In Christianese parlance this is so you dear readers can "hold me accountable".
I am interested in writing a bit about Michael Card's lecture on Job from years ago, particularly about his observation that the book of Job as a character drama shows us Job attempting to complete a lament offered to God that is constantly interrupted by his friends who insist on correcting Job's theology. I could write a lot about that but I feel I should save that for later.
I am interested in writing about Scheibe's polemic against the music of Bach and how that connects, in its tangential way, to the polemics of northern German music critics against Haydn later in the same century. Say what? Well, criticisms of Bach and Haydn are instructive because 18th century criticisms shed light on a shift in 19th century perspective regarding Bach and Haydn. I hope to get to the question of what is "authentic" and how 19th century musicians and scholars had some diffidence about Haydn because he wrote for the Man (a royal court) and Bach wrote for the Church. Both were happy to do what amounted to work-for-hire yet both were so collosally influential their work was unavoidable.
I want to eventually tackle how in a post-20th century musical world in the West we are at a point where no more rules can really be broken and we can take up what Cuban guitarist and composer Leo Brouwer considered the important musical revolution musical academia has mostly failed to address, fusion. I plan to suggest down the road (as I already have) that in such a setting a Mozart or a Beethoven is not likely to be a composer who matters in our time, or maybe even a Stravinsky. The composers who have made works that have really resonated in pop culture (and not necessarily academic culture) are folks like John Williams, popular composers whose path to a willing audience has been through integration and assimilation, fusion in other words. When we consider the fusion of white and black American music that led to rock and roll this is not very surprising but it would take a lot of time to explore.
I have more I wish to write about "I see things" down the road and about some points I consider cessationists to have even though I believe the polarity between cessationism and charismatic theology is itself irreducibly problematic. I have come to this view because I have noticed how much both groups try to front load their goals for ecclesiology and liturgical order back on to biblical texts that do not necessarily support either agenda.
But as I was hinting at earlier this week I've still got a lot of work to do writing for Mockingbird. With the twentieth anniversary of Batman: the animated series coming up I still have a lot more work I want to do fleshing out how and why this cartoon was so revolutionary. It may seem like a small thing but Paul Dini and Bruce Timm's Batman is a pop culture character who emerged in the post-Cold War era and transitioned easily into the post 9/11 era. I also have a polemic in the works about Joseph Campbell and how pop cultural artifacts like Transformers and comics and sports become religious/cultural narratives. Trek fans "may" look forward to the case I plan to make for why Star Trek is genuine pop culture mythology while Star Wars is little more than merchandising exploitation of the monomyth as a brand. Real myths and the monomyth are not the same thing but I should save my debt to Jeffrey Burton Russell's cross-cultural examination of the Faust myth as a refutation of Campbell for later.