FATHER’S SONG (13): Dancing Together As One (Paul)

Jesus lived his entire life completely swept up in the rhythms of The Father’s Song. Remember that in the very beginning, before the creation of the world, all that existed was the eternal dance of the Trinity. Father, Son and Holy Spirit enjoying pure, self-giving, mutual joy and love between their three eternally distinct persons.

This is a mystery for sure. But when “the Word became flesh and made his dwelling among us” (John 1:14) we were given a glimpse of what it looks like when a human being lives in perfect oneness with the Triune Godhead. This is the One who said: “I tell you the truth, the Son can do nothing by himself; he can do only what he sees his Father doing, because whatever the Father does the Son also does. For the Father loves the Son and shows him all he does” (John 5:19).

Before Jesus left this earth to return to the Father he prayed a most majestic prayer on behalf of his followers. His famous prayer is recorded in John 17:

FATHER’S SONG (12): More Than Sheet Music (Jesus)

As the OT comes to a close, God’s plan to bring a tone-deaf and clumsy footed people back into the harmonious rhythms of The Father’s Song seems a giant failure. If only these notes on a page could become music in one’s ear.  If only someone could learn to play each note perfectly, perhaps the world would be irresistibly drawn to the music and join in the chorus. If only someone could breathe life into the sheet music and make it dance like those dry bones did in Ezekiel’s vision. If only the Word, God’s very wisdom, power and purposes, could become flesh and dwell among us.

Enter Jesus.

“The Word became flesh and made his dwelling among us. We have seen his glory, the glory of the One and Only, who came from the Father, full of grace and truth” (John 1:14).  This shocking statement brings us to the climactic point of “The Father’s Song” survey of the Bible.

FATHER’S SONG (11): Country Break-Up Songs (Prophets)

There is the right song for every situation.  There is music for every mood.  And everyone’s musical library should include a good collection of quality break-up songs.  Country music provides plenty of options for this category.  My go-to-guy for heart-wrenching, gut-punching break-up songs is without question Chris Isaak.

I bought Chris Isaak’s Forever Blue album back in ’95 when I was 16-years old.  Every single track is a tale of romantic woe, heartache and a hopeless outlook on love.  Isaac’s matchless Elvis-Orbison-like voice and soothing acoustic guitar makes this otherwise painfully depressing collection of songs enjoyable.  My friend, Peter, is still upset a decade and a half later that I made him listen to the entire album start to finish in my car as part of his “healing” the night he broke up with his girlfriend.  I thought it would provide some solace and sympathy reminding him he wasn’t alone.  He claims it was pure torture and only threw salt on his wounded heart.

The stars have all stopped shining,
the sun just won’t break through.
Each days the same, more clouds more rain.
You’re left forever blue.

(Chris Isaak, Forever Blue)

On second thought, maybe he was right.

Unfaithful lovers.  Wounded hearts.  Longing and regret. Fighting and forgiveness.  Pain and sorrow.  Long, lonely nights. All core elements of a good break-up song and all part of the universal human experience — going back thousands of years by the way. As we continue our melodious trek through the Bible, tracing the theme of The Father’s Song, we come now to the books of the prophets of Israel.  

FATHER’S SONG (9): Israel’s iPod (Psalms)

I have over 2,000 songs in my iTunes library.  I also have a much smaller “Playlist” of all my favorites: songs that make me smile and move me to dancing, songs that evoke significant memories, songs I’ve shared with special friends, songs that comfort me and songs that move me to tears.  Skimming through another person’s music collection can often give you a small window into that person’s soul.

By God’s grace the ancient “Favorites Playlist” of Israel has been preserved for us in the 150 song collection we call the Psalms.  We have in the middle of our Bibles essentially the iPod of the ancient Israelite people.  This collection of 150 songs includes hymns for holy days, community laments, individual laments, songs of pious persons, thank-offering songs, royal songs and more.  They were written by the community and for the community of Israel.  Many are attributed to individuals such as David and Asaph.  They are the raw, unfiltered poetic scribbles and lyrical expressions of man’s search for God amidst all the struggles common to man.  

The Carpenter (unknown)

Once upon a time, two brothers who lived on adjoining farms fell into conflict. It was the first serious rift in 40 years of farming side-by-side, sharing machinery and trading labor and goods as needed without a hitch. Then the long collaboration fell apart. It began with a small misunderstanding and it grew into a major difference and finally, it exploded into an exchange of bitter words followed by weeks of silence.

One morning there was a knock on John’s door. He opened it to find a man with a carpenter’s toolbox. “I ‘m looking for a few days’ work,” he said. “Perhaps you would have a few small jobs here and there I could help with? Could I help you?”

“Yes,” said the older brother. “I do have a job for you. Look across the creek at that farm. That’s my neighbor. In fact, it’s my younger brother! Last week there was a meadow between us. He recently took his bulldozer to the river levee and now there is a creek between us.  Well, he may have done this to spite me, but I’ll do him one better. See that pile of lumber by the barn? I want you to build me a fence… an 8-foot fence — so I won’t need to see his place or his face anymore.”

The carpenter said, “I think I understand the situation. Show me the nails and the post-hole digger and I’ll be able to do a job that pleases you.” The older brother had to go to town, so he helped the carpenter get the materials ready and then he was off for the day. The carpenter worked hard all that day — measuring, sawing and nailing.

About sunset when the farmer returned, the carpenter had just finished his job. The farmer’s eyes opened wide, his jaw dropped. There was no fence there at all.

It was a bridge. 

A bridge that stretched from one side of the creek to the other! A fine piece of work, handrails and all! And the neighbor, his younger brother, was coming toward them, his hand outstretched..

“You are quite a fellow to build this bridge after all I’ve said and done.”

The two brothers stood at each end of the bridge, and then they met in middle, taking each other’s hand. They turned to see the carpenter hoist his toolbox onto his shoulder. ”No, wait! Stay a few days. I’ve a lot of other projects for you,” said the older brother.  ”I’d love to stay on,” the carpenter said, “but I have many more bridges to build.”

FATHER’S SONG (6): The 40-Year Long Band Rehearsal (Exodus-Judges)

One divine melody permeates the grand narrative of redemptive history.  In this series, Jeremy is guiding us through the biblical narrative–from Genesis to Revelation–with “ears to hear” the penetrating God-beat keeping everything in sync.

I spent several years substitute teaching in the public schools to pay my way through seminary. Substitute teaching is not for the faint of heart. In order to survive, you must have thick skin, the patience of a saint and the ability to give the impression that you’re in control when you have absolutely none!

Some subs choose their classes carefully, avoiding certain subjects and grade levels that will prove more difficult than others. For example, library monitor or 10th grade history are two safe choices: the first you just read a book and occasionally remind the children to “use inside voices”; the second you usually pop in a History Channel video and hit play. Other subs live a bit more on the wild side. Perhaps the boldest of them all is the 6th grade band sub with no band experience…

I remember well the day I walked into the band room expecting to show”The Music Man” or something and instead found a conductor’s baton and detailed instructions on which musical pieces to lead the class through! The rest of the day is a blur.

FATHER’S SONG (5): A Masterpiece in Written Form (Moses & Torah)

One divine melody permeates the grand narrative of redemptive history.  In this series, Jeremy is guiding us through the biblical narrative–from Genesis to Revelation–with “ears to hear” the penetrating God-beat keeping everything in tune.

Crowds await the spectacle at Red Rocks

The crowds came with great anticipation to the mountain amphitheater.  Many great and awesome rumors preceded the night’s long awaited spectacle.   Days of preparations were required to get things ready for the big show.  When the moment finally arrived, a heavy darkness covered the entire place.  A great silence fell over everyone.

Soon the entire place was wrapped in smoke, as the lead singer of the band descended from the rafters upon the smoke-filled stage with a fiery flash of pyrotechnic genius.  Suddenly the whole place began to shake violently as the pulsating bass beat and amplified drums grew louder and louder until they reached the climactic moment when the full band appeared upon the stage in wild flashes of colorful light and began to perform their megahit single.

FATHER’S SONG (4): Whistling Alone in the Dark (Abraham)

One divine melody permeates the grand narrative of redemptive history.  In this series, Jeremy is guiding us through the biblical narrative–from Genesis to Revelation–with “ears to hear” the penetrating God-beat keeping everything in tune.

A man sat at a metro station in Washington DC and started to play the violin; it was a cold January morning. He played six Bach pieces for about 45 minutes. During that time, since it was rush hour, it was calculated that thousands of people went through the station, most of them on their way to work.

Three minutes went by and a middle aged man noticed there was musician playing. He slowed his pace and stopped for a few seconds and then hurried up to meet his schedule.  A minute later, the violinist received his first dollar tip: a woman threw the money in the till and without stopping continued to walk.  A few minutes later, someone leaned against the wall to listen to him, but the man looked at his watch and started to walk again. Clearly he was late for work.  The one who paid the most attention was a 3 year old boy. His mother tagged him along, hurried but the kid stopped to look at the violinist.

In the 45 minutes the musician played, only 6 people stopped and stayed for a while. About 20 gave him money but continued to walk their normal pace. He collected $32. When he finished playing and silence took over, no one noticed it. No one applauded, nor was there any recognition.

No one knew this but the violinist was Joshua Bell, one of the top musicians in the world. He played one of the most intricate pieces ever written,with a violin worth 3.5 million dollars.  Two days before his playing in the subway, Joshua Bell sold out at a theater in Boston and the seats average $100 (original story from “The Washington Post,” April 4, 2007).

This oft-told story illustrates, among other things, that the familiar sites, sounds and set patterns of our everyday lives can deafen us to the quiet, unforced rhythms of Beauty’s song patiently singing in the background of our static-filled lives.  The Father’s Song, having sung the entire creation into being only chapters earlier in the Biblical narrative, has now slipped into the background of a world spiraling into a sin-filled cosmic cacophony of competing songs and dances (see previous post, “Cosmic Dissonance”).

FATHER’S SONG (3): Cosmic Dissonance (Fall)

Since the creation of the world God’s perfect melody, the Father’s Song, has been clearly heard, it’s harmonious rhythms and soothing beats echoing forth from all that God has made, so that people are without excuse.  For although we knew the Father’s Song — which is written on our hearts — we chose to deafen our ears and tune our hearts to humanly authored songs far inferior.  We have exchanged a life swept up in the embrace of the trinitarian dance, living in perfect harmony with the great Composer, for a life of whistling alone in the dark or making up half-baked ditties in the shower.  We have all left the Father’s band in order to try our luck in a solo career and are failing miserably.

Or, as Paul puts it:

“Since the creation of the world God’s invisible qualities — His eternal power and divine nature — have been clearly seen, being understood from what has been made, so that people are without excuse.  For although they knew God, they neither glorified him as God nor gave thanks to him, but their thinking became futile and their foolish hearts were darkened.  Although they claimed to be wise, they became fools and exchanged the glory of the immortal God for images made to look like mortal human beings and birds and animals and reptiles.  Therefore God gave them over….” (Romans 1)

We’ve gone tone deaf.  Our lives are out of tune.  We’ve misplaced or, worse, crumpled and tossed the Composers sheet music and are scrambling to improvise.  God created the world to be a magnificent symphony made up of instruments from every tribe, tongue and nation.  Only a few chapters into Genesis and God’s cosmic symphony sounds more like a Friday night “Battle of the Bands” at a punk rock festival.  Everyone is trying to top the other by playing louder and better.  The world is a moshpit, people are slam dancing, bodies are flailing and many are getting hurt.  The Fall of humankind into sin in Genesis 3 marks the pivotal moment in history when the perfect melody of the Father’s Song was abruptly shattered by the first misplayed note, the first mis-struck chord.  “Sin” (harmartia in Greek) means literally “missing the mark” or, sticking to our theme, “playing out of tune with God.”  The result of that first sin was total, utter cosmic dissonance.

The New Oxford American Dictionary defines “Dissonance” as “a tension or clash resulting from the combination of two disharmonious elements.”  The rest of the biblical narrative, from Genesis to Revelation, is the story of ongoing dissonance resulting from God’s creatures insisting on playing to a different tune than their Creator, dancing to the beat of their own drummer, and God’s relentless attempts to bring all creation back into harmony with the Father’s Song.  The story eventually gets there, but for now we must pause and swallow the devastating words: “Therefore God gave them over…” We must endure the ear-piercing noise of a creation of “noisy gongs and clashing cymbals” (1 Cor. 13) whose revolt results in (1) ears deafened to the Father’s Song (separation from God) and (2) many voices singing out of tune and competing with each other for center stage (relational strife).

The Father’s Song would fade into the background for some time, barely detectable amidst the growing cacophony of competing choruses that grew out of the Fall.  (Just read Genesis 4-11 to get a glimpse of the noise.)  Yet, no matter how entrenched a person might be in the beat and groove of another song, they are never more than a divine moment away from being arrested again by the sweet sound of God’s creative, restorative grace — the Father’s Song.  Next time we’ll meet one such man: Abraham.

FATHER’S SONG (2): Creation Song & The Tuning of Man (Creation)

The Creator could have chosen an infinite number of methods to bring the universe into being.  God chose to sing.  Well, we don’t know if God actually sang per se, but the creation narratives make plain that the first stars, moons, trees, oceans, platypuses and people danced into existence through the spoken word of God.  (“And the Lord said…and it was so.”)  Scholars are quick to point out that Genesis 1 has a clear poetic rhythm, a certain beat, cadence or ancient groove.  Unfortunately contemporary readers often tend to impose rigid, lifeless, “just-give-me-the-facts” scientific interpretations on this rich rhythmic narrative.  All the heated debates over dating and the fossil record can deafen one’s ears to the sheer beauty of the creation song.

Like a pebble striking a glassy pond and rippling outward, the pulsating energy and mutual love of the Trinitarian dance struck the cosmic void with a decisive chord of creative power that began the rippling effects of those first six days.  The poem slowly builds in tempo and tone, from the quiet sounds of the Spirit hovering over the deep to the energetic flashes of light and syncopated splashes of the sea.  The song’s thin melody grows fuller as new life fills sea, sky and land with each passing day.  The creeping of the crawlers builds to the march of the beasts of land and sea.  The suspense grows and the volume increases.  The angelic choirs join the Divine Trio, adding texture and depth as the creative music builds to the grand crescendo of the sixth day.  Every note, every melody of the Father’s Song has been leading the attentive ear to this shocking, show-stopping lyric:

“Let Us create man in Our image, according to Our likeness” (Gen 1:26).

And all heaven was silent.  Awe fell over the angelic hosts.  The perfect harmony shared between the Father, Son and Holy Spirit could not be contained.  A dance this perfect, a song this sweet, a love this strong spilled over and echoed out beyond the perfect trinitarian fellowship.  And so God created human beings in his image — His triune, interrelational image.

But why?

We were created to join the Dance of the Trinity.  We were created to join the angels in singing the Father’s Song.  We were made to join the symphony of God’s holy, creative, life-giving, relational love.  We are all instruments of God in the deepest, truest sense.  We are created “in the image of God” — we might say “in tune with God”   — in order to perform the Father’s Song with our lives as we walk in rhythm with God.  The song’s opening measures were absolutely flawless: “And God saw all that He had made and it was very good.” For a blissful moment the first human couple enjoyed a life of perfect harmony (or “Shalom”) with the earth, with each another, with themselves and with their God.

But the Father’s Song would soon take a tragic turn as God’s instruments so went so quickly out of tune….