83. The ultimate destiny of the universe is in the fullness of God, which has already been attained by the risen Christ, the measure of the maturity of all things.[53] Here we can add yet another argument for rejecting every tyrannical and irresponsible domination of human beings over other creatures. The ultimate purpose of other creatures is not to be found in us. Rather, all creatures are moving forward with us and through us towards a common point of arrival, which is God, in that transcendent fullness where the risen Christ embraces and illumines all things. Human beings, endowed with intelligence and love, and drawn by the fullness of Christ, are called to lead all creatures back to their Creator.
223. Such sobriety, when lived freely and consciously, is liberating. It is not a lesser life or one lived with less intensity. On the contrary, it is a way of living life to the full. In reality, those who enjoy more and live better each moment are those who have given up dipping here and there, always on the look-out for what they do not have. They experience what it means to appreciate each person and each thing, learning familiarity with the simplest things and how to enjoy them. So they are able to shed unsatisfied needs, reducing their obsessiveness and weariness. Even living on little, they can live a lot, above all when they cultivate other pleasures and find satisfaction in fraternal encounters, in service, in developing their gifts, in music and art, in contact with nature, in prayer. Happiness means knowing how to limit some needs which only diminish us, and being open to the many different possibilities which life can offer.
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232. Not everyone is called to engage directly in political life. Society is also enriched by a countless array of organizations which work to promote the common good and to defend the environment, whether natural or urban. Some, for example, show concern for a public place (a building, a fountain, an abandoned monument, a landscape, a square), and strive to protect, restore, improve or beautify it as something belonging to everyone. Around these community actions, relationships develop or are recovered and a new social fabric emerges. Thus, a community can break out of the indifference induced by consumerism. These actions cultivate a shared identity, with a story which can be remembered and handed on. In this way, the world, and the quality of life of the poorest, are cared for, with a sense of solidarity which is at the same time aware that we live in a common home which God has entrusted to us. These community actions, when they express self-giving love, can also become intense spiritual experiences.
117. When properly understood, cultural diversity is not a threat to Church unity. The Holy Spirit, sent by the Father and the Son, transforms our hearts and enables us to enter into the perfect communion of the blessed Trinity, where all things find their unity. He builds up the communion and harmony of the people of God. The same Spirit is that harmony, just as he is the bond of love between the Father and the Son.[93] It is he who brings forth a rich variety of gifts, while at the same time creating a unity which is never uniformity but a multifaceted and inviting harmony. Evangelization joyfully acknowledges these varied treasures which the Holy Spirit pours out upon the Church. We would not do justice to the logic of the incarnation if we thought of Christianity as monocultural and monotonous. While it is true that some cultures have been closely associated with the preaching of the Gospel and the development of Christian thought, the revealed message is not identified with any of them; its content is transcultural. Hence in the evangelization of new cultures, or cultures which have not received the Christian message, it is not essential to impose a specific cultural form, no matter how beautiful or ancient it may be, together with the Gospel. The message that we proclaim always has a certain cultural dress, but we in the Church can sometimes fall into a needless hallowing of our own culture, and thus show more fanaticism than true evangelizing zeal.
Yeah, because you can't find examples of many parallels. When you think about it, you hear that guitar, you hear his incredible keyboard skills, and you realize that, at any given moment on that record, he could do that. He could have filled up that record with virtuoso guitar playing, with virtuoso keyboard playing, and with virtuoso singing. But he'll do ten minutes of just drum machine on "Baby, I'm a Star." Then here's another thing to consider. His lyrics. It's not Leonard Cohen, but think about... he's talking about an "us." I would die for you. Let's go crazy. Take me with you. It's a generous record. He's happy to be alive. He's happy to be 24. He clearly loves people. He's not a sexual predator. He's not talking about "I will conquer you," with that braggadocio of young men. There's us, and we're having fun. That's pretty great. Especially when you consider that he's one guy from north Minneapolis, all alone. He was so alone that he created his own competition. He created The Time and Vanity 6, and it was still all him. He played all the instruments, wrote all their songs, did the whole thing, and then had them come in and do the vocals.
I'll tell you what went to tape. The Linn LM-1 had little faders on it, mixers, and individual outputs on the back. We'd take the kick out, and the snare, and then the hi-hat usually by itself, usually claps by themselves, but then everything else would come out a stereo mix and go into his Roland Boss pedals, the kind you still see today. That would have flanger and chorus in it. You hear a lot of times the hi-hat is chorused, and it's very wide stereo. So are claps and things on many of these songs. So the chorus, the distortion pedal, the Heavy Metal pedal, the [DD digital] delay, and the flanger. He would click them on and off to dial in what he wanted for the drums. Those effects were printed. The effects on his voice and everything else, no. He really loved delays. Students today, I always see them going for reverb. I instruct them, "Wait, delays! Delays happen before reverb happens." We had several of the Lexicon Prime Time [Model 93 digital delays] with stereo in, stereo out. He loved those things. At that time, we had the Lexicon 240L. We had an EMT 245. At Sunset Sound we had the real echo chambers. But mostly it was delays, real echo chamber, and EMT reverb. That all just went to the mix, but not on the multitrack.
It changed everything for me. They were obsessed with the question of what music is. I had been obsessed with the question of what sound is, and how sound serves music. Now I started thinking about, "What are we doing? And what can be music?" Tommy Jordan was interested in the human/music impulse. Tommy wanted to be able to make music the way a 3-year-old or a 97 year old would make music, if they could. What is a 3-year-old trying to communicate? What does the 97-year-old think? What happens in between? T Bone Burnett [Tape Op #67] called Tommy one of the five most creative people in the music business. I have never before, and never since, worked with anyone that purely inventive, when it came to manipulating pitch, timbre, duration, loudness, and sound. Tommy loved sound effect records and nature sounds. He always had a little portable cassette recorder with him with a built-in microphone. If he raised up a garage door and it made a squeal, and that sounded good and pleasing, he put it in a sampler. You've got a dog trotting across a tile floor; he'd put that microphone close to the ground and hear his claws on the tile floor, going, "Tick tick, tickity tick." He'd loop that. Tommy had me play drums on the song "Gina," on their second album [Sacred Cow]. Gina was the name of my little dog. I said, "Tommy, I don't play drums." He said, "I'll show you how. Just play this." Because I was Gina's mother, the dog's mother, he said, "Be the mother's voice and express the love of this dog. Have it be steady and constant. That's what drums do." And that connection between human expression, expressed with music, was an epiphany. It influenced every record I've done since then. It took me from being someone who was just trying to keep up, to someone who recognized that I have a voice now. I know what to do when I get in the studio. Tommy's partner was Greg Kurstin. Greg, as I'm sure you know well, his career's on fire. He most recently produced Adele's album [25]. From those two guys I learned the art and the craft of record making in a whole new way. 2ff7e9595c
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