Saturday, May 15, 2021

Julie Roys has also noticed that Ashley Chase is listed as director of Real Faith (Mark Driscoll Ministries) but is listed nowhere on the ministry's 990 form

Julie Roys has more coverage of disclosures related to what isn't disclosed about or within The Trinity Church.
Driscoll’s daughter, Ashley Chase, is the director of Real Faith. Yet, on Trinity’s website Chase is listed in her capacity as Real Faith director as a staff member of the church. Chase also is not listed on the latest IRS 990 for Real Faith, even though the IRS requires nonprofits to report compensation paid to anyone related to a board member.
So I'm glad to see I wasn't the only person who noticed that!

For folks unfamiliar with the history of financial opacity at Mars Hill, the most read and most viewed single post in the history of Wenatchee The Hatchet was the one about Mark Driscoll's personal financial compensation package. 

another popular post was 

Apparently Mark Driscoll now says of Mars Hill "We're not a wealthy church".

Reference is made to materials from the Mars Hill years in which Sutton Turner expressed behind the scenes objections to practices he regarded as below board.  

If you want to read about the history of Mars Hill real estate acquisitions there's a tag for that.  There are a bunch of other things reported that will be of interest to people who were at Mars Hill and may have wondered (but did we really?) if history was going to repeat itself at The Trinity Church.  That the family business is a family business isn't a surprise.  At some point in the future we'll probably have to do a series on Win Your War.

Monday, May 10, 2021

Julie Roys has coverage of a new report about Mark Driscoll's The Trinity Church, on-site surveillance and dealing with members--revisiting Mars Hill era claims from Driscoll to "see things" and to be able to pray that God would kill sinners for him as background for his leadership approaches

So many years after the demise of Mars Hill I was hoping this range of topics could have been fully retired from Wenatchee The Hatchet but things just keep happening:

Ethan Hein on music not being a universal language, Leonard Meyer back in the 20th C on the Western theoretical scholarly penchant to synthesize Romantic ideology with 20th C scientistic positivism in music theory

Anyway. The idea of “musical universals” very quickly devolves into “Western European music is universal”, and that is some white nonsense. There might be some broad overlaps between disparate forms of human music, just as there are similarities in our cooking and clothing and languages and so on. But the particulars are always going to be culturally specific.

Back in the last century Leonard Meyer made some comments about the legacy of Romanticism and its quest for musical "oneness": 

Ethan Hein discusses "Green Onions", a case for persistent but subtle polytonality in the song in its signature opening

"Green Onions" is indisputably a classic blues number that I heard throughout my life and that opening guitar vamp has stuck with me for decades.  

This song presents an interesting case study in applied harmonic rhythm as a foundation for understanding what makes the guitar vamp so identifiable. The song is in F but the guitar chord that hits at the tail end of the last beat of every measure always lands a perfect fourth above the root of whatever chord is prevailing at the downbeat of each measure.  Ethan Hein describes that as blues tonality, which is true, but one of my music theory professors once said that the beauty of music theory is that you can disagree with the teacher and you "could" still be right.  So ... I have an alternative explanation for how to understand those unique chord vamps the guitar is playing in the song, that should be explicable for both classical and blues fans.


The guitar vamp is so staccato and steady on the weak half of the weak end-beat of the measures we can't call this "polytonality" but that is also why I don't think of any of the chords as thirteenth chords.  The second inversion chordal pattern is too persistent across the piece for that to be how to explain what's going on.  But if you had the guitar vamping those chords on the weak beat of every beat of every measure then the effect would be polytonal, where the keyboard vamps along F dorian while the guitar functionally cruises along in B flat major.  Cropper hitting the pure triad of whatever chord Booker lands on at the end of each measure doesn't changing the prevailing harmonic rhythm at the downbeats, but the quasi-polytonality that results from that decision of Cropper's gives "Green Onions" a quasi-bitonality of F and B flat simultaneity that defines the song.  

If you want to find out just how important this dual-tonality element is to "Green Onions" try playing the chords that are "supposed" to be in the key based on the root movements of the downbeats!  Where ever you see F at the downbeat play F, where ever you see B flat at the downbeat play B flat and so on.  Remove that perfect fourth displacement where the guitar is consistently in the subdominant key in relationship to the minor tonic key and what do you get? You will find that "Green Onions" becomes more "Russet Potatoes"!  Sure, once the opening is played through the song proceeds to F blues, which is wonderful, but the joyfully ambiguous polytonality of the introduction is what set the mood and gave us a mysterious question as to "what key is this really in?  The guitarist seems to be deliberately playing in a completely different key from the rest of the band"  The reason for that "can" be explained in terms of blues tonality but that isn't the "only" way to explain it.  In any event, the song is a great song.

It "is" too short but that's why it was a good idea to go hear Booker T. play this song in concert.  I was fortunate to hear a double feature of Booker T. and John Lee Hooker at the start of this century and I can tell you that in live performance "Green Onions" could go on for minute after glorious minute. :)