Cluck, Darrell W., Catherine S. George, and J. Clinton
McCann, Jr. St. Louis, Missouri: Chalice Press, 1999. 141pp.
$16.99 (USD). ISBN 0-8272-1022-1.
[1] Facing the Music is a how-to
guide for initiating conversations about spiritual matters
with youth and those outside the church, presenting material
that could be used for "sermon illustration . . . curriculum
development . . . youth and retreat programming, and possibly
even in liturgical settings" (8). It is, then, primarily a
tool for pastors, youth workers, and parents offering guidelines
for "creative Christian faith development" (119). It is argued
that contemporary music offers a helpful vehicle for presenting
religious truths because "God can be revealed in and through
popular songs" (2). The authors model a method for doing this
and include a practical guide for leading discussions (7;
119-35).
[2] This book does not offer critical analysis
of song lyrics in the traditional sense (e.g., attempting
to recover authorial intent; treating songwriters' lyrics
systematically), nor does it explore songs with a view to
gaining biographical insights about the artists concerned.
On the contrary, Cluck, George, and McCann note that most
songs discussed were never intended "to be Christian or even
religious" (6). Further, they readily acknowledge that their
individual perspectives - as pastor, seminary student, seminary
professor - have led them "to hear things in popular songs
that others may not hear and that the writers or performers
may not have intended" (7). Their readings of songs are therefore
rather unique.
[3] Also distinctive is the wide range of
songs represented. Music by such diverse acts as Metallica,
Crash Test Dummies, Bruce Cockburn, and Tracy Chapman are
included, to name but a few, and their lyrics are employed
to illustrate a range of themes (e.g., the character of God,
implications of the incarnation, the urgent need for social
justice). And while the importance of such topics would not
be in dispute by those in the church, the authors appear to
sense the need to defend this form of presentation - for example,
they correctly anticipate that use of a Madonna video may
prove to be objectionable in certain church contexts (8).
This book is clearly an apologetic.
[4] This last point is regrettable. While
the idea of using songs as springboards for discussions about
theological and social themes is fresh and creative, it is
a shame that those who might enjoy and/or benefit most from
this material are not among the targeted audience. Teenagers
and those outside the church will likely find the material
in this book inaccessible or uninteresting. Theological questions
(e.g., should God be thought of as feminine? [28-30]), and
much of the vocabulary used, create an in-house, almost insular,
tone that would exclude the young or uninitiated. This seems
a little odd given that the authors are concerned "with how
popular songs serve as a witness to the Gospel" (15). The
reflections on the songs treated are really very good and
it seems that the book could have been restructured into an
effective evangelistic tool, or one which teenage readers
might have enjoyed as music fans. The book could have been
an outreach tool in itself - not just a how-to guide
for those involved in church ministries. If that were done,
the objective of convincing church leaders and parents that
popular music is valuable for initiating spiritual discussion
could have been accomplished just as effectively (and perhaps
the "Practical Guide" could have been distributed separately).
Instead, various theological matters are pursued with enough
detail that it would undoubtedly turn off those outside the
church and the overall tone of the book is academic enough
that younger readers would lose interest.
Michael J. Gilmour, Ph.D.
Providence College, Otterburne, Manitoba, Canada
(michael.gilmour@prov.ca)
