"Now the moon is almost hidden/The stars are beginning to hide/The fortune-telling lady/Has even taken all her things inside."

Just an old Bob Dylan lyric that crossed my mind writing the previous post.

And here's the Jefferson Airplane song that I linked to in the second paragraph of the first post today, on the words: "You're only pretty as you feel." That link goes to a nice "extended outtake" of "Pretty As You Feel," which should remind old Baby Boomers of the pleasant languors of psychedelic rock concerts circa 1970.

By the way, it always bothered me when an artist that I liked to think of as hip and cool built a song around some old adage or platitude, especially when the saying was sung over and over and with apparent sincerity. Think of some other examples. Here's the one that hardened my hatred for this half-assed lyric-writing: "It's nature's way of telling you something's wrong."

Did Bob Dylan ever do that? I can't think of any examples, and I ask Meade — whose head is a bigger storehouse of Dylan lyrics than mine — and he can't either.

Alice Munro wins the Nobel Prize in Literature.

"Alice Munro, the renowned Canadian short-story writer whose visceral work explores the tangled relationships between men and women, small-town existence and the fallibility of memory, won the 2013 Nobel Prize in Literature on Thursday. Ms. Munro, 82, is the 13th woman to win the prize."

Is that interesting or exciting? I can't remember if I've ever read anything of hers. Were there stories in The New Yorker back in the 1970s, when it seemed important to read delicately honed observations of what men and women were doing in their relationships? I can't remember if there were or even why it seemed important back then, when it quite obviously isn't doesn't anymore.

Let's see what The New Yorker is saying about this. They're highlighting an interview from 2012:

In your stories, there is often a stigma attached to any girl who attracts attention to herself—individualism, for women, is seen as a shameful impulse....

I was brought up to believe that the worst thing you could do was “call attention to yourself,” or “think you were smart.”...

You’ve written so much about young women who feel trapped in marriage and motherhood and cast around for something more to life....

It wasn’t the housework or the children that dragged me down. I’d done housework all my life. It was the sort of open rule that women who tried to do anything so weird as writing were unseemly and possibly neglectful....

I’m sure this is an irritating question, but do you consider yourself a feminist writer?

I never think about being a feminist writer, but of course I wouldn’t know. I don’t see things all put together in that way. I do think it’s plenty hard to be a man. Think if I’d had to support a family, in those early years of failure?

Insincere "Jesus."

A topic this morning at Meadhouse is the insincere use of "Jesus" in pop songs circa 1970.

1. "Jesus Is Just Alright."

The song's title makes use of the American slang term "all-right," which during the 1960s was used to describe something that was considered 'cool' or very good. The song has been covered by a number of bands and artists over the years, including The Byrds, Underground Sunshine, The Doobie Brothers, Alexis Korner, The Ventures, DC Talk, Shelagh McDonald, and Robert Randolph (featuring Eric Clapton).

2. "Spirit in the Sky."

[Norman] Greenbaum... was inspired to write the song after watching Porter Wagoner on TV singing a gospel song. Greenbaum later said : "I thought, 'Yeah, I could do that,' knowing nothing about gospel music, so I sat down and wrote my own gospel song. It came easy. I wrote the words in 15 minutes." "Spirit in the Sky" contains lyrics about the afterlife, making several references to Jesus, although Greenbaum himself is Jewish.

3. "One Toke Over the Line." ("One toke over the line, sweet Jesus...")

The catchy single, "One Toke Over the Line," peaked at #10 (#5 in Canada), garnering notice from Spiro Agnew for what he saw as its subversiveness. Ironically, the song was performed (by Gail Farrell and Dick Dale) on The Lawrence Welk Show, which billed it a "modern spiritual."[2] The song is notably mentioned in the opening of Hunter S. Thompson's Fear and Loathing in Las Vegas, and was notably "sung" by Dr. Gonzo (Benicio Del Toro) in the film of the same name. "

Any more examples? Help me out here. The topic is: Insincere (or arguably insincere) references to Jesus in popular songs in the days before Christian rock was a thing.

I know there's also "The Christian Life" on the Byrds album "Sweetheart of the Rodeo," — which came out a year before the album with "Jesus Is Just Alright" — but I'm not putting it on the list, because I don't think it was played on the radio. The Byrds suddenly switched from psychedelic rock to country music, which was a strange thing to do at the time and it didn't feel like a bid for another hit record.

"'Christian Life' was performed tongue-in-cheek," said [Chris] Hillman. "After Roger [McGuinn] sang it, he admitted to going overboard with the accent. Roger was from Chicago and here he is, doing this heavy, syrupy country twang."

My buddies shun me since I turned to Jesus
They say I'm missing a whole world of fun
I live without them and walk in the light
I like the Christian life

MORE: Maybe it all started with the Paul Newman movie "Cool Hand Luke" — "I don't care if it rains or freezes/Long as I have my plastic Jesus/Riding on the dashboard of my car...":



IN THE COMMENTS: Fr. Denis Lemieux cites "Suzanne," by Leonard Cohen:

"Jesus was a sailor when he walked upon the water, and he spent a long time watching from his lonely wooden tower, and when he knew for certain only drowning men could see him, he said all men shall be sailors then, until the sea shall free them...'

Not exactly insincere... more a use of Jesus outside of orthodox Christian theology, I guess. I find this a fascinating topic, though - intersection of faith and culture.

I agree that this is not insincere. It is mysterious/mystical... and that is religious. Suzanne herself explains:

BBC's Kate Saunders: Could you describe one of the typical evenings that you spent with Leonard Cohen at the time the song was written?

Suzanne: Oh yes. I would always light a candle and serve tea and it would be quiet for several minutes, then we would speak. And I would speak about life and poetry and we’d share ideas.

Saunders: So it really was the tea and oranges that are in the song?

Suzanne: Very definitely, very definitely, and the candle, who I named Anastasia, the flame of the candle was Anastasia to me. Don’t ask me why. It just was a spiritual moment that I had with the lightening of the candle. And I may or may not have spoken to Leonard about, you know I did pray to Christ, to Jesus Christ and to St. Joan at the time, and still do.

Saunders: And that was something you shared, both of you?

Suzanne: Yes, and I guess he retained that.

And El Pollo Real prompts me to include Bob Dylan on this list, but I refuse, because I don't think Dylan was insincere about Jesus — not on "Slow Train Coming" and not on earlier references: "Even Jesus would never forgive what you do" ("Masters of War" on "Freewheelin'"), "Jesus Christ was betrayed by a kiss" ("With God On Our Side," on "The Times They Are A-Changin'"), "You know they refused Jesus, too" ("Bob Dylan's 115th Dream," on "Bringing It All Back Home").