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Print Music Review

Evermore: Swift Has Arrived

Just months after releasing her first alternative album, Folklore, Taylor Swift surprised fans with a second album written and recorded during the COVID-19 pandemic. “It feels like we were standing on the edge of the Folklorian woods and had a choice: to turn and go back or to travel further into the forest of this music,” Swift writes in social media posts announcing this “sister” album. “We chose to wander deeper in.”

Sequels are complicated, especially when considering the added pressures of making a massive genre shift. Yet, Swift is no stranger to genre-hopping and mastering those she explores despite the odds – be it from country in her debut, Fearless, and Speak Now albums, to pop in Red, 1989, and Lover, or pop featuring rock in Reputation, alternative with Folklore, and now an alternative Evermore, a ninth album which comes full-circle by simultaneously paying tribute to her country-music roots.

Evermore is a fluid continuation of the storytelling through songwriting project instigated by Folklore, but while the Swift name usually means polished and intentional, even marketable, organization with every album release, Evermore does not meet that mark. Folklore sonically matches its lyrics and is purposefully crafted in the thematic, “witchy” qualities of a new Swift music era, proving Swift had more time in development of this first indie album. Meanwhile, Evermore is the messy epitome of what it is to “wander deeper more,” sporting spontaneous, impulsive, and experimental touches that add a weightier layer to the polish of Folklore, allowing a listener to journey deeper into the woods with the voyeuristic writer and join her in the revelations she encounters – with no specific end in mind.

Though “Willow,” the title track, has the catchy radio-friendly arrangement traditional for a Swift title track, the writing seems to come from the hodgepodge of Swift’s notorious iPhone notes of potential lyrics, patched together with lines she perhaps never found a place for and that, while excellent, catch a listener off-guard in their amalgamation. They point to their being written at different times and together encapsulate the theme of muddy exploration in the album. Swift works with her established group of writers and musicians who strip the instrumentals to highlight what Swift does best – writing.

Swift’s poetic vulnerability has finally found a musically optimal, bare platform, bringing light to lyrics like “November flush and your flannel cure,” and “I don’t like that falling feels like flying ‘till the bones crush.” Swift journeys through stories of unsolved murder, a love story between one who has ventured into the world and another who has mourned that loss in their hometown, and a powerful ode to Swift’s grandmother, blurring lines between storytelling and fiction, roles and narrative, under the guise of magical, lyrical magnetism.

Suddenly, the Swift fan, used to figuring out who a piece was written for or about, is forced to wonder more deeply about lyrics rather than origins and to distance themselves from the “creator” curiosity. Meanwhile, for her track two, historically a single for radio, Swift chooses “Champagne Problems,” a weighty ballad against the grain of the more traditionally obvious “bop” option, “Gold Rush,” further proving Swift is throwing her playbook out the window.

Perhaps Swift no longer cares for propagated marketing techniques, having left behind her former music label to claim the right to ownership of her work. Perhaps, as she wrote Evermore in the process of re-recording old songs to lay claim to her masters, she feels a nostalgia for this music, as Evermore utilizes traditional country-storytelling tropes, adding plot twists into the third verse and featuring weighty bridges.

Perhaps Swift has journeyed through a “genre-hopping” which is leading her down a rabbit hole, deeper into uninhibited artistry.

Here she may create cinematic magic, untethered by her female identity and consequential music industry expectations. Here she may overcome the insecurities instigated by the infantilizing and diminishing of her work as a schoolgirl “drawing hearts in the byline,” or doodling in margins through love-story exposes, instead solidifying her role as an artist who embraces her authority and that of other female collaborators like HAIM on the “No Body No Crime” track. Here she may blur lines of narrative and fiction as a separated teller with self-instigated boundaries, wandering deeper into her artistry and laying claim of her story.

Perhaps, while Swift’s Folklore album won the 2021 Grammy, Evermore may just have won Swift’s permanent place in music history as an established, independent, and “arrived” female writer.

Digital Blog on Social Media

Why We Need Free Speech on Social Media – Whether We Like It or Not

Millennials and Gen-Z-ers yearn for progress and for the fostering of a safe and inclusive environment for the greatest amount of people. It is natural that such social reformers long for a world where all speech that one deems hateful, offensive, or “fake news,” that might hinder said climate, might not exist, or be regulated more readily. Just recently, the January 6th Capitol riots inspired the new administration to advocate for combating domestic terrorism online and allowing Big Tech companies to monitor social media presence and posting. Op-eds in the New York Times to the Chicago Tribune are claiming free speech is killing us and that it is time for regulation in an age of disinformation and, while I wholly understand the concern, I am wary of such regulation, as we all should be.

The problem is that “hate speech” does not exist in American law, and private organizations are being granted the freedom to choose, without guideline, what they deem to be in violation. This is not something that might concern us when the social media outlets share our personal moral point of view, but what happens if this changes?  The line is blurring, and as much as we might wish it, the world cannot be a place where we can have both wholly “moral” speech and wholly “free” speech, especially when there can be no clear, defined moral measurement for all individuals without infringing on another’s freedoms.

I am an immigrant in this country. My family came to the United States through our seeking religious asylum after generations of persecution in the Soviet Union, and I am eternally grateful for living in a country which, up until recently, has been committed to the First Amendment right to freedom of speech even when it is offensive. My great-grandfather was murdered by Nazi soldiers for his voicing protests and his protection of a Jewish boy, my grandfather was poisoned by communion wine by the KGB after years of its persecuting his underground church services, and my father was denied university admission for refusing to renounce his faith. Meanwhile, my husband immigrated from Belarus, one of the world’s ten most censored countries, where private companies and the government partnered to propagate digital censorship and surveillance for the entirety of his life. In 2018 Belarus passed a law against “fake news” which tightened the state's control over news and social media, allowing the government to arrest and harass those who post or share content determined harmful by the administration. This was not as controversial when most of the government’s infractions were committed in secret, but President Lukashenko’s most recent refusal to step down from power after a lost election has resulted in social media censorship and the imprisonment and torture of those who speak out against him.

It may seem as though the United States of America is a far cry from the persecution of the Soviet Union or Lukashenko’s stint as Europe’s last dictator, but I am conscious of the fact that the path to private and governmental oppression is not laid out instantaneously, but through incremental steps to regulate the speech of citizens deemed offensive by the leaders of whichever group had the upper hand, while power often shifts. I have witnessed how free speech quickly becomes unfree, and how it can begin with the regulation of “hate speech.” We must be wary of the power of social media companies in the United States to define "hate speech" and “misinformation” and censor what is posted. As we, rightly, turn to stand against the harm of certain kinds of free speech, we must remember that, as social media becomes a greater part of our lives and the rules of our culture are changing in this way, so must the rules of social media censorship.

Private companies must be forced to acknowledge their excessive, imbalanced power in this social climate.  Instead of being quick to label language as inciteful and choosing the hazy descent that is limiting free speech – one that can quickly become a free-fall – perhaps we must shift more of our attention to social reform in which we educate properly so people are not so easily swayed by rhetoric, but value the fact that another’s offensive language, so far, allows for the power of their own voice.

Print + Digital Profile

In His Image: An Interview

Written for Charisma Magazine

I loiter anxiously in a tidy church foyer on a Sunday afternoon waiting for Pastor Victor. Hours after the service, he finishes his final meeting of the day and catches me hovering by the railing as he descends the office steps. “A profile?” He chuckles. “You’re certain you want it to be about me? Ah, ever the writer,” he winks. “Come on, we’ll lock up together.”

I follow Pastor Victor up an antiquated narrow staircase into his office, where he collapses into a creased chair and rubs his temples. He’s been at the church since dawn, and in ministry for twenty-nine years now. It’s clear he isn’t used to speaking about himself and his accent only complicates matters, so I invite him to switch to his native Russian. He nods absentmindedly and collects the assorted notebooks splayed out upon his desk. His hands are callused, and his index fingernail is blackened from a misfired hammer that hints at his day job.

He catches my gaze – “Jesus, too, was a carpenter,” he says with a smile. The Pastor has never received a salary for his full-time ministry. The church income was limited with the size of the congregation he’s chosen, so he’s worked in construction to make ends meet for his family since his immigration to the United States from Riga, Latvia. In the Soviet Union he was rejected from university because of his Christianity, so he abandoned his dreams of art school and academia long ago. The craft of hard labor was the closest he could get to artistry, and painting walls was the next best thing to canvas.

“Yes, I gave my heart to Jesus and I’ve never looked back,” he says. “It’s a busy life and my family paid a cost, too, but we’ve found it’s worth it.” He grins as he scratches his gray- speckled head and shuts off an archaic computer. “Nothing else will do, I just want You,” Cody Carnes sings as the HP buffers down.

Last week the two of us spent a rainy Saturday at the Museum of Fine Arts in Boston, reminiscing on his past and surveying landscape paintings of fertile English fields and French river scenes like John Constable’s Stour Valley and Dedham Church. “This is what I painted,” he tells me, briefly pointing to fleecy clouds and dense foliage, drifting mirrors of breeze in countryside captured by brushwork, before hastening his ascent to the museum’s second floor.

There hangs Bartolomé Esteban Murillo’s Christ after the Flagellation, a 17th-century oil on canvas displayed in a room of crimson velvet, glistening marble, and grandiose finishes. In the midst of paintings measuring up to ten feet, this smaller frame fades into damask shadows but is a notable contrast to the numerous renderings of Christ on the cross.

Murillo’s depicts a limp-haired and bent-backed Messiah directly before the crucifixion, his tormentors having left the scene. In this rendition, no disciples crowd his feet, no skies thunder with the fury of Golgotha, no archangel armies with flashing swords hurl dark fiends into the bosom of the only begotten Son of God; only two angels stand relegated to his side in compassionate address as he lies humbly upon the ground, his skin radiant despite the sores.

“Notice the pain isn’t hidden, but it is not the focus,” says Victor.

Wrapped in a white cloth, which Murillo casts in the painting’s center, the Son of God reaches for the dirtied garments discarded by the corner of the canvas. While Christ may seem content with the brightly lit covering, He would prefer the dirtier one.

“I ought to prepare for tomorrow’s service,” Pastor Victor tells me, cutting our museum visit short but suggesting we stop by an adjacent coffee shop – revealing caffeine to be his greatest vice. He sips coffee in his office now, again with wearied but wisdom-filled eyes and a scent of Pine-Sol emanating from his skin, walking me through that day he was rejected from an art university in Ukraine.

 He had spent three months perfecting his portfolio and was admitted with the highest exam grades. Yet, when asked if he was a Communist in a follow-up interview, his disclosing he was not and admitting to believing in God prompted the board to declare he either renounce his worldview or be denied entry. Collecting his drawings and documents, he proceeded to apply to a program for low academic performers. Again, he was denied, even for masonry. His name was officially red listed. His final hope, a tractor school with a student body constituted mainly of drug addicts and alcoholics, became suspicious of his academic distinctions and made calls to uncover his identity, resulting in a final rejection. The school shut down two weeks later for a lack of students.

“How did you do it?” I ask. “Pay the cost of giving up your dreams?” He’s been facing the stained-glass window by his desk but as he turns in my direction, I detect tears caught in his eyes, though his stoic face conveys no shame for the intimacy.

“Well, it doesn’t make it easy, but love makes it worth it,” he smiles. “My father was the first testimony to what I believed about this world and the one who taught me what it looked like, before I identified it with Jesus.”

He tells me about his father, a pastor in the Soviet Union, and their life as a family of ten in rural Ukraine. He recounts growing up in poverty, sharing clothing to take turns to go to school, and enduring persecution for their Christianity.

Communist teachers forced him and his siblings to the front of the classroom to denounce them as government dissenters and forbid others from speaking to them. “Our mother instructed us to remember our last name and each other’s birthdays, in case the school followed through on their promise to distribute us to different orphanages if our parents were arrested or killed, or if one of us admitted to ‘being told’ to attend church or believe in God.”

Meanwhile, government institutions ensured they received no services, no rations or living quarters, unless they renounced their faith. “My father taught us how to hide our Bibles in grain buckets when the KGB raided our home," he says. "They were desperate to arrest him permanently and he was regularly in and out of prisons as it was for holding underground church meetings. My mother kept a purse stocked with warm socks and winter boots in the kitchen, in case he was taken by night for a Siberian prison. Still, he remained the most joyous man I knew.”

One day, his father was caught leading a funeral service and was deprived of his monthly salary. Fortunately, bread was free in their school cafeteria, so Victor and his siblings lined their pockets and gnawed on hunks throughout the day to dull the hunger pains.

Another of his father’s arrests led to Victor’s older brother being denied use of the restroom in school for eight hours, until he urinated in the classroom and was thrown outside into a blizzard, forced to walk two kilometers home and consequently contracting scarlet fever. Their mother attempted to alleviate the hostility by buying Christmas gifts for the class, but the teacher locked him out of the celebration, threw his gift at him, named him a Christian slur, and demanded he clean the mess. He came home joyously, announcing that he had managed to salvage ten candies for himself before his classmates lined their pockets with the rest.

“She cried that day. Then, and when someone mutilated our cow, because she didn’t know what we would eat.”

His tone is objective as he relates his history, but I cannot bear to bring my eyes to him, choosing instead to look around the 19th-century tower office. My fingers graze a bronze frame displaying a browned slip of paper, once owned by the revivalist Smith Wigglesworth and part of a set he used to memorize scripture each day, gifted to Victor by his youngest daughter. It reads, “And God shall wipe away all tears from their eyes… – Revelation 21:4.”

He tells me about his great-grandfather, Stradon, who was killed while saving a Jewish boy from Nazis and discarded into a mass grave. Stradon shielded the boy from the gunfire, allowing him to feign death and hide beneath blood and bodies until nightfall, afterwards making his way to Stradon’s wife’s aid.

Pastor Victor’s grandfather was a forced laborer who begged to attend church on Sunday and work a double shift the next day, a request which led to his being shot in the head by a Nazi soldier before the Ukrainian village. He prayed “Our Father who art in heaven” on his knees but never made it to “amen.”

“Then came my father’s time. One day, as he led church Communion and sipped the wine first in commemoration, he collapsed. The wine had been poisoned by the KGB – they finally got him. I was twenty-one then.” I pause now and cautiously force my eyes to meet his, which, though introspective, are somehow far from sorrowing.

Pastor Victor followed in those footsteps – upon being denied an education in Ukraine, he left for Latvia and the army. His reputation followed him, and he was tormented and delegated to dangerous locations for service. There, despite his exemplary service, he was denied medical care after contracting Hepatitis A from the barracks' grueling conditions. He ate bread and water for three months then, in his nauseated condition, and permanently devastated his liver. The adversities did not alleviate when he immigrated to the United States, either.

“Ah, sure. I encountered poverty here too, but never the way it was there. My family didn’t receive government aid here, so working full-time and starting a full-time ministry, raising a church in one city and then another, took a lot out of us. But, still, it wasn’t Riga.”

He’s referring to his being able to afford only three bananas in Latvia, one for each of his daughters, and depending on a basket of food a congregation member left anonymously on the doorstep to carry them through the winter.

In the United States, there was backbreaking construction work, suffering from medical malpractice but having no language or ability to pursue legal consequence, and helping his wife through college while she suffered from an undiagnosable illness.

There is no underlying current of bitterness, no grand display of misery, simply a matter- of-fact synopsis of a history he recounts with a shrug of his shoulders and a running of his industrious fingers, bruised and so pale they’re almost incandescent, over the black leather of his worn Russian Bible. He tells me how our being in a fallen world means not walking through any less than Christ did.

“Anyway, when you look to those who ran the race before you, paying a cost becomes conceivable. You honor their cross; you learn from the previous generation’s wisdom.” He’s suddenly regarding me intently and leaning towards me from his chair, his voice booming with the passionate inflections of a natural-born orator. He has gone from preaching to thousands in Europe to speaking with a 24-year-old master’s student in his study, yet his devotion is unchanged.

“You humble yourself – never think you can do it without Jesus. It’s all about perspective. My cross does not feel as heavy, especially when I’m with the One who carried it best.”

“But can you honestly say it hasn’t bothered you, having nothing?”

He laughs at my question. The very idea of “nothing” is circumstantial, he tells me. “I prayed for this church building for decades. It was on the market for one million when we had nothing. But when I walked in and saw fallen, filthy Bibles on the floor and heard other buyers were planning to turn it into condominiums, I asked the Lord for it. We bought it for $300,000 and the money showed up right when we needed it, right from where we least expected it. In Boston of all places,” he chuckles. “I never have ‘nothing.’”

He abandons his chair and walks to a clothing rack where he removes his blazer and dons the Boston College sweatshirt I gave him when I was first accepted into the graduate English program. He makes a display of proudly showcasing it with a smile.

I know his answer, but I muster a final, indignant question:

“You’re not outraged? It doesn’t offend you that society would not consider your education or your life as 'successful' today?”

Pastor Victor tells me he refuses to live for people, only for God. Some see lowliness or servility, but Jesus Himself was not one for regalities.

He recognizes the weighty challenge ahead for the next generation, though. “Wearing a cross is easier than carrying one on your back. But if you’re not humbling yourself, not honoring your parents, dismissing the generations before you in exaltation of your own intelligence and successes, placing yourself above God…well, it’s no wonder we need a global reset. But have we changed?”

Pastor Victor beckons me to follow him as he locks his office, picking up aluminum trays collecting rainwater from a leaky roof as we make our descent.

In the foyer he proceeds to execute a routine he evidently has for many years now, gathering a mop and a Pine-Sol bottle I hadn’t noticed and relegating them to a storage closet, then exchanging them for a watering can to tend to the entryway flowers.

I notice him wince as he bends over (the consequence of being a day-laborer, I reason) and his knees buckle. I catch the words “thank you, Jesus” escaping his breath.

As soon as he’s ready, I trail his footsteps out the door, though the act feels sobering now. His massive Slavic build somehow still towers over my 5’9 frame, his military service revealing itself in the rigidity of his gait while the tenderness in his gaze as he turns to assess where I am, the soft lines around his eyes, reveal why you cannot help but look to him.

Pastor Victor locks up, turning the doorknob upwards with force. It sticks otherwise, he tells me. His commanding form takes a moment to assess the rainfall, murmuring something about needing to check on the leaks later. He tilts his head to fix his focus on heaven and catches sunlight peeking through the gray. He smiles at me. “Never mind. We’ll be okay.”

We climb into his 2008 Nissan – it also sticks – and he glances back at the 19th-century stone tower as the engine starts up. He laughs like a child, generating a gleeful squeal in response to the cold, and turns his gaze back towards me. “We’ve got a beautiful church, you know that?” I smile back, peering out the window. “Yeah. We really do, dad.”

 

 

Holy Spirit Inspires Ukrainian Christians as Heavy Spirit of Death Hangs Over the Nation

Before the Ukraine-Russia war, a church in Chernivtsi, Ukraine, felt a prophetic call to purchase an old cow farm, what seemed an absurd proposition. In the following months, the congregation diligently cleaned and renovated the property, installed a shower and a kitchen, and constructed multiple rooms.

When Russia invaded, the Holy Spirit’s leadership revealed itself. Today over 400 Ukrainian refugees are sheltered and served breakfast, lunch and dinner by congregation members.

Another church in Kovel, Ukraine, similarly purchased refrigerators and several tons of bread to freeze before any prognosis of war. Today they welcome approximately 200 refugees in their church every day and are ministering to their nation, housing, clothing, feeding and transporting citizens to the safety of European borders.

Since the rise of the Soviet Union, Ukraine has led the call to evangelical freedom in that part of the world. Today, amid the atrocities of war, their ministry has been confirmed by God’s divine intervention.

The Lord has remained faithful in His promise of leadership, guardianship and sovereignty, and is moving in the fullness of the power of His Holy Spirit through the body of Christ in Ukraine. Testimonies of miraculous encounters are flooding Ukrainian communities.

Buses from a church in Kovel, transporting food to Kyiv since the start of the war, have been met with Russian military fire on multiple occasions, including a time when one vehicle was completely obliterated from the blasts. Still, all passengers remained untouched.

In another church, a group of 18 believers were gathered for a prayer meeting at a family home when a missile fell on their house, hurtling through the roof and ceiling before it came to a stop directly over their heads. Not a single person was harmed. Had it exploded, the house and all neighboring homes would have been destroyed with no possibility of survival.

While a heavy spirit of death hangs over the nation, Ukrainian Christians lead with a greater increase of Holy Spirit power and perseverance.

Congregation members are meeting in their churches every morning against recommendations, drowning out the sound of shelling with their prayers. They open their church and family doors to take in refugees. It is in these family homes where refugees, intrigued by the small group prayers led every night in living rooms, take turns to make their way silently upstairs to listen.

These churches and homes are laid on an unshakable foundation for the preaching of the gospel. Amid the humanitarian disaster, Ukrainian Christians surrender their homes and personal vehicles. They risk their lives under bomb-shelling to evacuate thousands from the hottest locations. They organize and transport food parcels to their community, including the handicapped, the elderly and children. Teenage girls care for orphans and launder bedding round-the-clock to prepare for the new day’s refugees.

A Ukrainian ministry movement has opened an online Bible school, which has already mobilized 3,800 students and prayer intercessors. They have tracked thousands of people receiving Jesus Christ and witnessed mass altar calls. They are the light of Jesus Christ in the darkness of the circumstances, and they testify to the work of the Helper (John 14:26) in their growing faith and resolve.

The preaching of the gospel in Ukraine, the persistence of the Ukrainian nation and military, the global humanitarian response, and Russia’s military machine failing to progress as planned are evidence to God’s turning what was meant as evil, for good. His hand is over Ukraine with His people, and as the Holy Spirit dwells with the church body there, so we must dwell with them, too.

First Corinthians 12:26 urges that, as one part suffers, every part suffers with it. As the body of Christ, may we feel this jointing now. May our souls be in deep travail and intercession, our hearts soft and reactive, and our spirits led to preach the gospel to all creation in a newfound urgency and Holy Spirit power.

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