together: A Work in Failure – Keith Pozzuto*
*There was sadly a technological snafu and Keith’s session did not make it onto tape. He agreed to write it up for us, though, and you can read it here.
TALK 3. Shelter From the Storm: The Refuge of Our Merciful Friend – David Zahl
They say ev’rything can be replaced . . .
-Bob Dylan, “I Shall Be Released”
Twenty-five years ago, Rick Abath, a hippie Berklee College of Music dropout, was working the night shift at the Isabella Stewart Gardner Museum in Boston. Two men dressed as Boston Police officers asked Abath to let them in. When Abath did, they informed Abath that it was a robbery, covered his eyes and mouth in duct tape, and handcuffed him to an electrical box. During the next seven hours, the thieves stole 13 objects from the Museum worth around $500 million. Abath passed the time by singing…
Never thought the day would come when The Complete Basement Tapes would be a legitimate release, but as they say, with Bob Dylan all things are possible. There are volumes and volumes to be written on those sessions, and indeed, some already have been. For today, we’ll have to make do with the final verse of “Open the Door, Homer”:
“Take care of all your memories”
Said my friend, Mick
“For you cannot relive them
And remember when you’re out there
Tryin’ to heal the sick
That you must always
First forgive them”
My favorite version of the song would have to be the one that Pete Townshend produced for Thunderclap Newman. Enjoy:
As promised, the new Dylan record reviewed by a true expert and friend, Mr. Ken Wilson:
I’m a bit of a Dylan fanatic. I’ve seen 51 shows and counting (Lord willing); I make his mother’s banana bread on his birthday; I’ve heard so many live versions of his classics that I fancy (the heart is deceitful), when hearing an off-night mp3, that I could improve his phrasing. Nothing serious, even if my cockatiel is named “Bob.”
But he’s my favorite character, not my hero. I only skim the thick volumes that treat his every lyric like it’s as reference-rich as Finnegan’s Wake….
The recent interview with Bob Dylan in Rolling Stone is, without a doubt, the most fascinating thing I’ve read all year. It’s contentious, sure, but a lot of Dylan interviews are contentious–you know, where you get the sense he’s almost enjoying confounding the interviewer. Or at least not willing to put up with an ounce of nonsense or non-wisdom, especially when it comes to his work and person. For example, reading how Dylan responds when the interviewer, Mikal Gilmore, tries to lure him onto the partisan bandwagon-of-the-month is worth the price of admission alone. In fact, we watch as Dylan’s…
1. Over at The Daily Standard, writer and lecturer Joseph Epstein asks, “Who Killed the Liberal Arts?” With pre-professional education and a degree of liberal-arts relativizing on the rise, Epstein finds a central problem with American higher education to be the same kind of achievement cult that recent films like Waiting for “Superman” have criticized. Epstein’s phrasing is particularly succinct:
Trained almost from the cradle to smash the SATs and any other examination that stands in their way, the privileged among them may take examinations better, but it is doubtful if their learning and intellectual understanding are any greater. Usually propelled by…
1) The New Yorker recently released a very good (and very short) story from none other than F. Scott Fitzgerald, called “Thank You for the Light.” A “pretty, somewhat faded woman of forty,” a midwestern corset saleswoman, she cannot find a place to smoke a cigarette away from judgmental eyes. She is becoming desperate and in her desperation she finds, yes, a church. A small sampling here, but be sure to take the extra five minutes and read the whole thing here.
And to herself she was thinking, If I could just get three puffs I could sell old-fashioned whalebone.
Flow, river, flow
Let your waters wash down
Take me from this road
To some other town
It is a disservice to lump Easy Rider into the slews of “counterculture” or “indie” filmscapes of the late 1960s and early 70s. It’s not that these descriptors aren’t accurate–both are quite true–or that it wasn’t a hippie-handed film, standing against those “scissor-happy, beautify America” typesetters that George Hanson (Jack Nicholson) could still so aptly classify. What makes it different, though, and thus limited by such descriptors, is that it so inclusively sups with the whole (“All walks of life!”) far too…