“All a man’s ways are pure in his eyes, but the LORD takes the spirit’s measure” (Proverbs 16:2). The first part isn’t true of everyone all the time. But it’s probably true of everyone some to most of the time. And certainly very often true of me. Lord, help us to discern.
Just re-listened to A King and His Kindness (2021) by Caroline Cobb. My favorite nuthin’-but-Jesus album since Rich Mullins’ 1997 demo tapes. Definitely square and very devout, hence the kind of album my enjoyment of which will lose me cool points with just about everyone I can think of. But these are the kinds of songs that make you not give a damn about cool points.
Our culture’s current and very understandable hangups about the injustice of forgiveness can be resolved by defining it as threefold:
dismissal (of a wrong) as impetus to retaliation
dismissal as impetus to resentment
dismissal as impetus to alienation or reduction in standing
That list is not only a division, but also perhaps a progression: First, in very clear obedience to our Lord and to keep our communities and society from tearing themselves to shreds, we refuse to retaliate, despite our probably justifiable anger.
Second, and perhaps only as (a lot of) time passes but facilitated by both free ventilation and the wrongdoer’s repentance, we moderate our anger until it thoroughly dissipates. This part is an art, not a science: In the knowledge that we’re all quite capable of sin and likely blind to some of our own wrongdoing, we constantly tack toward total abatement of animosity and we refuse to cling to ill will; however, knowing that there are indeed things God hates, neither...
There are many kinds of love. The most extraordinary kind is the love God has for us—it’s eternal. And then there’s the love parents have for their kids—bigger than you can possibly imagine. There’s friend love, which can be magical, but it can also change over time. And then there’s married love. This kind of love is extraordinary, because it requires so much, and also gives more than you can imagine.
— Amy Low, to her kids • “New Eyes” (2024), an essay published in Comment
Just re-listened to A Home and a Hunger (2017) by Caroline Cobb. Very devout singer-songwriter Bible stuff that sounds like a fledging, lady Andrew Peterson. Gabe Scott’s tasteful CCM production, including bouzouki, banjo, lapsteel, dulcimer, and dobro, helps make that comparison. More Bibley than Peterson. Highlights: “There Is a Mountain,” “All Is Vanity (Ecclesiastes),” “Emmanuel (Every Promise Yes in Him),” and “Only the Sick Need a Physician.” Two of the other numbers cry out for a full-on gospel music treatment. I’m glad talented lyricists are still writing very Christian (instead of merely theistic) songs for the church and getting good production value.
In case Spotify goes out of business by the time you’re reading this, here’s a text-only list of the same, sequenced least best (but still quite good) to best:
John Wilson / Sinfonia of London (Chandos, 2022)
Claudio Abbado / London Symphony Orchestra (Deutsche Gramophone, 1985)
Seiji Ozawa / Boston Symphony Orchestra (Deutsche Gramophone, 1974)
Simon Rattle / City of Birmingham Symphony Orchestra (EMI, 1990)
Pierre Boulez / Berliner Philharmoniker (Deutsche Gramophone, 1994)
Jean Martinon / Orchestre de Paris (EMI/Warner Classics, 1974)
Jos Van Immerseel / Anima Eterna (2006)
Charles Dutoit / Orchestre Symphonique de Montréal (Decca, 1982)
Eiji Oue / Minnesota Orchestra (Reference, 2000)
Pierre Boulez / New York Philharmonic (Sony/Columbia, 1974)
One of the reasons—maybe the main reason—I find the built environment in Europe more charming that in the U.S. is the relative lack of billboards and overhead power lines.
I realized the other week that I didn’t own a copy of a recording of Rhapsody in Blue. That felt un-American, so I went shopping. I listened to the following eleven renditions in search of one to buy:
Leonard Bernstein / Columbia Symphony Orchestra (Sony, 1959)
Eric Robinson / Pro Arte Orchestra / Larry Adler, harmonica (Digital Gramophone, 1959)
Arthur Fiedler / Boston Pops / Earl Wild (RCA, 1960)
Leonard Slatkin / St. Louis Symphony / Jeffrey Siegel (MMG, 1974)
Michael Tilson Thomas / Columbia Jazz Band / George Gershwin, piano roll (Sony, 1976)
Michael Tilson Thomas / San Francisco Symphony (RCA, 2004)
Jeff Tyzik / Rochester Philharmonic Orchestra / Jon Nakamatsu (Harmonia Mundi, 2007)
Kitchen towels are much more effective at soaking up water if, instead of constantly moving them around, you let them rest. My attention is a kitchen towel.
I don’t feel at work the stress I feel at home, where stress accompanies not only the drive to get things done, but even the desire for recreation!
Why the difference? I’m not certain. But my surmises are several:
For one, I’m explicitly working for other people. That relieves me of the kind of internal pressure I feel when I’m working on my own stuff.
It also helps that those other people for whom I’m working are trustworthy and trust me. That means I basically have liberty to do as I please.
I have liberty to do as I please as long as I color within the lines a distinct mission: To maximize the security, resilience, utility, and accessibility of DiamondBack’s information. That unity of purpose helps.
Finally, five days a week I enjoy eight-hour expanses of time in which do the work.
Oh, and I’ve largely managed to avoid working under deadlines.
Might I import those circumstances into my non-DiamondBack life? Yes. And in :