Gauging the Mood

Posted in: Current Events,Popular Culture by bill-o on February 21, 2009

Sometimes what lies beneath the surface rises up above the ground. This happens when a person or group of people says what many in a larger society are thinking or feeling, yet, for whatever reason, this point-of-view had not been communicated to the society as a whole. Many would agree that just such an event occurred on one of the American financial news channels this past week.

For those of you who have not seen the instantly famous “rant” by CNBC financial news reporter Rick Santelli on 19 Feb 2009, please see:

Rick Santelli in Chicago on CNBC

(For those of you outside of the United States who may not know what CNBC is, CNBC is one of two U.S. cable/satellite television channels devoted to business and financial news.)

Whether or not you agree with Mr. Santelli (and I would venture to say that many in the U.S. agree and disagree with him), I think that his view and tone reflects the mood of many people in the U.S.

In the United States and in many other nations today, people are scared and upset on all sides of political aisles because of the recent financial crises. Many are losing their homes, jobs, or much of their life savings. Some cry out for more government assistance while others protest such ideas.

Shadows and Symbols does not normally endorse political views, but I do believe that ideas about economics and politics that are expressed in the overall “marketplace of ideas” are important to observe and consider. Ideas precede actions after all. Politics and even economics are a reflection of deeper moral values and understandings of individuals and societies, and those on spiritual journeys need to be sensitive to the world around them, both of the good and of the bad.

Yet an observation of difficult financial times need not lead to fear, but rather is an opportunity for faith. No, we don’t know how or when these worldwide financial problems will conclude nor can we wish away “angry” arguments from different political and economic view points, but we can use this eventful time to  reach with our hearts to what lies beyond what our five senses can perceive.

“For we walk by faith and not by sight.”

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The Wandering Kings of Slumdog Millionaire

Posted in: Popular Culture,Spirituality by bill-o on February 14, 2009

The movie “Slumdog Millionaire” is a 2008 film that tells the story of three children from the slums of Mumbai (formerly Bombay), India. Slumdog Millionaire follows the lives of two brothers and their friend from their childhood in Mumbai to the lead character’s winning of the Millionaire television show in India as a young man. The film is a wonderful story in its own right, but there also a few “symbols and shadows” in the story line that you might not be aware of.

Consider the names of the children. The last name of the two brothers is Malik, which means king. The protagonist’s name is Jamal, which means handsome. The older brother’s name is Salim, which means peaceful, and Latika means creeper or vine (or elegant). Salim spends his short life searching for peace but really never finds it. Jamal’s name points to his being looked upon favorably by the viewers in India upon his winning the grand prize. After the brother’s are displaced from their family after anti-muslim riot and then are forced to flee a bad orphanage, they, in effect, become “wandering kings”. Jamal’s quest from then on is to return to Latika (the vine).

The concentration of the game show on the number 100 is also significant: There was one question about the one-dollar U.S. bill and one about centuries in cricket. The number 10 often symbolizes the end of one order and the beginning of another (thus we have ten fingers and use a base-10 number system, where to get from 9 to 10 we must add a digit). The number 100, 10 times 10, symbolizes a major change in the order of things.

Jamal’s life-story takes an important turn when he meets a blind girl who is begging on the streets. Being a blind, begging girl is perhaps as low of a social status as one can have in India. Yet it is this girl who points the way back to Latika, Jamal’s long-lost friend. The girl also knows that Benjamin Franklin is the face on the $100 bill, something that she really has no need of knowing. The girl points out that Benjamin Franklin’s portrait has unusual characteristics: he has long hair like a girl. This scene is in contrast to another part of the movie where the police officer jokes with Jamal that everyone in India knows whose picture is on the Rupee note: Gandhi. That’s common knowledge.

Money can serve as a symbolic representation for a way of doing things (a “currency”). In this movie, Indian money represents the typical or common order of things. The $100 U.S. bill, on the other hand, represents what is not common. It is a larger currency note than most poor Indians would ever see, and it is foreign. However, it is the unofficial currency of the world at large. It represents the atypical order of things that lies beyond the present, everyday reality of the characters in the film. When Jamal and Salim start (without sanction) working as tour guides for Western tourists at the Taj Mahal, the movie subtly, and almost unconsciously, shows their change from dealing with Indian money to dealing with American money. Jamal, as a tour guide, acts as a bridge between these two worlds. Notice in one scene how Jamal takes two Americans to see “the real India” (when their rented car is, shall we say, involuntarily relieved of much of its contents). (This particular scene is also a subtle nod to the Western audiences of this movie, most of whom are not familiar with the poverty and injustices that are sometimes are a part of life for the poorest of the poor in India.)

The film’s turning point comes when Jamal must prove his identity. At the end of the first day of the television show, the police assume that he is a fraud, arrest him, and subject him to harsh interrogation. Through various flashbacks in the movie and rough questioning by the officers, the crux of the matter for the police comes down to this question: Is Jamal Malik a fraud or does he really know the answers to the show’s questions? Through telling the story of his life to the police officers (in other words, by being completely transparent with them), Jamal demonstrates that the truth is inside of him. And by doing so, he gains the victory and is able to return to the game show to answer its final question.

In the film, Salim symbolizes law (religion without love), and Jamal represents love. The respective heart-attitudes of the two brothers is demonstrated to us when Salim sells, without permission, Jamal’s autograph of the famous Indian actor Amitabh Bachchan. To Jamal, this autograph was priceless, but to Salim it was just a piece of paper to be bartered for something else. Later, Jamal did not even care if he would win or lose the game show prize; he only wanted to be reunited with Latika. In the middle of the film, Salim imprisons Latika and treats her only as a commodity, whereas Jamal is genuinely interested in her welfare without any conditions placed upon their relationship. At the end of the movie, Salim finally releases Latika and entrusts her to the care of Jamal (he gives her his mobile phone, knowing that Jamal will be calling it later). This is a picture of the law finally dying and giving way to love. Salim dying a bathtub full of money is perhaps a more obvious symbol of the ultimate emptiness of riches.

Even though Jamal was a humble servant (serving tea as a chai-wallah at a call center), in the end his true identity as a handsome king (in this case, king of the game show Millionaire) is shown for everyone to see.

Article: “Shock of Recognition”

Posted in: Current Events,Popular Culture by bill-o on December 06, 2008

If you have a moment, please take the time to read newspaper columnist Paul Greenburg’s article commenting on the tragic death of a store worker in New York state on Black Friday:

http://www.washingtontimes.com/news/2008/dec/05/shock-of-recognition/

Please be warned that this article will prick your conscience in regards to greed, materialism, and commercialism.

“Black Friday” in the United States is the day after the American Thanksgiving holiday (which is always the 4th Thursday in November). Many, but not all, workers enjoy a holiday from work on Black Friday, and so take the occassion to shop for gifts for Christmas or other winter holidays. More people in the U.S. go to stores to shop on Black Friday than on any other day of the year. Black Friday is called by the color black because it is often the day that merchants make so many sales that they are said to go from the color red (the accounting color for a deficit) to the color black (the accounting color for a surplus).

Over time, it has become a tradition for retailers to provide unusually high discounts on their products during Black Friday, particularly during the morning. Also, it has become a tradition for stores to open at eariler and eariler hours on Black Friday: now, some stores even open at 4:00 a.m (0400).

The stores with the best sales on Black Friday are known to attract large crowds. These crowds gather close to the door in the middle of the night and then rush in as soon as the doors of the store are opened. The customers move quickly into the stores so that they can get their hands on featured products before other customers do.

Until Black Friday 2008, these events often led to minor assaults (some pushing and shoving), but nothing really serious. This past Friday, however, a large crowd of customers rushed in to a Wal Mart store on Long Island, New York, and trampled to death a worker there who was trying to save a pregnant woman from serious injury.

In the midst of this tragedy, we greatly admire the deceased worker who courageously laid his life down to help someone else. Yet, at the same time, we are greatly saddened by the callousness of a crowd which would trample someone to death in order to purchase an item at a discount price.

As a follow-up to my recent post “A Noticeable Act of Kindness and Mercy in Texas”, I have found the video online and here is where you can see it for yourself:

http://www.wfaa.com/video/?nvid=297095&shu=1

This is a powerful story; not your typical local TV news story, by any means. It is one of the more powerful stories of love and redemption that I have ever seen on television.

 

I have been fortunate to have read William Strauss and Neil Howe’s seminal work Generations when it was first introduced in 1991. I was introduced to it when I read the authors’ preview article for this book in late 1990 in the Washington Post. As soon as their sequel book The Fourth Turning came out, I bought it and read it quickly from cover to cover.

The thesis of these two books is that the course of the history of the United States is not entirely linear but also cyclical in nature. There are regular patterns in the course of the life and times of the nation that are repeated usually once every four generations. The term used in Generations for this four-generation cycle is the Latin word saeculum. A saeculum usually lasts for about 88 years (the length of a relatively long lifetime), where each of four successive generations is about 22 years long.

The four types of generations come in the following order:

Idealistic, then
Reactive, then
Civic, then
Adaptive

As the generations move through time in four life-stages (childhood, young adulthood, midlife, elders), the eldest generation fades away from public life and is replaced shortly thereafter with a brand new generation of children of the same type.

The alignment of the types of generations specifies what is called a turning. A turning, which roughly corresponds to the length of time of a generation, strongly influences the events of the day and how the public at large reacts to those events. The eldest generation during a turning most strongly influences its events and reactions, whereas the youngest (child) geneation influences events the least.

The first turning is called a high. In this turning, a reactive generation is in charge and uses blunt-force to push through projects of national scale and scope. Society appears to be the most orderly during high turnings, yet witch hunts often occur during these times.

The second turning is called an awakening. This is where young adult idealists begin to criticize the perceived lack of spiritual depth of the society as a whole. They begin to confront the existing order of things by protest in the streets or by withdrawal to communes in the countryside. Religious questions and yearnings that were suppressed during the previous turnings are pursued with fervor, and religious revivals usually occur during such awakenings. The arts and music are usually at their most creative during this period.

The third turning is called an unraveling. This is when the spiritual fervor of the previous awakening burns out and people concentrate on individual pursuits and goals. Starting and growing businesses and the stock market takes a high degree of public focus. Civic-mindnesses deterioriates as the elder adaptive generation tries to patch over the fraying social contract with increasingly complex sets of rules and laws. Unresolved cultural disputes reach hard impasses, while show trials and silliness in the life of public figures are most likely to occur during such times.

The fourth and final turning is called a crisis. This is where the entire resources and energies of the nation are put towards resolving a crisis or series of crises. This is where society as a whole is at its greatest peril and the entire social contract and fabric is rewritten for future generations. Here, the elder idealistic generation pours out the spiritual zeal that it had found in its youth for the good or ill of society at its darkest hour. The no-nonsense reactive generation produces mid-life leaders to lead the civic-minded young adults into life and death situations. People want to see big actions taken to confront big challenges and are even willing to tolerate big mistakes along the way.

In the U.S., the latest first turning (high) came from 1945 to 1963. The second turning (awakening) lasted from 1963 to about 1984. The third turning (unraveling) started in 1984 and may now be giving way to the fourth and final turning of a saeculum, a crisis.

To give you a better idea of how serious crisis turnings are, consider previous crisis eras in U.S. history. According to these books, the periods of crisis in American history include the Revolutionary War, the Civil War, and the Great Depression and World War II (which were twin crises).

————

Are we now at the next fourth turning, the next crisis era in the United States? My honest answer is mixed: yes and no. Yes, as per the overall mood and state of the nation; no, as we have not necessarily seen the dramatic “catalyst” event that Strauss and Howe say must usher in each fourth turning. (For example, the catalyst event for the Great Depression was the stock market crash in 1929. The catalyst for the Civil War was Lincoln’s election.) A catalyst event is so significant that even people contemporaneous to that event can recognize in it a clear “watershed” moment in the affairs of the world.

We now see an idealist generation, the baby boomers about to enter their elder years of public and political influence. The adaptive, or “silent”, generation is starting to fade from public view and influence. An ice-cold and hardened “Generation X” is turning from its young adulthood as “slackers” into mid-life (as crisis managers?). And a young and eager generation is rising that is comfortable with moving in close step together with others in order to accomplish large-scale projects for the good of the whole society.

The recent financial disturbances can be seen as a classic harbinger of a crisis turning. We see here the careful compromises of the past thrown out for quick and decisive public action: for example, very large bailouts of failing financial institutions with very little forethought or debate. We observe the yearning for change and hope for a new civic-mindedness that is expressed in Senator Obama’s presidential campaign. We look at the possibility of divided government giving way to nearly one-party rule (we’ll see in one week after the election), which is something characteristic of a fourth turning. We notice popular movies starring teens like the High School Musical series, where all of the young adults are dancing and singing together in choregraphed steps. (This is something that would have been unthinkable in the previous young adult generation of so-called slackers.)

If this is not the start of the fourth turning, then it must be right around the proverbial corner.

Please also see:

http://www.shadowsandsymbols.org/?p=79

http://www.shadowsandsymbols.org/?p=85

There was a dramatic news story on CNN this morning (Sunday, October 26, 2008) about a remarkable random act of kindness in the Dallas-Fort Worth area. Evidently, CNN picked up this news story from TXCN channel 8 in Texas. I can’t find the video of the news clip on the web. (If it’s posted later, I’ll add a link here.) However, a brief written description of the local news story is provided at:

http://iflizwerequeen.com/?p=903

Evidently, a woman whose home was about to be foreclosed upon decided to go and attend a large, Dallas-area house foreclosure auction where her house was being auctioned off. The woman had already moved all of her possessions out of her house and was going to the auction to try to find some sense of emotional “closure” for her life. Caught up in the pain and anguish of the moment when her house was the one put up for sale, she began crying uncontrollably.

At that moment, the woman next to her asked her why she was crying. She told this complete stranger she was crying because her house was the one now being auctioned off.

Then, moved with compassion, not having intended to buy this particular house or even knowing the town where this house was located in, the stranger made a bid for the distressed woman’s house and won the auction. She then turned to the tearful woman and told her that she was giving the house back to her and that she should make arrangements to move back in.

This is the point where the TXCN TV news crew came upon the two women, who had never met each other before in their lives. The woman who was crying was still crying but her tears had suddenly been changed to tears of joy.

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You may not realize this but there is a web site dedicated to interpreting song lyrics. This site is called, interestingly enough, www.songmeanings.net. On this site, people are invited to post what they each think are the meanings (interpretations) of various songs.

For me, what is often most interesting about this site is not the interpretations themselves but the fact that the posted meanings so wildly diverge. (For example, type in “Hotel California” and read the possible song meanings that are posted there.) How can everyone listen to a popular song and yet come to such clearly different views of what the song really means? Didn’t the songwriter have only one interpretation in mind when he or she wrote the song?

Now let’s take a recent popular song, “Bottle It Up”, by singer/songwriter Sara Bareilles. Please go to the following part of songmeanings.net to see both the lyrics of this song and its possible meanings:

http://www.songmeanings.net/lyric.php?lid=3530822107858671479

(Please Note: You’ll need to be familiar with these lyrics in order to understand the rest of this post.)

For those of you who don’t already know, “Bottle It Up” is one of two popular songs by Ms. Bareilles, the other one being “Love Song”. On songmeanings.net, “Bottle It Up” is described as being “cute”, about relationships going too far too fast, about a guy who’s too emotional in a relationship, or about Ms. Bareilles record label being too controlling. Evidently, what Ms. Bareilles had in mind was the last one in this list: her record label wanting to have too much of a say about her songs. See:

http://www.youtube.com/watch?v=HBnNJiMlkCc&eurl=

With this interpretation in mind, I listened to the song again and it made a lot more sense. The first half of the first verse and the third verse represent the record label talking down to Sara. The second half of the first verse, the second verse, the chorus, and the bridge are Sara responding (a very brief summary: “I do it for love.”).

Yet I’d like to suggest here an even more expansive and spiritual meaning of this song. If you take a look at the words of this song, the parts of the song where the record label is speaking can be viewed as being religious institutions. Just as a record label could be overly controlling of one its artists, so can a religious system place chains on the hearts of spiritual seekers. The parts where Sara is speaking can be seen, of course, as genuine love responding to religion and beginning to move beyond it.

First, notice how religious systems talk down to people: “Babe”, “Little Darlin'”, “kindly shut up”. And look at how the ultimate goal of institutional religion is everyone keeping up their end of the bargain, which is the essence of contractual law. Now there is nothing wrong with contracts, but they can’t in themselves lead themselves to the fullest expressions of true spirituality: faith, hope, and love. Without active traits like these in our lives, contracts (laws) can become mere tools for threats or manipulation.

In the third verse, the speaker talks in both the singular and in the plural, just as the singular “law” can be the plural “laws” and both mean essentially the same thing. The line “killing me sweetly” at the end of this verse plays on the words from Roberta Flack’s song “Killing Me Softly”. This is a subtle emphasis on how institutions love what is sweet (sugary). Sugar tastes good to eat, after all, but it provides little long-term nutritional value.

Religious institutions also love to “bottle up” an expression of reaching out to the divine and then try to repeat it over and over again, even when such old ways of doing things may no longer be necessary or appropriate.

The first verse turns like a door hinge on the word heart and how it can be seen in two different ways. Religious systems see the heart as something to be mechanically manipulated into “doing the right things”. Thus, we see the words “Get to the heart of it”. This is a command to strip things bare down to a cold and dry essence. Anything outside of certain predefined boundaries is not good. The turning of the first verse comes with the use of the s word, which represents a strong “push back” by the spiritual seeker. “No, it’s *my* heart, not yours!” The second verse describes a contrasting heart: one that blooms like a flower. It is delicate and beautiful. Here, knowledge in and of itself is not desirable (“I don’t claim to know much”), whereas love is gentle and encouraging.

The bridge of the song talks about maturing from law-based religion to love-based spirituality. Yes, when we are young and immature, rules (laws) can be useful. They tutor us, if you will, until we become spiritual adults. At the end of the bridge, religious (institutional) laws promise more laws (“resolutions”) as being the solution for all of life’s problems. The “new year” reference speaks of time, and the word “never” in front of it refers to what is locked in time. It can never be eternal. (In contrast, the word love is repeated eight times; eight is often seen as the number that symbolizes eternity.)

The ultimate expression of love comes overlaid upon the last time the chorus is sung. The essence of love is that you have to give it away before you can get it. This is something that goes beyond contracts and laws. At its highest expression, it is the laying down of one’s life for others.

God is love. In his eternal presence, love and not law will be the only guiding principle of interaction between one person to another. The “garden of love” was Eden where people and God met face to face and interacted purely on the basis of love. Where there was law, there was only the law that God made with himself. And so it will be again for those who love him.

 

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From Apprentice to Master

Posted in: Popular Culture by bill-o on July 03, 2008

What is the biggest difference between the original three Star Wars films and latest three? Well, … besides the newer special effects, the many Jedi instead of one, and Jar Jar Binks.

What makes Episodes I through III unique is the relationship between master and apprentice. (And, interestingly, that applies to both the Sith and the Jedi Knights.) While largely lost to modern Western culture, this type of relationship has ancient roots: the passing of wisdom, knowledge, and experience from spiritual parents to spiritual children through living and working together over a significant length of time. Many spiritual traditions call this discipleship.

A spiritual father must make himself available to his sons. Likewise, in Star Wars, a master could have only one apprentice. In this way, their attention would be undivided upon one another and upon their common mission.

There are three stages of spiritual development, each of one of which is reflected in the first three episodes of Star Wars:

1. Beginner
2. Apprentice
3. Master

The young beginners in Episode II assist Yoda in finding a missing planet. Here, the relationship between teacher and students is still one to many. Jedi Initiate training is based on remote control devices and is centered in a classroom. Likewise, spiritual beginners concentrate on the basics. The concept of spiritual beginners is seen at monasteries, where new members are known as novices.

Apprentices are known as Padawan learners. The Padawan learner leaves the classroom and learns directly from his master. The master teaches the apprentice through real-life missions. As time progresses, the relationship moves from a father-son dynamic to one more akin to brothers. (A Padawan was physically distinguished from his master by a piece of braided hair.)

Finally, an apprentice becomes fully-qualified to become a master. Spiritual masters are fully trained and competent to perform any action called upon them according to their order. (In Star Wars, it is the Jedi order). Then, in turn, they take apprentices (disciples) for themselves and pass on what they have learned from their masters before them.

 

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