Show Choir Quotes

Part calico choir girl...........and part satin dance hall doll, with amber eyes and a dash of hellcat red in her hair --- the kind of woman that a man wants in his bedroom when he's sick.............and in his bed when he's not.

You telling me God love you, and you ain't never done nothing for him? I mean, not go to church, sing in the choir, feed the preacher and all like that? But if God love me, Celie, I don't have to do all that. Unless I want to. There's a lot of other things I can do that I speck God likes. Like what? I ast. Oh, she say. I can lay back and just admire stuff. Be happy. Have a good time. Well, this sounds like blasphemy sure nuff. She say, Celie, tell the truth, have you ever found God in church? I never did. I just found a bunch of folks hoping for him to show. Any God I ever felt in church I brought in with me. And I think all the other folks did too. They come to church to share God, not find God.

...TV was entertainment of the last resort. There was nothing on during the day in the summer other than game shows and soap operas. Besides, a TV-watching child was considered available for chores: take out the trash, clean your room, pick up that mess, fold those towels, mow the lawn... the list was endless. We all became adept at chore-avoidance. Staying out of sight was a reliable strategy. Drawing or painting was another: to my mother, making art trumped making beds. A third choir-avoidance technique was to read. A kid with his or her nose in a book is a kid who is not fighting, yelling, throwing, breaking things, bleeding, whining, or otherwise creating a Mom-size headache. Reading a book was almost like being invisible - a good thing for all concerned.

The summer I turned eleven, I found out that ghosts are real. Guess it's hard to rest nice and easy in your coffin if you got stuff on your mind. Your soul stays chained to earth instead of zipping up to heaven to sing in one of the angel choirs. Sometimes ghosts show up in the msot peculiar places. Sometimes ghosts fool you. Then you are those ghosts that hang around because we have unfinished business. Business that sinks like old crawfish left in a bucket for a week. That's some nasty smell let me tell you. But the most important thing I learned is that ghosts can help you spill your guts before guilt eats you up and leaves a hole that can't ever be fixed no matter how many patches you try to steam iron across it.

Uh-oh," Will muttered. "This is going to be ... interesting." It turned out the creative genius behind the movie was Will's dad - the god Apollo, which meant this was not going to be a typical orientation flick. No, as we soon found out, Apollo had written, directed, produced, hosted and starred in ... a variety show. For those of you who don't know what a variety show is, imagine a talent show on steroids, complete with canned laughter, pre-recorded applause, and an extra-large helping of hokeyness. For the next hour, we cringe-watched as Apollo and our demigod predecessors performed in song-and-dance numbers, recited poetry, acted in comedy sketches and harmonized in a musical group called the Lyre Choir. Naturally, Apollo featured prominently in most of the acts. The one of him hula-hooping shirtless while satyrs capered around with long rainbow ribbons on sticks ... you can't unsee that kind of thing.

Those years of anger weren’t just directed inward and towards others, I was also angry with God. As a kid, when I sang songs in the children’s choir and memorized verses in bible study, I was told there was a God who loved and protected us. He was a jealous God and could be angered, yes, but He always showed grace and mercy towards His people. I must not have been one of His people. He never protected me. As a matter of fact, I remember crying and pleading to God to make it stop when I was in DC being raped at five years old. I thought he heard my prayers when I moved to New Jersey. But when the abuse became worse and more frequent, it was easy for me to conclude God’s protection didn’t apply to me.

But when she watched Clara Belle prance around the room, singing, she wondered why such joy should be kept only in the kitchen or in a church choir. Why were women with gifts not allowed to show them? And she could hear that her daughter had a gifted singing voice.

Setting aside the puppet shows, the only thing that matters is who will be ruling, who will have the keys to the cash register, and how they're going to split up other people's money among themselves. On their way to the booty they'll spruce everything up, which is badly needed. New Scoundrels will appear, new leaders, and a whole choir of jnnocents with no memory will come out into the streets, ready to believe whatever they want or need to believe. They'll follow whichever Pied Piper flatters them most and promises them some shotty paradise... This is what it is... with its highs and lows, and it's only as good as it gets, which is better than nothing. There are those who see it coming and go far away... And there are those of us who stay with our feet stuck in the mud, because anyhow we don't have anywhere better to go. But don't worry about the circus. We've now come to the clown acts, and the trapeze artists will take a while to arrive.

The important parts of my story, I was realizing, lay less in the surface value of my accomplishments and more in what undergirded them—the many small ways I’d been buttressed over the years, and the people who’d helped build my confidence over time. I remembered them all, every person who’d ever waved me forward, doing his or her best to inoculate me against the slights and indignities I was certain to encounter in the places I was headed—all those environments built primarily for and by people who were neither black nor female. I thought of my great-aunt Robbie and her exacting piano standards, how she’d taught me to lift my chin and play my heart out on a baby grand even if all I’d ever known was an upright with broken keys. I thought of my father, who showed me how to box and throw a football, same as Craig. There were Mr. Martinez and Mr. Bennett, my teachers at Bryn Mawr, who never dismissed my opinions. There was my mom, my staunchest support, whose vigilance had saved me from languishing in a dreary second-grade classroom. At Princeton, I’d had Czerny Brasuell, who encouraged me and fed my intellect in new ways. And as a young professional, I’d had, among others, Susan Sher and Valerie Jarrett—still good friends and colleagues many years later—who showed me what it looked like to be a working mother and consistently opened doors for me, certain I had something to offer. These were people who mostly didn’t know one another and would never have occasion to meet, many of whom I’d fallen out of touch with myself. But for me, they formed a meaningful constellation. These were my boosters, my believers, my own personal gospel choir, singing, Yes, kid, you got this! all the way through. I’d never forgotten it. I’d tried, even as a junior lawyer, to pay it forward, encouraging curiosity when I saw it, drawing younger people into important conversations.

Sinners have more good times, I say. You know why? she ast. Cause you ain't all the time worrying bout God, I say. Naw, that ain't it, she say. Us worry bout God a lot. But once us feel loved by God, us do the best us can to please him with what us like. You telling me God love you, and you ain't never done nothing for him? I mean, not go to church, sing in the choir, feed the preacher and all like that? But if God love me, Celie, I don't have to do all that. Unless I want to. There's a lot of things I can do that I speck God likes. Like what? I ast. Oh, she say. I can lay back and just admire stuff. Be happy. Have a good time. Well, this sound like blasphemy sure nuff. She say, Celie, tell the truth, have you ever found God in church? I never did. I just found a bunch of folks hoping for him to show. Any God I ever felt in church I brought in with me. And I think all the other folks did too. They come to church to share God, not find God.

Think of St. Paul’s tears when he was in prison: for three years, night and day, he did not stop weeping. What fountain can you compare to those tears? The one in Paradise, that waters the entire earth? But this font of tears watered souls, not earth. If some artist were to show us St. Paul bathed in tears and groaning, wouldn’t that be far better to see than a choir of countless singers, all gaily crowned?… With these tears the Church is watered; with these tears souls are planted; with these tears any fire, no matter how fero cious, is quenched…. Christ said, “Blessed are they who mourn, and blessed are they that weep, for they shall laugh.” Nothing is sweeter than these tears; they are sweeter than any laughter…. So tears are not painful. In fact, tears that flow from pious sorrow are better than tears from worldly pleasures and disasters…. For where is a pious tear not useful? In prayers? In exhortations? We give tears an ill name, by not using them the way they were given us to be used.

Elsa walked to her desk and looked down at the small porcelain jar and candlestick. She had been using them as stand-ins for the orb and scepter she would have to hold, like her father did during his coronation. As she had many times before, Elsa closed her eyes and tried to imagine herself inside the chapel where the ceremony would take place. She thought of the choir that would be singing in the balcony, and she could see the pulpit she would be standing at in front of the priest and all her people, as well as nobles and visiting dignitaries. With no family, she'd be up there alone. Elsa tried not to think about that as she imagined the priest placing the jeweled tiara on her head. Then he'd hold out the pillow with the orb and scepter for her to take. She couldn't wear her teal gloves during that portion of the ceremony, so she removed them for practice. She wore gloves all the time these days. Perhaps it was silly, but she thought the gloves helped her conceal her magic. This was her battle cry: Conceal it. Don't feel it. Don't let it show.

… But I should tell you that, come the apple festival of Transfiguration Day, when the sky begins to change from summer to autumn, it is the usual thing for our town to be overrun by an absolute plague of cicadas, so that by night, much as you might wish to sleep, you never can, what with all that interminable trilling on all sides, and the stars hanging down low over your head, and especially with the moon dangling just above the tops of the bell towers, for all the world like one of our renowned “smetana” apples, the kind that the local merchants supply to the royal court and even take to shows in Europe. If someone should ever happen to glance down at Zavolzhsk from those heavenly spheres out of which the lamps of the night pour forth their bright rays, then the picture presented to that fortunate person’s eyes would surely be one of some enchanted kingdom: the River sparkling lazily, the roofs glittering, the gas lamps flickering in the streets, and, hovering over all the shimmer and glimmer of this multifarious radiance, the tremulous silvery chiming of the cicada choir.

Bloody hell,” Charlie gasped. “That’s twenty-five quid each, Isaac.” “Language.” “Shit.” Isaac blew out a breath. “A hundred quid, Mum.” “Isaac, language.” “Hey no,” Dex said, holding up a hand. “I mean a hundred each. I could use these as stencils. At this size I could pretty much charge double that, if not more, each time they’re used. Probably twice again if they have them in colour.” The three of us looked at Dex in awe. He wanted to buy my talented boy’s drawings for a hundred pounds each. “Well?” I prompted. “Fuck yeah.” “Language,” I said, barely above a whisper, still in a state of shock. “It’s a deal.” Dex grinned. “Speaking of which, I said I’d show you my designs, but I gotta be honest, I’m not sure they’re as good as these.” “Oh fuck,” I muttered. “Language,” Charlie cried. As Dex stripped off his shirt, I genuinely thought I heard a choir of angels sing and saw a shaft of light shine through the darkness outside and into my lounge. There was only one word for what I was looking at – wondrous. He could honestly market himself as a tourist attraction and sell tickets.

No, no, we can't know his name, otherwise the Devil will have a story, a beginning and an end just like you or me, and Hell has no threat when it is staffed by commoners. But the Devil also likes to flirt with his own destruction - just like those he recruits to his cause - so he makes it a point to torment the weakest and greediest and guiltiest of the lot in their worst moments of need and make them guess his name. Guess right and live. Fail and burn forever. All of them fail, of course. But it's in good fun! Give the damned a chance. Wink, wink. There are a lot of sinning fools to choose from, and today, as he hunches over his river Styx, a churning, bubbling bath, each of the bubbles shows him a soul ready to be plucked from their time on earth and whisked down to eternal suffering. He can hear the screams of his choir now, millions strong, broiling in the dungeons beneath his river. Who will join his little chickies? He sings a song, because the Devil is an artist: Fiddle dee dum, Fiddle dee dee, Look at my bubbles, one two thee. Who will play my game? Who will guess my name? Who will be the next to burn in flames?

Extract from 'Quixotic Ambitions': The crowd stared at Katy expectantly. She looked at them - old women in black, exhausted young women with pasty-faced children, youths in jeans and leather blousons chewing gum. She tried to speak but the words wouldn’t come. Then, with a sudden burst of energy, she blurted out her short speech, thanking the people of Shkrapova for their welcome and promising that if she won the referendum she would work for the good of Maloslavia. There was some half-hearted applause and an old lady hobbled up to her, knelt down with difficulty, and kissed the hem of her skirt. She looked at Katy with tears rolling down her face and gabbled something excitedly. Dimitar translated: ‘She says that she remembers the reign of your grandfather and that God has sent you to Maloslavia.’ Katy was embarrassed but she smiled at the woman and helped her to her feet. At this moment the People’s Struggle Pioneers appeared on the scene, waving their banners and shouting ‘Doloy Manaheeyoo! Popnikov President!’ Police had been stationed at strategic points and quickly dispersed the demonstrators without any display of violence, but the angry cries of ‘Down with the monarchy!’ had a depressing effect on the entertainment that had been planned; only a few people remained to watch it. A group of children aged between ten and twelve ran into the square and performed a series of dances accompanied by an accordian. They stamped their feet and clapped their hands frequently and occasionally collided with one another when they forgot their next move. The girls wore embroidered blouses, stiffly pleated skirts and scarlet boots and the boys were in baggy linen shirts and trousers, the legs of which were bound with leather thongs. Their enthusiasm compensated for their mistakes and they were loudly applauded. The male voice choir which followed consisted of twelve young men who sang complicated polyphonic melodies with a high, curiously nasal tenor line accompanied by an unusually deep droning bass. Some of their songs were the cries of despair of a people who had suffered under Turkish occupation; others were lively dance tunes for feast days and festivals. They were definitely an acquired taste and Katy, who was beginning to feel hungry, longed for them to come to an end. At last, at two o’clock, the performance finished and trestle tables were set up in the square. Dishes of various salads, hors-d’oeuvres and oriental pastries appeared, along with casks of beer and bottles of the local red wine. The people who had disappeared during the brief demonstration came back and started piling food on to paper plates. A few of the People’s Struggle Pioneers also showed up again and mingled with the crowd, greedily eating anything that took their fancy.

You might expect that if you spent such an extended period in twelve different households, what you would gather is twelve different ideas about how to raise children: there would be the strict parents and the lax parents and the hyperinvolved parents and the mellow parents and on and on. What Lareau found, however, is something much different. There were only two parenting “philosophies,” and they divided almost perfectly along class lines. The wealthier parents raised their kids one way, and the poorer parents raised their kids another way. The wealthier parents were heavily involved in their children’s free time, shuttling them from one activity to the next, quizzing them about their teachers and coaches and teammates. One of the well-off children Lareau followed played on a baseball team, two soccer teams, a swim team, and a basketball team in the summer, as well as playing in an orchestra and taking piano lessons. That kind of intensive scheduling was almost entirely absent from the lives of the poor children. Play for them wasn’t soccer practice twice a week. It was making up games outside with their siblings and other kids in the neighborhood. What a child did was considered by his or her parents as something separate from the adult world and not particularly consequential. One girl from a working-class family—Katie Brindle—sang in a choir after school. But she signed up for it herself and walked to choir practice on her own. Lareau writes: What Mrs. Brindle doesn’t do that is routine for middle-class mothers is view her daughter’s interest in singing as a signal to look for other ways to help her develop that interest into a formal talent. Similarly Mrs. Brindle does not discuss Katie’s interest in drama or express regret that she cannot afford to cultivate her daughter’s talent. Instead she frames Katie’s skills and interests as character traits—singing and acting are part of what makes Katie “Katie.” She sees the shows her daughter puts on as “cute” and as a way for Katie to “get attention.

Robert Askins Brings ‘Hand to God’ to Broadway Chad Batka for The New York Times Robert Askins at the Booth Theater, where his play “Hand to God” opens on Tuesday. By MICHAEL PAULSON The conceit is zany: In a church basement, a group of adolescents gathers (mostly at the insistence of their parents) to make puppets that will spread the Christian message, but one of the puppets turns out to be more demonic than divine. The result — a dark comedy with the can-puppets-really-do-that raunchiness of “Avenue Q” and can-people-really-say-that outrageousness of “The Book of Mormon” — is “Hand to God,” a new play that is among the more improbable entrants in the packed competition for Broadway audiences over the next few weeks. Given the irreverence of some of the material — at one point stuffed animals are mutilated in ways that replicate the torments of Catholic martyrs — it is perhaps not a surprise to discover that the play’s author, Robert Askins, was nicknamed “Dirty Rob” as an undergraduate at Baylor, a Baptist-affiliated university where the sexual explicitness and violence of his early scripts raised eyebrows. But Mr. Askins had also been a lone male soloist in the children’s choir at St. John Lutheran of Cypress, Tex. — a child who discovered early that singing was a way to make the stern church ladies smile. His earliest performances were in a deeply religious world, and his writings since then have been a complex reaction to that upbringing. “It’s kind of frustrating in life to be like, ‘I’m a playwright,’ and watch people’s face fall, because they associate plays with phenomenally dull, didactic, poetic grad-schoolery, where everything takes too long and tediously explores the beauty in ourselves,” he said in a recent interview. “It’s not church, even though it feels like church a lot when we go these days.” The journey to Broadway, where “Hand to God” opens on Tuesday at the Booth Theater, still seems unlikely to Mr. Askins, 34, who works as a bartender in Brooklyn and says he can’t afford to see Broadway shows, despite his newfound prominence. He seems simultaneously enthralled by and contemptuous of contemporary theater, the world in which he has chosen to make his life; during a walk from the Cobble Hill coffee shop where he sometimes writes to the Park Slope restaurant where he tends bar, he quoted Nietzsche and Derrida, described himself as “deeply weird,” and swore like, well, a satanic sock-puppet. “If there were no laughs in the show, I’d think there was something wrong with him,” said the actor Steven Boyer, who won raves in earlier “Hand to God” productions as Jason, a grief-stricken adolescent with a meek demeanor and an angry-puppet pal. “But anybody who is able to write about such serious stuff and be as hilarious as it is, I’m not worried about their mental health.” Mr. Askins’s interest in the performing arts began when he was a boy attending rural Texas churches affiliated with the conservative Lutheran Church-Missouri Synod denomination; he recalls the worshipers as “deeply conservative, old farm folks, stone-faced, pride and suffering, and the only time anybody ever really livened up was when the children’s choir would perform.” “My grandmother had a cross-stitch that said, ‘God respects me when I work, but he loves me when I sing,’ and so I got into that,” he said. “For somebody who enjoys performance, that was the way in.” The church also had a puppet ministry — an effort to teach children about the Bible by use of puppets — and when Mr. Askins’s mother, a nurse, began running the program, he enlisted to help. He would perform shows for other children at preschools and vacation Bible camps. “The shows are wacky, but it was fun,” he said. “They’re badly written attempts to bring children to Jesus.” Not all of his formative encounters with puppets were positive. Particularly scarring: D

What are you listening to? I love that song.” “It’s the college station. Logan’s show is on,” I say with more than a smidgen of pride. “Hold on.” A second later, Logan’s voice echoes between my radio and hers, which would normally be annoying, but gravelly voice or not, it’s him. “We have a caller. Caller, we’re discussing when was the last time you told someone off. Go ahead.” “Eek.” I can picture her nose crinkle up. “He does not sound happy.” The caller’s voice echoes just like Logan’s did, but this person makes me want to clap my hands over my ears. “I know what’s wrong with you, A.L. It’s that girl, isn’t it? The one you had on the show last week. Well, I’m not going to say I told you so.” “Hold up! I know that voice,” Terra squeals. “I know, right? It’s been driving me crazy but I can’t—” Terra cuts me off. “That’s Rayann.” “No, this girl’s name is Capri.” I pause to listen more. “There’s nothing wrong with me,” Logan says. “If you say so,” Capri says, and it feels like a heavenly light of knowledge bursts through my ceiling to shine down while a choir sings in the background. Those words sound exactly as they did a couple of weeks ago when they were spoken to me. “Oh my good gravy, it is her!” I yell into the phone.

We want justice! We want justice!’ We chanted at the Western Oil Company building; the mirrored glass showed our reflections multiplied as though we were millions. This gave us courage and we shouted louder, even when the men with guns also multiplied. Then we started singing. I copied the women around me as closely as possible. Grandma had taught me many songs but I did not know that one. We sang in unison, like a choir that had been practising all year for that one song. Grandma started it. It was an Ijaw song called Wo Ekilemo. Praise him. Her voice was low and quiet, but one by one we joined in. The sound of us women singing was so powerful that the glass moved on the expensive windows, and people inside the building started shutting the windows, even the high-up ones. The slams made us sing even louder. I imagined the white men on the other side of the windows, watching us as they drank their tea. I wondered if they understood why we were protesting. I wondered if they even cared. The security men waving their guns started swaying, as if their bodies were disobeying their commands. They were Ijaw, too, you see. They removed their hats, and rocked from side to side. I sang loudly until the part that said ‘I have overcome death, poverty and sickness’. I could not sing that part. My mind kept flashing to Ezikiel’s face. But then I joined in again, and our voices rose so high I thought they might reach Allah’s ears. Then we all took off our clothes. ‘There is nothing more powerful than a naked woman,’ Grandma said. ‘Nothing in the world.

For Frère Mathieu, there were no more mysteries. He knew who took his life. And he now knew if there was a god and a heaven and angels, and even a celestial choir. It didn't bear thinking about what happened to the celestial choir when yet another director showed up.

If you have ever wondered what heaven looks and feels like, this book is for you. Many of us may have preconceived ideas or notions about “heaven” as a place with harp-playing angels floating on clouds, or beings walking around in robes singing in choirs. Although I am sure there are places where these things exist, the heaven I speak of is a very different place, and I will show it to you. Prepare yourself to enter a wondrous new dimension. I will take you into a world that is even more magnificent than you could ever possibly conceive—a dimension encompassing vistas of enhanced creativity, and kingdoms of beauty and art unrealized in our limited physical world. It is a world that your soul may somehow remember and, inevitably, a world you will see again.

Denny Cordell and Leon Russell ran a record company much the way Russell put together Joe Cocker’s Mad Dogs and Englishmen tour, which was basically a hippie commune on wheels. The Mad Dogs and Englishmen experience would stand as a kind of summit of seventies excess, with three drummers and a choir and endless hangers-on. But Russell’s and Cordell’s careers started well before that. Leon Russell had been a member of the Wrecking Crew, playing on Phil Spector records, Beach Boys and Byrds records, Monkees and Paul Revere and the Raiders records. He’d been a member of the Shindogs, the house band on television’s Shindig! He’d had his own hits and seen his songs become hits for other artists, from Gary Lewis and the Playboys to the Carpenters. When George Harrison organized the Bangladesh concert, he called Russell, who helped put the band together. At those shows, Russell stood out like the natural star he was. Denny

Why This Book I HAVE WRITTEN THIS BOOK because I am convinced that there is a way to end most evil.* And ending evil is the most important task humans can ever undertake. The only proven way to achieve this on any large scale is the American value system. These values are proclaimed on every American coin: “Liberty,” “In God We Trust,” “E Pluribus Unum.” Each one is explained at length, and each one is adaptable to just about any society in the world. I have written this book with a number of audiences in mind: It is written first for Americans who already affirm American values. To those who would argue that this is an unnecessary exercise in “preaching to the choir,” I would say that, unfortunately, this is not the case. Most of the choir have forgotten the melody. Few Americans can articulate what is distinctive about American values, or even what they are. There is, in fact, a thirst among Americans for rediscovering and reaffirming American values. I know this from my daily radio show, and I know this from a personal experience. A few years ago, at a public forum at the University of Denver, I was asked by the moderator, former Colorado senator Bill Armstrong, what I thought the greatest problem confronting America was. I answered that it was that the last two generations of Americans have not communicated what it means to be American to their children. Someone in the audience videotaped my response and put it on YouTube, where millions of people have seen it. A lot of Americans realize we have forgotten what we stand for.

Midnight Mass was required, and at Saint Aloysius, it lasted ninety minutes. Because the church was crowded with what Mother called “one timers” who attended Mass only on Christmas Eve, we arrived at 11:00 p.m. to get a seat near the front. The church was splendidly decorated. Poinsettias bloomed everywhere, huge wreaths and sprigs of holly tied with red bows hung on every pillar, potent incense enveloped us, and six tall candles burning on the main altar lighted our way out of the long, cold darkness. Carols sung from the choir loft filled the church and evoked the sensuous beauty and mystery of this holy night. While other children chatted with friends and showed off their holiday apparel, My PareNTs, gail aNd i, Mara aNd NiCho- las; ChrisTMas, 1974; CaNToN, ohio I sat quietly, awaiting the chimes that announced the first minutes of Christmas and heralded the solemn service: the priest’s white and gold vestments, his ritualized gestures, the Latin prayers, the incense, the communion service with the transfigured bread and wine, and the priest’s blessings from the high altar that together

Come Let Us Worship Come, let us bow down in worship, let us kneel before the LORD our Maker. —PSALM 95:6     A recent point of frustration, debate, and tension in many churches has been about defining worship and agreeing what it should look like. Older Christians are confused because of changes made to the style of worship. They wonder whatever happened to the old hymns that were so beloved. They knew the page numbers and all the old verses by heart. Today there are no hymnals, the organs have been silenced, and guitars, drums, and cymbals have taken over. The choir and their robes have been abandoned, and now we have five to seven singers on stage leading songs. We stand for 30 minutes at a time singing song lyrics that we aren’t familiar with from a large screen. What’s happening? If the church doesn’t have these components, the young people leave and go to where it’s happening. Are we going to let the form of worship divide our churches? I hope not! The origins of many of the different expressions of worship can be found in the Psalms, which portray worship as an act of the whole person, not just the mental sphere. The early founders established ways to worship based on what they perceived after reading this great book of the Bible. Over the centuries, Christian worship has taken many different forms, involving various expressions and postures on the part of churchgoers. The Hebrew word for “worship” literally means “to kneel” or “to bow down.” The act of worship is the gesture of humbling oneself before a mighty authority. The Psalms also call upon us to “sing to the LORD, bless His name” (96:2 NASB). Music has always played a large part in the sacred act of worship. Physical gestures and movements are also mentioned in the Psalms. Lifting our hands before God signifies our adoration of Him. Clapping our hands shows our celebration before God. Some worshipers rejoice in His presence with tambourines and dancing (see Psalm 150:4). To worship like the psalmist is to obey Jesus’ command to “love the Lord your God with all your heart and with all your soul and with all your mind and with all your strength” (Mark 12:30). There are many more insights for worship in the book of Psalms: • God’s gifts of instruments and vocal music can be used to help us worship (47:1; 81:1-4). • We can appeal to God for help, and we can thank Him for His deliverance (4:3; 17:1-5). • Difficult times should not prevent us from praising God (22:23- 24; 102:1-2; 140:4-8).

suppose, if God is conservative or liberal, but I think that’s the wrong question. Instead we should ask: Is God expansive or tiny? Is God spacious or shallow? Is God inclusive or exclusive? What are the chances that God holds the same tiny point of view as I do? Well, zero. The Choir aims to challenge the politics of fear and the stances that limit our sense of God. It believes that a love-driven set of priorities will ignite our own goodness and reveal our innate nobility, which God so longs to show us. It invites us to inch the

PHARUS. Wan't a fight. HEADMASTER. So, what, you fell? PHARUS. Fight mean you put your hands up and Fight back. I just ... just took it. HEADMASTER. Why ... why would you do that? PHARUS. What you fight for, sir? What you fight For? You fight when you believe what You doing, what you are, is right. Huh. Everybody 'round you always telling you, showing You that you ain't nothing, that they don't Want you to be nothing, what you fight For then? What you defending? You believe like, like they believe so Who you fighting for?

Conversion is a matter of the heart, not of the academy; polemics function more to “speak to the choir” and shore up internal unity rather than to facilitate understanding, let alone to show love of neighbor.

Some people have very fluffy bullshit ideas about this kind of thing, Verity did not. She wasn't expecting earth movement and choirs of angels. The last thing she wanted to do was wait for someone special. She wanted to know exactly what she was doing when that someone showed up. She was a great believer in preparation. That being said, she was of course not willing to let just anyone assist with the removal of her virginity. She rejected utterly the concept of some man ‘taking it’ – it gave them far too much control in the situation. Come to that, she wasn't losing it – she was carefully disposing of it. Loss implied carelessness.

There’s nothing there except for her word, and what good is that when she was the one sending you all those texts. But you wanna know the kicker? You want me to crack an egg of knowledge over your head?” I didn’t answer. Christmas wiggled his fingers in the air, and then sang “Spoiler alert! Regina’s the one who asked me for help. It’s not the other way around this time.” He pounded the butt of his fist against the table. “Man! I hate ruining surprises!” My heart stopped. I patted my chest with my open palm to get it going again. Okay, not really, but that’s what it felt like. Christmas could see the confusion on my face and he continued to floor me with his words. “I’m sure by now you’ve noticed the show choir has been absorbed with the set they’ve been creating all afternoon. It’s quite elaborate, and everyone in the show choir is required to help, but… has Regina been helping at all? Has she been sweating away, moving huge boxes back and forth with the other kids in the show choir?” I paused. “No. She’s been running around the mall taking selfies. But… her parents were here. They came to watch her performance.” Christmas snapped his fingers at me. “Connect those dots, Valentine…” “But if Regina’s not in the show choir, then her parents can only be here because they think she’s in it,” I said, staring at the table. “But why would she lie to them?” “Cha-ching!” Christmas was giving me a hint. “Don’t forget that membership is $200 a month!” “That’s why Regina seems to have so much money all the time,” I said. “She faked being a member of show choir to keep the money for herself. But… why the selfie game? Why send us all over the mall?” “Because I told her to,” Christmas chuckled. “Yeah, that was all me. She came to me, asking for help to cancel the entire trip, which I actually tried to do earlier.” Little light bulbs were switching on in my head. “That’s what the sign was for this morning.” And then I remembered the girl who shouted. “That was Regina in the cafeteria! She tried to start a food fight so the school would cancel the show before we even boarded the buses!” “Didn’t work,” Christmas said. “I knew it wouldn’t, but that didn’t stop her. She came to me again at the mall and asked for my help, so I did. I told her exactly what to do, and she did it perfectly, distracting you like the bugs you are.” “Distracting us?” I asked. Christmas turned around. “She’s planning on sabotaging the show choir performance. If they don’t perform, then her parents will never learn that she’s not in the club.

What the research is showing us is that the feeling of being in a collective is really an essential part of [social activism]. We have that famous quote from Bill McKibben when he's asked, what's the one thing I can do to solve this problem? What's one thing? And he says, stop being just I, stop just being you. Start to see yourself in this broader collective, start to plug in to a collective, because a collective actually has kind of the effects that are, the sum is greater than the parts. And I use the metaphor of the choir, right? When you're in a choir, and you're lots of people singing, and you need to catch your breath, or maybe you have a little frog in your throat or something, you can take a moment out and kind of settle your body again, get your voice back, knowing that the rest of the choir is carrying that song. Whereas if you feel like you're the only one singing, there's no space for that, right? And so you just keep singing, and you just sing through the suffering of it.