Obsolete

Bustles...model T cars...manual typewriters...electric typewriters...any kind of typewriter...the list could go on and on.

What do these things have in common? They are all obsolete. According to the American Heritage Dictionary (the online one, not the obsolete print version), the definition of obsolete is

1) no longer in use: an obsolete word.
2) outmoded in design, style, or construction: an obsolete locomotive.

Wikipedia says obsolete means "a service or practice (a person?) that is no longer wanted even though it (she?) may still be in good working order.

Today I am feeling obsolete. Why, you might well ask? I just came from our weekly all-school Chapel. It's Spiritual Impact Week, and it's been a great experience for me, and I hope that's true for the students, too. I've enjoyed the small groups with students and the Prayer Walk yesterday, but today's worship left me feeling... obsolete.

Worship here at my school consists of "praise" songs, most of which I do not know. That's because I attend a church service that utilizes the hymn book (perhaps obsolete, too?) with the music notated (definitely obsolete in praise worship) and the lyrics printed. That's also how I grew up: singing from the hymnal.

I'm not here, per se, to discuss the pros and cons of praise music, just to say that because I do not know or enjoy this type of music, I often feel obsolete. I also feel excluded from worship. This genre of music does nothing to help me feel closer or connected to God. Frankly, I dislike having my senses assaulted while worshipping by the banging of drums and the twanging of guitars. To say that I've seldom heard praise music done well is not an exaggeration; however, ANY kind of music not done well is distracting to me, especially in worship. (Guess you now know I how I feel about praise music, eh?)

Sometimes I am concerned that one day I will not be able to find a church that could be described as "traditional"; that is, one that observes the liturgical year, uses the liturgy, and the hymn books that are in the pews. I enjoy those older hymns, and it saddens me to think that many of our youth will never know the joys of the "Old Rugged Cross", or "How Great Thou Art" (unless it's that jazzed up version, which I do not like, and that has been crammed into a triple meter!). And what about "Holy, Holy, Holy" ? Gotta be one of my all-time favorites: "God in three persons, blessed Trinity." Note with me, please, the sheer poetry in "The Church's One Foundation":

"Yet she (the church) on earth hath union
With God the Three in One,
And mystic sweet communion
With those whose rest is won..."

Eat your heart out, Mr. Shakespeare!

But it saddens me even more to think that I might not be able to sing those hymns of faith in a church building because they (the hymns) are becoming obsolete. Sure, I can sing them myself, but there is something about the body of Christ singing together. Charles & John Wesley knew, didn't they? A good description of what constitutes quality congregational singing can be found in the forward to the United Methodist Hymnal. Dear Wesley brothers, I fear you, too, are obsolete.

In an episode of "The Twilight Zone" entitled "The Obsolete Man", a librarian (convincingly portrayed by Burgess Meredith) is found to be obsolete due to the fact that books are banned in that society and literacy is considered obsolete. His punishment? Death. Now this is a little scary, too, because not only am I a musician, but also a librarian. In an plot twist enviable of O'Henry, the ending deliciously satisfies those of us who also might be considered obsolete.

Etiquette...literature...literacy...writing...music...note-reading...hymn books...books themselves (alas! the Kindle!)...Obsolete? If so, then I, too, have become obsolete.

A Dance Lesson: Then and Now

The young women were beautiful and the young men handsome. While some came “drag”, most of the young people came “stag”. All were well-dressed, well-groomed, and well-behaved. To what am I referring?

I was asked to help chaperone the High School dance at my school last Saturday night. Originally scheduled as a Valentine’s Dance – but due to a conflict on the original date – the dance had been rescheduled and subsequently re-named a Mardi Gras Dance – though well past the date of Fat Tuesday. I suppose just calling it "A Dance" would have been lame.

I arrived fashionably on-time – meaning, the time I’d been asked to arrive – at 7:00 p.m. Even though there were a few students milling around, the Gym was mostly vacant. Things began to pick up, however, around 7:20 p.m., and by 7:30 p.m., things were in full swing.

As many of you already know, Margaret Mead was an American cultural anthropologist who was frequently a featured writer and speaker in the mass media throughout the 1960s and 1970s. Note, please that the 1970s were the coming of age years for this writer.

People watching has long been one of my favorite pastimes – although I rarely have the time to indulge this small delight. Chaperoning this high school dance gave me nearly three hours to “play” at being Margaret Mead; that is, observing young Homo sapiens in their native habitat, engaging in their courtship rituals.

I noticed a number of things at that 2009 dance that were quite different from a 1970’s dance. In no particular order, here is what I observed:

1970s Girls’ Dress
Long, floor-length dresses, often referred to as “a formal”
Modest apparel that left something to the imagination
Shoes, though perhaps excruciatingly uncomfortable, were worn at all times

2009 Girls’ Dress
Short dresses were the norm; a few girls had knee-length dresses (which I found more attractive on them than some of the skimpier ensembles)
Lots of strapless/backless dresses – some I personally would consider somewhat immodest
Outrageously high-heeled shoes which were discarded upon arrival into what looked like a Shoe Mosh Pit – “dancing” took place bare-footed

1970s/2009 Boys’ Dress
Not really much of a difference – I suppose the pendulum has swung around far enough that 70’s clothing really is making a come back. Even the boy’s hairstyle of today reflects that of the 1970s: longish and casual in nature

1970s Dancing
Exclusive boy/girl dancing with “real” dance moves
Dancing usually reserved for “the one that brung you”
(I never would have considered dancing with someone who was not my date –
and I always had a date!)
Those not dancing were not on the dance floor were seated at tables or were standing and talking

2009 Dancing
“Dancing” could be defined as standing on the dance floor while talking and gently swaying with your partner, or in various combinations of boys and girls
Some, though not much, exclusive boy/girl dancing
Girls dragging boys by the hand to the dance floor where the “dancing” was performed
Girls dancing with other girls in groups of 3 or more
Boys huddling together talking with hardly any “swaying”
Large groups of boys and girls just standing on the dance floor talking

1970s Transportation
We usually arrived in a car with our date
Sometimes, two couples would share a ride

2009 Transportation
Young people, though usually it’s their parents (or their parents’ money) will rent a limo for the evening to chauffer a group of the young dancers to and fro’

There were, of course, other differences, but these were the ones that were most striking to me. Not intended as a criticism to the youth of today, my intent is only to compare. Having last attended a dance (and a college dance, at that) in 1979, I realize that like most other things, change happens: trends change; style changes; traditions change; in general, times change.

Still, it was a fascinating look at Today’s Teenager. One thing, however, remains the same for teens of all generations: for all their outward glamour and pseudo-sophistication, they are normal teens doing what normal teens do – getting together with friends for a good time.

And I’m glad to say, everyone did have a good time (the chaperone included) while also exemplifying good judgment, character, and propriety. Who could ask more of a teen from any generation?