The Noise of Your Songs

Yesterday was Sunday,

and all I could think about were the millions gathering in praise

while their neighbors are being hunted --

not in metaphor, not in shadow,

but in plain sight.

On sidewalks.

On jobsites.

In bedrooms and classrooms, no longer safe.

They invoked God's will as if they had no agency,

as if heaven required their silence

more than their courage.

As if faith were submission,

not resistance.

They denied the material:

the hunger in a child's belly,

the cough in a poisoned lung,

the eviction notice folded on the kitchen table --

as if the spiritual is all that matters,

as if the body is a burden to be endured, not a vessel to be honored.

They dismissed human suffering

as if it's inevitable.

As if it's someone else's calling to intervene.

As if it's not their place

to stand between empire and "the least of these."

But wasn't that the whole point?

How easily comfort recasts itself as righteousness.

How quickly love becomes selective.

How often the name of God is spoken

not as a balm,

but as a boundary.

And yet,

there are still mornings,

like today;

when the light hits the window just so,

and I remember:

the world does not need more belief.

It needs more becoming.

"I can't stand your religious meetings.

   I'm fed up with your conferences and conventions.

I want nothing to do with your religion projects,

   your pretentious slogans and goals.

I'm sick of your fund-raising schemes,

   your public relations and image making.

I've had all I can take of your noisy ego-music.

   When was the last time you sang to me?

Do you know what I want?

   I want justice -- oceans of it.

I want fairness -- rivers of it.

   That's what I want. That's all I want."

--- Amos 5:21-24

So Long, Maestro: A Requiem for a Musical Genius

Brian Wilson, the visionary architect of Southern California’s sonic dreamscape, has left us. Today, the world tilts a little out of key. The tides seem to pause, the sky wears a subtler blue. We have lost not just a man, but a fragment of the divine — the boy who heard symphonies in the wind and turned sand and sorrow into music.

He didn’t just write songs. He dreamt them. From Surfer Girl to Good Vibrations, his harmonies were cathedral-like — sun-dappled sanctuaries built out of ache and elation. And in 1966, Pet Sounds arrived like a comet trailing stardust, an album so tender, so strange and beautiful, that even now it sounds like a secret whispered from another planet. "Wouldn't It Be Nice" is not merely a pop song; it's a love letter folded into eternity, a lullaby for the hearts that still believe in what could be. Hearts like mine. 

But beneath all that lush orchestration, the Wrecking Crew sessions, the genius of layered vocals and sweeping harmonics — there was the wreckage of a childhood too cruel for poetry. Murry Wilson, his father, was a tyrant with a belt and a bitter tongue, a man who hit Brian so hard he lost hearing in one ear — and then took credit for the music he could never have imagined. The very man who should have been his first refuge taught him early that love could be conditional, and violent.

And later, as the walls of his mind began to collapse — voices, fear, isolation — the very brothers and bandmates who had once harmonized beside him left him behind. They boarded planes to tour the world, singing his songs, wearing matching stripes, while he stayed home in bed, weeping into the silence. There was no lifeboat. Just a piano. Just the dogged clink of ivory, trying to build beauty faster than the darkness could take it.

Yet somehow, still, he composed. Because music — oh, music — was the lifeline. It was the place where Brian became whole again. He heard colors. He stitched aching melodies like threads through time, pulling us all into a world where sadness didn’t have to be survived alone. In "I Just Wasn’t Made For These Times," he told the truth plainly: he wasn’t. He was out of sync with the world. He was made for something better. Something softer. He was tuned to a frequency this world too often fails to hear.

And yet, we heard him.

Los Angeles grew up under his spell. The Beach Boys were its sun-slicked soundtrack — surfboards, Mustangs, barefoot freedom — but it was Brian who filled the city with an invisible golden resonance, a kind of sonic afterglow. He made the Pacific sing. He made the car radio a chapel. He gave youth a heartbeat.

And beyond the cars and girls and waves, he gave us something purer: the sound of longing, of the sacred ache to belong, to love, to find peace. He was a boy who wanted to build heaven out of harmonies — and he very nearly did.

Brian Wilson was not just a man. He was a visitation. A candle lit at both ends. A conduit for the infinite dressed in flip-flops and falsetto. He gave us more than songs — he gave us glimpses of the sublime.

I'm so honored to have been alive to see it, hear it, feel it.

So long, Maestro. We return you to the Heaven from which you came.

Thank you for making this place beautiful, and for giving this man something to strive for, both in art and in life.

Tattooed Theology (Matter Matters)

I've been living inside the strange grace of Flannery O’Connor’s imagination—where grotesquery becomes gospel and every wound hums with the low, electric current of divine confrontation. I’ve returned, again and again, to Parker’s Back—a story soaked in mystery and flesh, inked in the theology of Incarnation.

O’Connor did not write from sentiment. She wrote from scar tissue. Her stories do not soothe; they confront. They insist—almost violently—on one unrelenting truth: spirit is not separate from matter. To pretend otherwise is not merely dishonest. It is heresy.

To be enfleshed, as Christ was enfleshed, is to bear the unbearable weight of both divinity and decay. It is to ache with the whole body for the healing of the whole world. Not just the salvation of souls. Not just some pieced-together theology of escape. But for this world—this burning, breaking, beloved world—to be transfigured. The Kingdom, after all, is not waiting in the clouds. It is “within you,” Jesus said. Among you. Within bodies.

So I want to say this plainly, without qualification:

To dismiss suffering—to regard it as a necessary prelude to paradise, or to speak of the world’s unraveling as merely “a sign of the times”—is not faith.

It is cowardice clothed in piety.

It is spiritual bypassing.

It is a refusal to weep with those who weep.

Last week, the president posted an image of planes taking off with the gleeful words: “Let the deportations begin.”

And since then, ICE has brought down hell among the working people of Los Angeles and many other cities. They've tossed flash bangs to dissuade the gathering crowd. They've waited outside courthouses where immigrants—doing things the right way—were seeking asylum and legal protection. Mothers torn from their children. Fathers disappeared into cages. All while the president rejoiced. And the pro-lifers cheered.

Is this pro-life?

Is this faith?

Silence is complicity. But even worse is celebration in the face of terror. Shame on everyone who supports this evil.

Ezra Klein wrote, “The emergency is here.” He wasn’t being alarmist. He was being accurate.

The signs of crisis are not metaphysical—they are material:

 Human beings kidnapped and disappeared by a system we pretend is legal

Programs for the poor, the disabled, the voiceless—slashed and burned like the forests under threat.

A proposed autism registry, that should terrify every human with memory.

And a chorus of public lies, desecrating truth like spit on the Gospel.

I feel this grief in my body. In my nervous system. In the shortening of breath. In the tightening of my jaw when I read the news. That matters. Not because I am the center—but because the body knows: someone else’s suffering is not abstract. It is embodied. Like Christ on the cross. Like the migrant crossing the desert. Like the trans kid facing erasure. Like the mother being told, again, to carry what may kill her.

Prayer without action is not prayer. It is a form of religious theater.

We cannot whisper “thy kingdom come” while building walls to keep the kingdom out.

And yet I’ve heard Christians—many—say with untroubled confidence:

“We always knew the world would get worse. Our hope is not in this world.”

But O’Connor, like the mystics and prophets before her, would call this what it is: a heresy.

To deny the sacredness of this world—to abstract hope into some unbothered realm beyond genocide, hunger, or fascism—is to blaspheme the very act of Incarnation.

If Christ did not come into flesh, then what are we doing here?

If God does not dwell in bodies, then the Eucharist is a lie.

And if bodies do not matter—black bodies, brown bodies, disabled bodies, poor bodies, queer bodies—then the crucifixion was just a myth, not a revolution.

Ram Dass once said, “Compassion is not a mental construct. It’s the trembling of the body when you see someone else in pain and you know it as your own.”

And Chogyam Trungpa taught that the spiritual path begins with raw fear—that moment when all strategies collapse and you realize you’re not above the suffering, you are inside it.

So I will keep pleading—not from a place of political outrage, but from a deeper place.

A spiritual marrow-place.

A place of trembling.

I plead for Christians to remember that we are not saved from the world.

We are saved with the world.

Because the Cross was not an escape route.

It was a door into radical solidarity.

And the Resurrection?

It was not a magic trick. It was a declaration that matter matters.

Farewell to the High Priest of Freak Theology.

Sly Stone disappeared—again and again—and now, finally, he’s departed, age 82. But let’s not kid ourselves: he left the building decades ago. What he’s done now is float permanently into the stratosphere of American music, headfirst into the funkadelic firmament, riding a chorus of wah-wah pedals, broken promises, and celestial overdubs.

Sly Stone is dead, and the world just got a little less funky. But don’t you dare call him a casualty.

This man resurrected rhythm from the ashes of Motown smoothness and white-bread rock. He unleashed chaos into soul and called it A Family Affair. He took all the sounds—black and white, gospel and acid, protest and party—and mixed them like he was summoning angels and setting them on fire at the same time. You want to talk about integration? Integration ain't your college brochure. Integration is Larry Graham's bassline gurgling up from the underworld while Sly whispers revolution through a purple haze. Integration is a band that looked like a commune and sounded like God losing His mind in a psychedelic disco.

Sly was the high priest of freak theology, the sermon in the key of E, the psalmist who declared that fun was sacred and the sacred was funky. He didn’t just bring people together—he electrified them into one body, sweating and moaning and dissolving in 16th notes. In a country splitting at every seam, he stitched sound together like it was the only real flag we had left.

And then he vanished.

Coke. Paranoia. Industry vultures. A thousand empty promises and an RV parked somewhere in the mythic junkyard of American ambition. People called it a tragedy. Maybe. But don’t confuse collapse with silence. The man was still there—in every slap of the bass, in every DJ who ever looped a breakbeat, in every artist who said "let's go weirder." He lived long enough to see his sound sampled, resurrected, worshipped, and mimicked by people who weren’t born when he was storming stages in a robe and Afro and talking to God through a vocoder.

Sly Stone broke the frame. He didn’t just bend genres—he annihilated them. He fed funk through a meat grinder, filtered it through revolution and LSD, and served it to America with a wink and a question: Are you ready?

No, Sly. We weren’t. We never really were.

And now that you’re gone, what’s left?

A groove so deep you could bury empires in it.

A scream that still echoes through civil rights ghosts.

A mirror held up to America—cracked, beautiful, glittering with sweat.

You were the dream and the come-down, the bandleader and the burnout, the preacher and the punchline, the prophet who set the pulpit on fire and called it Saturday night. And you never said goodbye. You just let the reverb carry you home.

Rest in power, Sly.

But let’s be honest:

You’re not resting.

You’re probably still mixing somewhere beyond the moon,

getting the angels to play tighter, louder, dirtier.

The jam doesn’t stop just because we can’t hear it.

I’ll catch you at the funky after-party..

Through the Looking Glasses..

She was ten, and the world had finally come into focus—violently, wondrously so.

Trees were no longer green clouds glued to brown trunks. They were a thousand intricate decisions, each leaf deliberate. Street signs were not just whispers to adults anymore; they spoke to her, too. The world, she learned, was edged.

The glasses were heavier than she expected. They smelled faintly metallic, like pennies or science. But it was the precision of them that made her feel a little dizzy, as though she had been promoted to a clearer version of existence she was not quite ready for.

Then, her brother called her four-eyes. It was said with a smirk, casually cruel. He didn't even mean it. It’s a reflex—like sneezing or  teasing.

Still, she began to wear the glasses less. The blur was softer. The blur did not name her. 

Her parents didn’t push. They encouraged.  Gently. Like gardeners coaxing a bloom rather than demanding it.

“Try them for dinner,” her dad said once, sliding the plate in front of her like a peace offering.

“You might like reading better with them on,” her mom added later, placing a new book at her  bedside, spine uncracked, world unopened.

One night, she fell asleep—or pretended to—on the couch, glasses still perched on her nose. She felt them before she heard them: her parents entering the room, their footsteps tender as breath.

They leaned over her, not speaking at first. She  imagined they were studying her the way one does a painting or a newborn animal—something both familiar and newly miraculous.

Then, she heard her voice. Soft as dusk.

“Have you ever seen someone look so beautiful in glasses?”

A pause. And then, his voice—deeper, certain:

“No, never.”

They lingered for a beat. She held her breath, afraid it might shatter the moment. And then they tiptoed away, back into the rhythm of dishes or bedtime or marriage.

She kept her eyes closed, but not out of pretense anymore. She was trying to memorize this—this weightless kind of love, the kind that doesn’t fix or force or correct, but simply sees you, perfectly, even as you’re still learning to see yourself.

Later, when she opened her eyes, the room was  darker, but not dim. Through the lenses, the ceiling became constellations of tiny cracks and shadows. The air looked clearer somehow.

She left the glasses on.