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Amanda (96 KP) rated They Both Die At The End in Books
May 29, 2019
I’ve seen this book on my Twitter and Instagram and I finally gave in…I’m so glad and sad that I did. My heart! I swear! The sad thing is that the title really says it all, so you’re not blind sided, but there’s always that hope, right?
In this universe, there is a company called Death Cast – from 12 am to 3 am, they make these calls to people and inform that within 24 hours, they would die. Yeah. Someone from a cubicle call center calls you up and says you will die within the next 24 hours, they don’t know how but you will, and try to provide you with support.
Yeah, okay, you get a phone call that you’re about to die but then try to get some sort of sympathy or support – yeah, I definitely can’t do that job. And no, the people who work for Death Cast are NOT exempt from getting those calls.
For the most part, the story is told from two points of views, Mateo and Rufus. They both get the call in the same time frame. Other chapters are told from different people’s points of view that have some sort of ‘connection’ with the boys, even if it’s just in passing. Such as an old girlfriend of Rufus, or the Death Cast employee who gave him the alert that he would die.
I grew so attached to these boys! They were both dealt with some crappy hands. Mateo’s mother passes away and his father is in a coma. Rufus lives in an orphanage called ‘Pluto’ and has no blood family. I mean, damn! My poor boys!
“You may be born into a family, but you walk into friendships. Some you’ll discover you should put behind you. Others are worth every risk.”
Yes, I got emotional with this story, but this was so beautifully written. I adored Silvera’s way of writing this story. Granted, sometimes I don’t care for hearing about other people that are not Mateo and Rufus, but it was crucial to know what kind of world this was that Death Cast exists and nobody is exempt from it.
Don’t think of this as Final Destination. Nobody is trying to escape death (well, one was for a little bit), it’s a world where you can imagine what it would be like if you knew you were going to die soon, what would you do? How would you react? Is better knowing or not knowing?
“Maybe it’s better to have gotten it right and been happy for one day instead of living a lifetime of wrongs.”
In this universe, there is a company called Death Cast – from 12 am to 3 am, they make these calls to people and inform that within 24 hours, they would die. Yeah. Someone from a cubicle call center calls you up and says you will die within the next 24 hours, they don’t know how but you will, and try to provide you with support.
Yeah, okay, you get a phone call that you’re about to die but then try to get some sort of sympathy or support – yeah, I definitely can’t do that job. And no, the people who work for Death Cast are NOT exempt from getting those calls.
For the most part, the story is told from two points of views, Mateo and Rufus. They both get the call in the same time frame. Other chapters are told from different people’s points of view that have some sort of ‘connection’ with the boys, even if it’s just in passing. Such as an old girlfriend of Rufus, or the Death Cast employee who gave him the alert that he would die.
I grew so attached to these boys! They were both dealt with some crappy hands. Mateo’s mother passes away and his father is in a coma. Rufus lives in an orphanage called ‘Pluto’ and has no blood family. I mean, damn! My poor boys!
“You may be born into a family, but you walk into friendships. Some you’ll discover you should put behind you. Others are worth every risk.”
Yes, I got emotional with this story, but this was so beautifully written. I adored Silvera’s way of writing this story. Granted, sometimes I don’t care for hearing about other people that are not Mateo and Rufus, but it was crucial to know what kind of world this was that Death Cast exists and nobody is exempt from it.
Don’t think of this as Final Destination. Nobody is trying to escape death (well, one was for a little bit), it’s a world where you can imagine what it would be like if you knew you were going to die soon, what would you do? How would you react? Is better knowing or not knowing?
“Maybe it’s better to have gotten it right and been happy for one day instead of living a lifetime of wrongs.”
Sassy Brit (97 KP) rated In The Silence in Books
Jun 5, 2019
In The Silence has a blurb so enticing, I just had to read it, and author M. R. Mackenzie did not disappoint.
Anna Scovalini has finally come home; a place she avoided for several years only to find herself involved in a murder case, up close and personal. At first she doesn’t mean to get involved, but when she feels the police aren’t taking things seriously enough curiosity gets the better of her and once she has a poke around for answers she uncovers much more than she bargained for, and inadvertently puts herself into trouble, too.
Throughout this story I found myself intrigued by some of the serious issues discussed, from femicide, rape to gang mentality, and this was all played out by some great characterisation and an exciting plot, where the more I read the quicker the pace sped up until it reached the final reveal of who the killer actually was!
I found the unravelling of the secret surrounding the reason why people were getting killed really enjoyable. Mix this with those paragraphs where there’s a hooded figure tracking people down that literally sent shivers down my spine and made my blood run cold. Is that corny? Maybe. But true!
A word on the dialect. For an East Anglian, born and bred, I thought the Scottish dialect was actually quite fun to read. When I tried the words out loud I actually could do a very good impression of a Glaswegian! On one hand I always find this a little distracting as it does take you out of the story as you’re experimenting with how the words sound on your tongue, but on the other hand it was not full-on throughout the book, and I quickly got used to it.
Returning to characterisation, I loved how Anna (now a criminology lecturer living in Rome) and her best friend Zoe, (who like me has never left her home county) seem to have lives which are worlds apart, and when they get back together they’re instantly best pals again. But under the stress of the investigation even Anna has to think twice about Zoe.
What happened back in the past, that caused so many people in one town to have so many secrets? For me, uncovering the truth made this story for me. For a debut book, I’m exited to see what this author writes next!
An intriguing, fast read that had me guessing who the killer was throughout, with a satisfying, final conclusion.
Anna Scovalini has finally come home; a place she avoided for several years only to find herself involved in a murder case, up close and personal. At first she doesn’t mean to get involved, but when she feels the police aren’t taking things seriously enough curiosity gets the better of her and once she has a poke around for answers she uncovers much more than she bargained for, and inadvertently puts herself into trouble, too.
Throughout this story I found myself intrigued by some of the serious issues discussed, from femicide, rape to gang mentality, and this was all played out by some great characterisation and an exciting plot, where the more I read the quicker the pace sped up until it reached the final reveal of who the killer actually was!
I found the unravelling of the secret surrounding the reason why people were getting killed really enjoyable. Mix this with those paragraphs where there’s a hooded figure tracking people down that literally sent shivers down my spine and made my blood run cold. Is that corny? Maybe. But true!
A word on the dialect. For an East Anglian, born and bred, I thought the Scottish dialect was actually quite fun to read. When I tried the words out loud I actually could do a very good impression of a Glaswegian! On one hand I always find this a little distracting as it does take you out of the story as you’re experimenting with how the words sound on your tongue, but on the other hand it was not full-on throughout the book, and I quickly got used to it.
Returning to characterisation, I loved how Anna (now a criminology lecturer living in Rome) and her best friend Zoe, (who like me has never left her home county) seem to have lives which are worlds apart, and when they get back together they’re instantly best pals again. But under the stress of the investigation even Anna has to think twice about Zoe.
What happened back in the past, that caused so many people in one town to have so many secrets? For me, uncovering the truth made this story for me. For a debut book, I’m exited to see what this author writes next!
An intriguing, fast read that had me guessing who the killer was throughout, with a satisfying, final conclusion.
Hazel (1853 KP) rated The Daughter of the Sea and the Sky in Books
Dec 14, 2018
<i>This eBook was provided by the publisher via NetGalley in exchange for an honest review</i>
<i>The Daughter of the Sea and the Sky</i> by David Litwack is set in a world similar to our own, however there have been many wars as a result of religion and the people have separated themselves into believers and non-believers. Helena Brewster and Jason Adams live on the republic where the people rely heavy on reason and reject the supposedly irrational ramblings of the zealots who live on the “Blessed Lands”. One day a nine-year-old girl, Kailani, escapes from the Blessed Land and sails over to the republic where Helena and Jason find her. Kailani is immediately captured and questioned by the authorities that want to send her to a correctional facility to undo the brainwashing of the zealots.
In the meantime, as it is several months until her tribunal, Helena and Jason become Kailani’s legal guardians and take her to live at Glen Eagle Farm away from the main population of the busy towns. Kailani is loved and admired by the inhabitants on the farm, however there are people on the Blessed Land that want her back.
This is certainly an interesting story that explores a range of themes. For Helena there is the grief she is suffering as a result of the recent death of her father, and the feelings she has towards her mother whom she felt abandoned by. Between Jason and Helena there is also a developing romance as the two connect in their determination to protect Kailani. The most important theme, however, is that of the antagonism between the believers and non-believers. Those living on the Blessed Land want to indoctrinate everybody with their ideals about the soul whereas on the republic this is forbidden as they insist on living a life ruled through fact. As the story goes on certain characters begin to understand the need for both realism and religion. One person even suggests, “In our pursuit of reason, we’ve become as unreasonable as the other side.”
Kailani is a lovable character, which makes the novel a joy to read. It is interesting to compare how a child brought up under a strict religion innocently views the world in comparison with adults who have no faith what so ever. Although written for adults it is suitable for young teens to read too who, although may not understand the significance of the two different sides, are sure to love and enjoy reading about Kailani.
<i>The Daughter of the Sea and the Sky</i> by David Litwack is set in a world similar to our own, however there have been many wars as a result of religion and the people have separated themselves into believers and non-believers. Helena Brewster and Jason Adams live on the republic where the people rely heavy on reason and reject the supposedly irrational ramblings of the zealots who live on the “Blessed Lands”. One day a nine-year-old girl, Kailani, escapes from the Blessed Land and sails over to the republic where Helena and Jason find her. Kailani is immediately captured and questioned by the authorities that want to send her to a correctional facility to undo the brainwashing of the zealots.
In the meantime, as it is several months until her tribunal, Helena and Jason become Kailani’s legal guardians and take her to live at Glen Eagle Farm away from the main population of the busy towns. Kailani is loved and admired by the inhabitants on the farm, however there are people on the Blessed Land that want her back.
This is certainly an interesting story that explores a range of themes. For Helena there is the grief she is suffering as a result of the recent death of her father, and the feelings she has towards her mother whom she felt abandoned by. Between Jason and Helena there is also a developing romance as the two connect in their determination to protect Kailani. The most important theme, however, is that of the antagonism between the believers and non-believers. Those living on the Blessed Land want to indoctrinate everybody with their ideals about the soul whereas on the republic this is forbidden as they insist on living a life ruled through fact. As the story goes on certain characters begin to understand the need for both realism and religion. One person even suggests, “In our pursuit of reason, we’ve become as unreasonable as the other side.”
Kailani is a lovable character, which makes the novel a joy to read. It is interesting to compare how a child brought up under a strict religion innocently views the world in comparison with adults who have no faith what so ever. Although written for adults it is suitable for young teens to read too who, although may not understand the significance of the two different sides, are sure to love and enjoy reading about Kailani.
JT (287 KP) rated The Purge (2013) in Movies
Mar 10, 2020
Ethan Hawke has been here once before, and when you look deep into the mechanics of The Purge it almost mirrors the remake of Assault on Precinct 13. Director James DeMonaco who wrote the script for the latter has taken the premise of that film and given it a more personal feel, something which we could resonate with.
The year is 2022, Ethan Hawke plays James Sandin who’s made his wealth by selling security systems that help protect people against the yearly purge. The purge is a twelve hour long free for all in which the government has allowed all crime to be legal, with the intention that people will get it out of their system.
As a result crime has dropped and unemployment is at an all time low so something must be working? Of course not everyone takes part and those who choose not to, stay behind the confines of their locked down house waiting for the mayhem to pass.
This particular night for the Sandin’s runs like any other normal purge. They sit down to eat, discuss their day and then wait for the alarm to sound which begins the carnage. When Sandin’s young son lets in a stranger looking to take shelter from a group of mask wearing savages events take a turn for the worse.
Lead by the smiling Rhys Wakefield who should take credit from his performance and one so disturbing that it could be compared to Michael Pitt in Funny Games. The gang are desperate to get their hands on the stranger the Sandin’s are harbouring and so give them an ultimatum, “send him out or we’re coming in”.
And so a decision must be made, do they turn themselves into the people on the outside who have no remorse when it comes to killing or do they stand and fight? The Purge is confused as it is disjoined and the script is weak leaving the tension to do the talking which is filled with horror cliches left, right and centre.
From tight shots of darkened corridors to things lurking in the shadows out of sight it rarely delivers a unique treat. The cast is not particularly strong, Wakefield aside. Hawke moves through the gears but offers nothing that we haven’t already seen before. Leaving the majority of the dramatic turns to his on screen wife, Lena Headey .
Despite the short run time, the film is practically over before it has started and it even tries to save itself with a twist ending which you could see coming a mile off.
The year is 2022, Ethan Hawke plays James Sandin who’s made his wealth by selling security systems that help protect people against the yearly purge. The purge is a twelve hour long free for all in which the government has allowed all crime to be legal, with the intention that people will get it out of their system.
As a result crime has dropped and unemployment is at an all time low so something must be working? Of course not everyone takes part and those who choose not to, stay behind the confines of their locked down house waiting for the mayhem to pass.
This particular night for the Sandin’s runs like any other normal purge. They sit down to eat, discuss their day and then wait for the alarm to sound which begins the carnage. When Sandin’s young son lets in a stranger looking to take shelter from a group of mask wearing savages events take a turn for the worse.
Lead by the smiling Rhys Wakefield who should take credit from his performance and one so disturbing that it could be compared to Michael Pitt in Funny Games. The gang are desperate to get their hands on the stranger the Sandin’s are harbouring and so give them an ultimatum, “send him out or we’re coming in”.
And so a decision must be made, do they turn themselves into the people on the outside who have no remorse when it comes to killing or do they stand and fight? The Purge is confused as it is disjoined and the script is weak leaving the tension to do the talking which is filled with horror cliches left, right and centre.
From tight shots of darkened corridors to things lurking in the shadows out of sight it rarely delivers a unique treat. The cast is not particularly strong, Wakefield aside. Hawke moves through the gears but offers nothing that we haven’t already seen before. Leaving the majority of the dramatic turns to his on screen wife, Lena Headey .
Despite the short run time, the film is practically over before it has started and it even tries to save itself with a twist ending which you could see coming a mile off.
The Cancer Survivors Club
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The Cancer Survivors Club is a collection of truly inspirational, uplifting and assuring survival...
Debbiereadsbook (1444 KP) rated Sealed with a Curse in Books
Sep 24, 2022
beautifully written retell
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
If you follow my reviews, you'll know I love the books that are steamier and smexier and sometimes more violent. This book is neither, and I loved that fact that it wasn't!
I can't write a blurby bit, so not gonna bother, but I might rave a bit!
Selene is an old soul, I think, that she can, even when faced with the escalation of the bullying from the princes, NOT want them punished in the way they are. She wanted them to LEARN from it, yes, but not to the extent it was.
I loved that the Gods these people prayed to heard them, and stepped in. Loved that they had a voice too, even it was briefly! The bickering between the Sisters was wonderful to read.
Like it said, it's not steamy, there is the bullying in the beginning though, of Selene by the eldest brothers. It does get physical. Be mindful of that if you have triggers.
There is, though, MUCH love here. Selene loves her swans (as did I!) and the people around the castle. And in time, she does come to love Conway. Who, I thought, was a bit hedgey about why he came to the castle, and i thought there was more to him that there was, but it turns out I was reading between none-existent lines there!
It's full of description, in depth descriptions of people, places, flowers, even ribbons! I loved reading those. I could picture them, you know?
I loved all the supporting characters around the castle. I want to know what's got up a certain someone's behind, though, that was never made clear!
What I loved most though, was the interpretation of this tale. I never heard of this tale before, and at the end of this book, there is a bit about various versions and how they differ. I read that, and I loved that little bit of extra info.
There is also a bit that says we might hear from the brothers again, and I really want that! It would be nice to get into their heads, especially the eldest two, NOW rather than before. To see where they are at, and what they thought of their former selves.
All in all, a wonderful read, that kept me up way past my bedtime. I loved it, I really did. Bar Disjointed Lives, this is my favourite read by this author.
5 full and shiny, moon-touched stars
*same worded review will appear elsewhere
If you follow my reviews, you'll know I love the books that are steamier and smexier and sometimes more violent. This book is neither, and I loved that fact that it wasn't!
I can't write a blurby bit, so not gonna bother, but I might rave a bit!
Selene is an old soul, I think, that she can, even when faced with the escalation of the bullying from the princes, NOT want them punished in the way they are. She wanted them to LEARN from it, yes, but not to the extent it was.
I loved that the Gods these people prayed to heard them, and stepped in. Loved that they had a voice too, even it was briefly! The bickering between the Sisters was wonderful to read.
Like it said, it's not steamy, there is the bullying in the beginning though, of Selene by the eldest brothers. It does get physical. Be mindful of that if you have triggers.
There is, though, MUCH love here. Selene loves her swans (as did I!) and the people around the castle. And in time, she does come to love Conway. Who, I thought, was a bit hedgey about why he came to the castle, and i thought there was more to him that there was, but it turns out I was reading between none-existent lines there!
It's full of description, in depth descriptions of people, places, flowers, even ribbons! I loved reading those. I could picture them, you know?
I loved all the supporting characters around the castle. I want to know what's got up a certain someone's behind, though, that was never made clear!
What I loved most though, was the interpretation of this tale. I never heard of this tale before, and at the end of this book, there is a bit about various versions and how they differ. I read that, and I loved that little bit of extra info.
There is also a bit that says we might hear from the brothers again, and I really want that! It would be nice to get into their heads, especially the eldest two, NOW rather than before. To see where they are at, and what they thought of their former selves.
All in all, a wonderful read, that kept me up way past my bedtime. I loved it, I really did. Bar Disjointed Lives, this is my favourite read by this author.
5 full and shiny, moon-touched stars
*same worded review will appear elsewhere
Cody Cook (8 KP) rated A Black Theology of Liberation in Books
Jun 29, 2018
James Cone is considered to be the founder of Black Liberation Theology, a variant of the Liberation Theology movement most widely connected with South American theologian Gustavo Gutierrez. Liberation Theology emphasizes those biblical concerns that white European flavored Christianity has often looked over– concerns like justice and liberation for the oppressed and downtrodden (Luke 4:16-21, Matthew 25:31-45, etc.). Though these emphases are quite important, in Liberation movements, they can often drown out other, extremely vital, elements of the Christian faith, as they clearly do in Cone’s Black Liberation Theology.
One major issue for Cone is one of authority. The experience of one group of people (the oppressed) becomes equivalent with universal truth, and not simply an important concern in Christian theology. In other words, Cone makes his own experience the judge of who God is and what God is for. While “white” (a term used by Cone not so much to reflect skin color but an oppressor mentality) Christianity commits this grave error without realizing it, Cone does so with full knowledge. So, for instance, while a conservative “white” theologian would say that his own views and actions *should* be directed by the scripture (whether or not he does in fact direct them by this standard), Cone makes the judgement of the oppressed black community the ultimate truth for them– and if mass violence against whites is decided by the group as the best means to effect their liberation, so be it. Cone explicitly distances himself from the approach of King, identifying more with the violence-prone philosophy of the Nation of Islam as propounded by Malcolm X. If someone criticizes his approach, he seems to assume that they’re doing so as a “white” oppressor and should be ignored– an oppressor has no moral right to question the rightness or wrongness of the actions of the people he is oppressing. This of course ignores the criticisms of violence, even from the oppressed, of black Christians like Martin Luther King Jr., Desmond Tutu, etc. Cone is also unfortunately either unfamiliar with or unconvinced by pacifist Christian claims to be committed to peaceful action, since he equates non-violence with inaction and acquiescence. While he is absolutely correct in seeing liberation as an important theme in the Christian faith, he, like “white” religionists, allows his own experience and emotions to determine what is right and wrong to the point of supporting evil in the interest of what he feels is best for his community. However, what can’t be said of Cone’s position on violence is that it is radical, because it is emphatically not. The political heroes of most white Americans are men who used violence to gain political autonomy. Thus, it is not radical for black men and women to look up to figures like Malcolm X and James Cone who advocate doing the same thing if it seems necessary for freedom and self-determination; it is merely status quo. The problem is that Jesus calls all men and women, regardless of color, to rise above the status quo and the myth of redemptive violence.
Seizing on that point, one major problem with Cone’s view of violent revolution is that when oppressed people rise up through violence, they become the oppressor– co-opting the tools of oppression and dehumanization. “Blacks” become “white” through the use of violence. Cone seems unaware of (doubtful) or unaffected by the history of the Bolshevik, Cuban, or French revolutions, wherein the oppressed quickly became the oppressors and became twofold more a child of hell than their oppressors. His view also reshapes Nat Turner, the slave who claimed to have been directed by God to murder white women and children, into an unqualified hero. Cone’s system re-establishes and re-affirms oppression– it does not end it.
For Cone, God is black and the devil is white, because God supports the oppressed and the devil supports the oppressor. But in so closely identifying God with blackness, the actions of those in the black community are now above being questioned, just like the actions of white enslavers were, according to them, above being questioned because they aligned themselves with God and those whom they oppressed with the devil.
What Cone is really trying to get at is that since Jesus supports the cause of the oppressed, the oppressor must so distance himself from his oppressor identity that he becomes indistinguishable from the oppressed– willing to suffer along with them– if he is to be Christ-like. In other words, the “white” must become “black.” Cone says that God can’t be colorless where people suffer for their color. So, where blacks suffer God is black. Taking this logic, which is indeed rooted in Scripture, where the poor suffer, God is poor. Where babies are killed in the womb, God is an aborted baby. Where gay people are bullied, God is gay. It is our obligation to identify with the downtrodden, because that’s what Jesus did. Paul, quoting a hymn of the church about Jesus, puts it this way:
“In your relationships with one another, have the same mindset as Christ Jesus:
‘Who, being in very nature God,
did not consider equality with God something to be used to his own advantage;
rather, he made himself nothing
by taking the very nature of a servant,
being made in human likeness.
And being found in appearance as a man,
he humbled himself
by becoming obedient to death—
even death on a cross!'”
–Philippians 2:5-8
Jesus not only gives up his power to express love to the powerless by identifying with them, He also takes on their sin and suffers with and for them. This is the essence of the gospel, and it often gets lost when we translate it into our daily lives. For Cone, this important truth gets lost in the banner of black militantism and the cycle of violence. For so many American Christians, it gets lost when they reduce the political nature of Christianity to scolding those whose private expression of morality doesn’t line up with theirs. We refuse to identify with sinners (which is a category we all fit into) in love.
One major issue for Cone is one of authority. The experience of one group of people (the oppressed) becomes equivalent with universal truth, and not simply an important concern in Christian theology. In other words, Cone makes his own experience the judge of who God is and what God is for. While “white” (a term used by Cone not so much to reflect skin color but an oppressor mentality) Christianity commits this grave error without realizing it, Cone does so with full knowledge. So, for instance, while a conservative “white” theologian would say that his own views and actions *should* be directed by the scripture (whether or not he does in fact direct them by this standard), Cone makes the judgement of the oppressed black community the ultimate truth for them– and if mass violence against whites is decided by the group as the best means to effect their liberation, so be it. Cone explicitly distances himself from the approach of King, identifying more with the violence-prone philosophy of the Nation of Islam as propounded by Malcolm X. If someone criticizes his approach, he seems to assume that they’re doing so as a “white” oppressor and should be ignored– an oppressor has no moral right to question the rightness or wrongness of the actions of the people he is oppressing. This of course ignores the criticisms of violence, even from the oppressed, of black Christians like Martin Luther King Jr., Desmond Tutu, etc. Cone is also unfortunately either unfamiliar with or unconvinced by pacifist Christian claims to be committed to peaceful action, since he equates non-violence with inaction and acquiescence. While he is absolutely correct in seeing liberation as an important theme in the Christian faith, he, like “white” religionists, allows his own experience and emotions to determine what is right and wrong to the point of supporting evil in the interest of what he feels is best for his community. However, what can’t be said of Cone’s position on violence is that it is radical, because it is emphatically not. The political heroes of most white Americans are men who used violence to gain political autonomy. Thus, it is not radical for black men and women to look up to figures like Malcolm X and James Cone who advocate doing the same thing if it seems necessary for freedom and self-determination; it is merely status quo. The problem is that Jesus calls all men and women, regardless of color, to rise above the status quo and the myth of redemptive violence.
Seizing on that point, one major problem with Cone’s view of violent revolution is that when oppressed people rise up through violence, they become the oppressor– co-opting the tools of oppression and dehumanization. “Blacks” become “white” through the use of violence. Cone seems unaware of (doubtful) or unaffected by the history of the Bolshevik, Cuban, or French revolutions, wherein the oppressed quickly became the oppressors and became twofold more a child of hell than their oppressors. His view also reshapes Nat Turner, the slave who claimed to have been directed by God to murder white women and children, into an unqualified hero. Cone’s system re-establishes and re-affirms oppression– it does not end it.
For Cone, God is black and the devil is white, because God supports the oppressed and the devil supports the oppressor. But in so closely identifying God with blackness, the actions of those in the black community are now above being questioned, just like the actions of white enslavers were, according to them, above being questioned because they aligned themselves with God and those whom they oppressed with the devil.
What Cone is really trying to get at is that since Jesus supports the cause of the oppressed, the oppressor must so distance himself from his oppressor identity that he becomes indistinguishable from the oppressed– willing to suffer along with them– if he is to be Christ-like. In other words, the “white” must become “black.” Cone says that God can’t be colorless where people suffer for their color. So, where blacks suffer God is black. Taking this logic, which is indeed rooted in Scripture, where the poor suffer, God is poor. Where babies are killed in the womb, God is an aborted baby. Where gay people are bullied, God is gay. It is our obligation to identify with the downtrodden, because that’s what Jesus did. Paul, quoting a hymn of the church about Jesus, puts it this way:
“In your relationships with one another, have the same mindset as Christ Jesus:
‘Who, being in very nature God,
did not consider equality with God something to be used to his own advantage;
rather, he made himself nothing
by taking the very nature of a servant,
being made in human likeness.
And being found in appearance as a man,
he humbled himself
by becoming obedient to death—
even death on a cross!'”
–Philippians 2:5-8
Jesus not only gives up his power to express love to the powerless by identifying with them, He also takes on their sin and suffers with and for them. This is the essence of the gospel, and it often gets lost when we translate it into our daily lives. For Cone, this important truth gets lost in the banner of black militantism and the cycle of violence. For so many American Christians, it gets lost when they reduce the political nature of Christianity to scolding those whose private expression of morality doesn’t line up with theirs. We refuse to identify with sinners (which is a category we all fit into) in love.
Bong Mines Entertainment (15 KP) rated Seven Dollar Paycheck by Arms Akimbo in Music
Jun 17, 2019
Arms Akimbo is a four-piece indie-rock band. Not too long ago, they released a heartfelt alternative tune, entitled, “Pitchfork”.
“I feel like the song is a letter to my band and my loved ones back home. I wanted to tell the people in my life that even though it’s not the easiest path that we’re on, it’s the right path and we’re not going to give up. We don’t play music because we want to. We play music because we have to. And, as we say in the song, ‘if we’re patient then we’ll make it eventually’.”
‘Pitchfork’ tells an interesting tale of a young musician who is out on the road, on tour in west New Mexico, very far away from a special woman who has his heart.
Apparently, it was hard for him to goodbye to her, and shortly after his departure, he felt that he had let her down. Her emotional wellbeing made him question if she will still want him when he returns home.
While on tour, he thinks about her text message which states how he always let love slip away. Deep down, he wishes she’s wrong about that statement.
Later, things aren’t the same and a tad bit quiet when they talk on the phone. Also, the thoughts of losing her and not fulfilling his musical goals scares him. But he remains patient and hopes that everything works out in his favor.
“I wrote ‘Pitchfork’ on a non-stop drive back to LA from Austin, Texas, after SXSW 2018. Facing the existential dread that comes with finishing a tour, I couldn’t help but think about the way that being a musician connects you with so many people while simultaneously being extremely isolating. Music is our form of communication to reach people who might be feeling the same way that we are and we use that to build a community. But functioning as a musician means being on the road and being away from the people that you care about. This dichotomy can be tough to balance.”
Arms Akimbo’s consists of Peter Schrupp (vocals, guitar), Chris Kalil (guitar, vocals), Matthew Sutton (drums), and Colin Boppell (bass).
They labeled their single ‘Pitchfork’ in reference to the lyrics at the end of the song.
The likable tune encourages those in the music industry to never give up. Also, it narrates the existential dread which comes with finishing a tour.
“The song was written in two parts, with the first section functioning almost like a tour diary, a vignette of our life on the road. The second part is more of a personal plea to my loved ones to stick by me on this journey. It’s also my attempt to explain why I have to play music and why it’s so deeply instilled into who I am.”
‘Pitchfork’ contains a relatable storyline, warm vocal tones, and summery instrumentation flavored with melodic guitars.
The song is featured on Arms Akimbo’s latest EP, entitled, “Seven Dollar Paycheck”.
https://www.bongminesentertainment.com/arms-akimbo-pitchfork/
“I feel like the song is a letter to my band and my loved ones back home. I wanted to tell the people in my life that even though it’s not the easiest path that we’re on, it’s the right path and we’re not going to give up. We don’t play music because we want to. We play music because we have to. And, as we say in the song, ‘if we’re patient then we’ll make it eventually’.”
‘Pitchfork’ tells an interesting tale of a young musician who is out on the road, on tour in west New Mexico, very far away from a special woman who has his heart.
Apparently, it was hard for him to goodbye to her, and shortly after his departure, he felt that he had let her down. Her emotional wellbeing made him question if she will still want him when he returns home.
While on tour, he thinks about her text message which states how he always let love slip away. Deep down, he wishes she’s wrong about that statement.
Later, things aren’t the same and a tad bit quiet when they talk on the phone. Also, the thoughts of losing her and not fulfilling his musical goals scares him. But he remains patient and hopes that everything works out in his favor.
“I wrote ‘Pitchfork’ on a non-stop drive back to LA from Austin, Texas, after SXSW 2018. Facing the existential dread that comes with finishing a tour, I couldn’t help but think about the way that being a musician connects you with so many people while simultaneously being extremely isolating. Music is our form of communication to reach people who might be feeling the same way that we are and we use that to build a community. But functioning as a musician means being on the road and being away from the people that you care about. This dichotomy can be tough to balance.”
Arms Akimbo’s consists of Peter Schrupp (vocals, guitar), Chris Kalil (guitar, vocals), Matthew Sutton (drums), and Colin Boppell (bass).
They labeled their single ‘Pitchfork’ in reference to the lyrics at the end of the song.
The likable tune encourages those in the music industry to never give up. Also, it narrates the existential dread which comes with finishing a tour.
“The song was written in two parts, with the first section functioning almost like a tour diary, a vignette of our life on the road. The second part is more of a personal plea to my loved ones to stick by me on this journey. It’s also my attempt to explain why I have to play music and why it’s so deeply instilled into who I am.”
‘Pitchfork’ contains a relatable storyline, warm vocal tones, and summery instrumentation flavored with melodic guitars.
The song is featured on Arms Akimbo’s latest EP, entitled, “Seven Dollar Paycheck”.
https://www.bongminesentertainment.com/arms-akimbo-pitchfork/