What is independent music? Where did it come from and why does it matter? Can creative choices about the production and distribution of art be spaces of cultural & social change as powerful as the works themselves? What would Gustavo Guiterrez think of Fugazi? Drawing on insights from Andy Crouch, Cornel West, and others, Erickson sketches out answers to these questions, and also explains why it’s probably a bad idea to turn your church’s youth room into an all-ages venue.

FFM 2009

Toward a Theology of Independent Music - Kevin Erickson

Over the past two decades, John Darnielle of the The Mountain Goats has crafted a remarkable collection of songs, distinguished by lyrics of high literary quality. One notable feature of Darnielle’s song-writing is his frequent use of eschatological language and imagery. This paper examines the “logic of eschatology” in Darnielle’s song-writing, paying special attention to themes of suffering, justice and hope.

When the Last Days Come - Micah Lott

In linking our struggles in faith with the rigid demands of gender, The Hold Steady’s 2005 album Separation Sunday offers a conversation about ethics and empathy as a new way of thinking through the politics of masculinity at the beginning of the 21st century.

"Don't Let Me Explode" - Matthew Carillo-Vincent

The Hold Steady’s songs explore the struggles of ripping highs and exquisite, sketchy lows of clever kids, townies and a host of apocryphal characters in their hungry—and often violent—search for grace, their fatal flaws and dubious virtues given equal spiritual weight. An ornate thread of mysticism shoots through lyricist Craig Finn’s narrative as God is revealed to punks and skaters through frightening visions and bold transfigurations.

Hot Soft Lights - Erin Keane

For creators and performers of American or Southern Gothic music, symbols of stereotyped Southern religion—emotionally charged revival, errant preachers, the amen corner, mourner’s bench, serpent handling, curses, damnation and divine retribution—find a place of prominence not only as fodder for songs, but as pillars of a vibrant live performance scene. This paper asks what kinds of cultural capital these symbols have both for the artists who employ them and for their audiences.

Hell Yeah! - David Horace Perkins

Blues music, with one foot in the church and the world of the African American spirituals and another foot in the cotton fields of the Mississippi Delta, exhibits a profound theological interpretation of life. The music of Muddy Waters, Charley Patton and Robert Johnson all has something to teach theologians. Their experiences made them keenly aware of life under the curse. Their craft provided the means for expressing it.

I Be's Troubled - Stephen J. Nichols

In this workshop, Trey Many discusses the odd impact of having one’s faith associated with their music career, mainly focusing on Christianity and its role in popular music. Topics include the demonization of secular music within the church, the possible motivations for musicians have for publicly declaring their faith, and why Christian Rock’s dream of mainstream acceptance being realized may eventually destroy its market share.

Music + Faith + Commerce? - Trey Many

How do we talk about faith to those outside the faith community, as well as within it, in ways that promote understanding? It’s not just the vocal firebrands of “the religious right” that alienate. Too often, the language we use in everyday conversation comes across as foreign or inauthentic. The co-founder of Paste magazine explores the thorny semantics of faith, starting with the often-overlooked language divide between evangelical and mainline Christianity.

The Language of Faith - Tim Regan-Porter

We are saturated with music, and not only from what we intentionally listen to. Advertisements, sound tracks, commercials, car radio, our iPods set on shuffle as we work out…all these sources of music feed (force feed?) us an almost constant stream of music. But just what is music telling us? Lyrics and text aside, what is going into our ears, as we listen either actively or passively to music? Two Calvin music professors consider several points of view around the issue of music and meaning, including whether music is language; how music communicates meaning and mediates communication; and how we might take responsibility for how we listen. The presentation includes examples of music, both recorded and played live.

Music & Meaning - Robert Nordling & Benita Wolters-Fredlund

This workshop will examine the everyday assumptions, language, actions and texts that situate women on the margins of electronic/dance music (E/DM) culture. Drawing on five years of interviews with female DJs and producers, Farrugia explores how their stories both structure and are structured by personal meanings and experiences in the E/DM scene. Ultimately, these meanings and experiences are bound up with larger gendered narratives and organizational practices. Of great significance is the finding that community building is an essential element to women’s ability to call themselves DJs and is a necessary next step in increasing the number and visibility of women who produce electronic music.

Gender Inequities, Community and Change in Electronic/Dance Music - Rebekah Farrugia

Every songwriter has to determine some criteria for doing his or her best work. How do you know if your own songs are approaching what you actually care about as a writer? Detweiler and Bergquist talk about what they're most drawn to as songwriters and explore what makes a song potentially great.

How to Write a Great Song in Five (Not So) Easy Steps - Over the Rhine

This workshop provides a behind-the-scenes look at composing music for independent film. Using audio clips and images from his recent original scores for the acclaimed neo-noir film Brick and the upcoming The Brothers Bloom, Johnson explores specific creative challenges regarding structure, technology and the constraints of small-scale music production.

Junkyard Orchestration - Nathan Johnson

In this session, Mary McCampbell examines the role of anger and lament in the music of The Sex Pistols, The Velvet Underground, Sonic Youth, Fugazi, The Psalters and Sufjan Stevens. McCampbell also explores whether a punk rock aesthetic/message can inform our theologies of worship as we ask the following questions: can musical dissonance be part of worship? Can verbal violence be prophetic?

“Clenched Fists, Black Eyes” - Mary McCampbell

A young college student is walking across campus, holding hands with his sweetheart. “I am beginning to think you really don't know me. After all, I have needs. I study all week and by the weekend, I need a break! Let me just go hiking on Saturday, like I planned, and on Sunday we can do the bike trip that I told you about last month. Okay? By the way, I think I like your hair that way." "I haven't changed my hair in weeks!" So too, many of our worship services are set up to be more about US than about the Other. As a result, we go home slightly depressed and "bored with ourselves." O, for an hour when I can totally forget about me and get enraptured with my Maker! "I'm a cosmic patriot, but it’s been so long since I've been blown away" (Dan Zimmerman).

Worshiping Worship (Worshiping Ourselves) - Lenny Smith

In a conversation moderated by local DJ Chris Mills, Thomas talks about his story, spirituality, his work as a DJ and the communal nature of dance music.

Kenneth Thomas Interview by Chris Mills

Audio from Calvin College's Festival of Faith & Music 2009.

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FFM 2009

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