A Poetic Thing Happened on My Way to Work

“Maya Angelou died today.”  The cashier said.

I’d heard that already, actually.  I had been listening to NPR on my way to work, and they’d been talking about it.  I had stopped and pulled into a convenience store to get my Diet Dr Pepper for the morning.

“Yeah, I heard.”  I agreed.

“That’s sad.”

“She left quite a legacy, though.”

It wasn’t until I’d left the store that the full impact of Maya’s life and work hit me. I had just bought a soda from a convenience store, and the cashier and I had conversed about a poet.  Not about the weather, or complaining about a country song on the radio or politics, but about a poet.

Maya Angelou died today.

Or, maybe, I should say, “Maya Angelou lives today”




Mark has a lifelong testimony of the Church of Jesus Christ of Latter-Day Saints (the Mormon Church). Mark also has other sites and blogs, including MarkHansenMusic.com and his Dutch Oven blog.

The Best of Mo' Boy: Music, Arts

Anyone that knows me knows that I'm pretty passionate about music, and LDS music (and other arts) in particular. I love to follow LDS popular culture and see what we can create. Sometimes it's great, other times, not so much. But I don't even mind. We need it all, and we all need to participate to the extent that we can.

• Some reminiscences and comments on my musical influences.
• Why we Mormons should sing our hymns.
• Should I sing to Mormons or sing to the world?
• And should artists sing for their audience or for themselves?
• My thoughts on Spencer W Kimball's Gospel Vision for the Arts.
• "Come. Come Ye Saints" is one of the greatest Mormon hymns of all time!
• "The Sun Shone Through the Windows" is one of my more haunting songs.

The Songs of Zion: Reviews of some of my favorites

• Matt Whitney
• Mormon Tabernacle Choir on MP3
• LDS Rapper TJ Fredette
• Sam Payne "Live"
• Clayton Pixton's "Hymns Anew"
• Doug Erekson "Backporch Believer"

Mark has a lifelong testimony of the Church of Jesus Christ of Latter-Day Saints (the Mormon Church). Mark also has other sites and blogs, including MarkHansenMusic.com and his Dutch Oven blog.


Mark's Other Blog Posts: Blogging Ideas, Dutch Oven Chile Verde, Mixing "The Third Time"

Inner Circle, Outer Circle...

First of all, before you read this, to make any sense of it at all, go read this posting over at A Motley Vision. I could summarize it, but, frankly, not that well, and it would be just as long as the original, so just go read it. I’ll wait until you get back.

Done? Ok, then…

He mentions that he’s not sure how the analogy he makes all works in something as small as the LDS market. In fact, it does. I have seen all three schools of thought that he mentions in my own interactions with other LDS musicians. Heck, I’ve seen them all in myself, but I’ll mention that later.

A while ago, at an LDS musicians group conference (hosted by the FCMA), I heard a speaker lay out a different analogy that covers similar concepts. This analogy helped me to grasp the different approaches. It’s not directly comparable to William’s, but it has similarities:

There's a circle, and all of us, as LDS musicians/artists, are standing in it. Some face inward, singing to the church. Their goal is to strengthen and to uplift those that are already members. These make no attempt to cross over to the larger markets. The best of these artists are both thought-provoking and inspiring. The worst come across as Sunday-school lessons set to music.

Others face outward, to singing to the outside world. These artists rarely carry religious messages, but rather sing about being generally good and living a good life. They are more analogous to the “integrationals”. Many of them view their musical work as being more missionary-ish.

As a subgroup here, there are some of these within the LDS market which will produce music that is very religious, but is more generically Christ-centered. It will avoid overt references to anything specifically Mormon, in an effort to approach the broader Christian market. These artists often find themselves alienated, since they’re often not “Mormon enough” to capture the LDS market, and are outright rejected by the mainstream Christian world.

The last group in the circle just sing where they are, and tend to not pay attention to which way they’re facing. They’re comparable to the “Transformationals”. They just create, and let the art fall where it may. This tends to make some of the most artistically satisfying music. However, the artists often have a very hard time marketing themselves, as there’s not a clear direction or focus for their art.

Because of my tendency to sit on fences and not take strong stands, my own music has at times fallen in each of the three categories. I definitely consider myself primarily a clean entertainer, but I also write songs that are purely “transformational”. I also feel very strongly that I am providing an alternative, and I often mimic mainstream styles, directed at an LDS market.

As I have tried to figure out where I stand, I’ve realized that I feel mostly “called” to face the inner circle. My goal is to take the musical sounds that I love (hard classic rock), and use it to strengthen those members of the church that also enjoy it. Because that segment of our membership is underserved by traditional LDS music. That’s the music I make, that’s the music I like to listen to, and so that’s what I share.

One thing I’ve noticed among LDS musicians is that there is a higher degree of tolerance among the different artists. Those that have chosen to face inward in the circle tend to not cast aspersions on those that choose to face the world, and vice versa. My general experience has been that we all want to help make good music and if that uplifts a particular audience so be it. In my limited experience, for example, in the world of LDS film, I’ve seen a lot of bitter intolerance, as if each creator had some sort of direct connection to “the right way to be”, and everyone else was off “ruining it for everyone”. That was very sad for me to see.



MRKH
Mark Hansen
http://markhansenmusic.com

LDSBA Again

William, over at A Motley Vision, mentioned that the LDSBA (LDS Bookseller's Association) Convention is going on this week. I actually got to attend this a few years back, when “One United Generation” was getting distributed. It was a great time. Lots of fun, and I got to see and meet a lot of cool people.

It’s basically a place where owners of LDS bookstores gather and find authors, publishers, musicians, and creators of LDS-oriented products. They buy their stock for the year, party, hobnob, find out what’s cool and new, and then go home.

The show is closed to the public, meaning that only members of the organization can attend. The only reason I got in was because my distributor got me in. It’s whole purpose is for product creators and distributors to get their wares seen and bought by retailers, who then stock their shelves with it.

This is a pretty common model in industry related trade shows. One of the biggest one that I know of is NAMM (National Association of Music Merchandisers). They have a huge show that draws all kinds of industry people every year. It’s also closed to the public.

AMV was commenting on how the attendance (and value) of the convention is dwindling. Partly, I imagine, due to the fewer and fewer LDS retailers out there. William was speculating that opening it up to the public might be a good idea.

A part of me agrees. I think it would be a lot of fun! I’ve been to some LDS product expos in the past, and I’ve always enjoyed them. I get a kick out of it. I love walking around and seeing what people are coming up with. I like seeing our own popular culture in action. I don’t always like what I see, but I like seeing it happen.

Another part of me has seen the low attendance that these shows tend to draw. Maybe it’s because they’re undercapitalized, and don’t have the budgets to do the heavy advertising. Maybe it’s because they’re usually held here in Utah, and we’re pretty saturated already with LDS products. Maybe it’s because a lot of Mormons see that sort of thing as the over-commercialization of our faith.

I’m not sure what the real reason is. The fact is, that without people coming and shopping, the vendors can’t justify the effort and the expense of setting up a booth. Without vendors, of course, the expos die.

As a creator, a musician, I would love to have the opportunity to present my wares, my CD’s directly to a buying public. Let them choose. I also realize that it makes me a willing participant in the ongoing overcommercialization of my faith. Oh, well… I can’t please everyone. I’m just making tunes that I wanna share, ya know?

Nonetheless, I do like to see situations and events that celebrate our members creating our own popular culture. I do like to see us celebrating our faith and our uniqueness. That doesn’t seem to be too wrong, either…


MRKH
Mark Hansen
http://markhansenmusic.com

The Dollmaker

I had an interesting experience as a songwriter the other day.

Some ten or so years ago, my mother-in-law was approaching her 60th birthday. At that time, my wife and her sister (among others in the family) were planning a big celebration for her. They came to me and asked me to write a song for her. I was intrigued by the idea and jumped right to it.

I started by brainstorming a lot of ideas of things that, in my mind, identified her. One of these was that she was very involved in making porcelain dolls. She and her husband operated, at the time, a shop where they not only sold the supplies, but also taught the skills. They poured the slip into the molds, they taught people how to clean the greenware, and how to paint it after the firing. They helped them to assemble the doll bodies, and helped them to get the costumes.

As I was contemplating the song, it occurred to me that the way she worked the dolls was very similar to the care and attention she gave to her kids as she was raising them. So, that became the focus of the tribute song. Here’s the lyric:

The Dollmaker

She cradles the delicate head in her hands with so much care
With the skill of a master she smoothes out the lines in the greenware
Later when she takes it out of the kiln
She'll paint it and bake it all over again
'Cause she knows it's the fires that make the clay strong
And give the doll beauty to make it last long
As she shapes it and turns it and works it all day
In her dollmaker's masterful hands

She cradled the delicate head in her hands with so much love
And she knew down inside that this sweet little child was sent from above
Later when this one was feeling the pain
She smiled and gave laughter all over again
'Cause she knew what it takes to make children grow strong
And help them stand tall and know right from wrong
As she shaped them and turned them from year to year
In her dollmaker's masterful hands

The seeds that she's planted
Have blossomed and grown
Because of her sacrifice
And the love she has shown
Can one life make a difference with the good it imparts
It can if that someone gives straight from the heart
Like she does when she turns you and holds you so safe

In her dollmaker's masterful hands

In her dollmaker's masterful hands

I worked up an arrangement, and the family got together and performed it at her birthday party. I recorded the song and released it on my mp3.com site at the time. You can download a copy of it here, but only if you promise not to cringe at the singing. It’s been ten years since then, ya know?

So, last week, after a long and grueling fight with Parkinson’s, my mother-in-law passed away. Yesterday, the family gathered again at the funeral and one again sang the song.

Afterward, many people commented to me how beautiful the song was, and what a fitting tribute it was to the lady herself. I might not sell a lot of CD’s, or get a lot of song downloads, or have a screaming throng of fans. But once in a while, I like to think I got a hit!

MRKH
Mark Hansen
http://markhansenmusic.com

The Gospel Vision of the Arts

Greg Hanson asks, “Is the Gospel Vision of the Arts No Longer Valid?” What he’s referring to is a talk (and subsequent Ensign article) given by Spencer W Kimball in 1977. The talk has been an inspiration for years to LDS artists everywhere. In a lot of ways, as I read it, I’m also reminded of John F Kennedy’s inaugural address where he promises to send a man to the moon and bring him home safely. Pres. Kimball’s tone is in that same order. He wants artists to push themselves and reach beyond ourselves to achieve greatness.

I read his words, and I find them inspiring. I want his vision to happen as well. I want Zion to put on her beautiful garments and arise and shine forth for the world like he does.

And then I look around at my own life and I face reality. Here are a few of the realities we face. I realize that many of these will sound like me just making excuses. Still, these are things that need to be overcome.

1. Not everything will be great

I look at the music that I create, for example, and I realize that there are many flaws. Am I creating greatness? Many people have responded to my songs with enthusiasm, and told me they found the songs inspiring. But is that lasting “greatness?” Not really. One thing we have to realize as an artistic community is that even though we strive for excellence, not everything that we produce, as a community will be “great”. Some of it will only be “really good”. Some of it will even be “pretty lame”. But if those that are making “lame”, or even “just good”, art decide to quit because it’s not “great”, then no-one will ever grow and learn enough to achieve greatness.

So, we, as an artistic community, should do our best to foster effort, and assist in that growth, rather than to cut down and reject less-than perfect efforts. The natural market forces will sort out what’s good and bad on their own. It doesn’t need our help.

2. Test of time

Much of what we currently define as “Masterpieces” have been around a long, long time. In western civilization alone, we have in our museums samples of works of art that are hundreds and even thousands of years old. Time has helped us to sort the good from the bad. President Kimball says that Bach and Mozart defined their musical eras, and are often revered in the same way that founders of religions are. I’m not saying that’s not right, or that it shouldn’t be that way. But Bach lived and worked in the 1700’s.

Considering that the church was founded in the early to mid 1800’s, that gives Johann quite a few more years to develop a following. And even he didn’t have much of a fan base in his own lifetime. Much of LDS art is relatively new, and I don’t think there has really been enough time to sort out the great ones just yet.

3. Need to define “Greatness”

Another challenge comes when we try and define what is great and what is not. “Artistic” greatness is such a moving target, and sheer popularity can be quite fleeting. It also doesn’t necessarily define what is a truly well-crafted masterwork. Would “Saturday’s Warrior” qualify as one of the masterpiece that President Kimball is envisioning? It was a key piece in the mormon cultural landscape, and in it’s context, was very influential. It was extremely popular, and in many ways, still is. Is it great art? I’m not sure I want to get in on that debate… What about the works of Janice Kapp Perry, or Michael McLean? Or the now-iconic Arnold Friberg paintings that were included in the paperback Book of Mormon?

What role do the popular arts and folk arts play in this continuum?

4. Should the Church itself support it more?

Many years ago, as the Salt Lake Temple was nearing completion, there were a number of people called and sent on missions to France. Their purpose was not so much to preach the gospel, but to learn to paint. Their goal was to be able to come back to Salt Lake and paint the murals on the interior walls of the temple.

Throughout the history of the church, there have been times when the church has needed a particular artistic thing created, and at that point, they either call or hire someone to create it.

Should the church commission more works of art? I’m not sure of that, either. On the one hand, it’s great to be free to create as I please. On the other hand, few members of the church can make a full-time living making art for the church or its members (on the open market).

5. Overcoming ignorance and apathy

A final challenge is one that I’ve encountered in the LDS music world, and have seen in other artistic genres as well. That is the fact the church is currently at about a dozen million members. That’s big. But how many of them know the names of any church musicians, authors, or artists? How many of those only know a few?

We, as the artistic community, have a lot of work ahead of us to let our audience know that we even exist before they can decide if we are “great” or not. Greg Hansen cites the internet as a wonderful tool for advancing the arts. I agree. But even though we now have power saws and pneumatic nail guns instead of a hand saw and manual hammer, we still have to build the house. And that will be a big task.

The Big Audacious Goal

I know this has been long, but let me end with a story. A long time ago, I was working at an elementary school, and in our start of the year training, the principal came to us with the idea of setting a BAG (a Big Audacious Goal). She cited Pres Kennedy and his “Trip to the Moon” speech as a great example. She said that it was crazy for him to set that goal, but look where it got us, in terms of technology and world prestige. She wanted us, as an educational team, to find and set a similarly audacious goal for ourselves. She stressed that even if we failed to achieve that dream, we would still have progressed much farther than we would have had we not set the goal.

One suggestion was that our goal be to have every child reading at grade level. For a poorly-funded, inner-city school, that was pretty big and audacious for a BAG. In the end, the faculty couldn’t get behind it.

Still, I think of Apollo, and President Kimball’s vision, and I think of how big and audacious those goals were, and are. I want to be up to the challenge. I want to take it on.

MRKH
Mark Hansen
http://markhansenmusic.com

MoTab Rocks

There was some really cool things said in the Sunday morning conference session. I was really impressed. I’ll blog about them, for sure.

But that crowning moment for me was listening to the choir sing “How Firm a Foundation”.

As our own ward choir director, we did it (straight from the hymn book) about a month ago. It’s long been one of my favorite hymns. I thought our choir did a great job. This song is one that carries me through my trials more than any other.

The Tab choir did the third verse a capella, and the harmonies were glorious!

"Fear not I am with thee, O be not dismayed

For I am thy god and will still give the aid

I'll strengthen thee help thee and cause thee to stand

Upheld by my righteous omnipotent hand."

Wow. What a sound, and what power. Then they sang the last verse in unison, with only the organ providing the harmonies. It just filled my soul, my eyes, and gave me chills. Especially the last verse:

“That soul that on Jesus hath leaned for repose

I will not, I cannot desert to his foes

That soul though all hell should endeavor to shake

I’ll never no never no never forsake”

They rock!

MRKH
Mark Hansen
http://markhansenmusic.com

Strong Verse

I used to write poetry a lot. And I mean a lot.

Back in college, in Indiana, I minored in creative writing. I took a bunch of poetry writing classes. It was over that time that my writing evolved. I used to think that obscure and confusing was cool. I had a really good teacher that showed me that the point of art was to communicate, not to obfuscate.

I still write poetry, but most of it is in the form of song lyrics. There are those who would separate those two into different camps. There are songwriters that say that poems can’t be lyrics, and poets that think that song lyrics are simply strings of clichés. And, by the definitions in their own minds, they’re both right. In my mind, however, they are inseparable. A song is merely a poem written with certain rules of form and structure.

That does mean, however, that a good song should be much more “poetic” in its use of imagery and a good turn of a phrase.

Both, however, should be clear. One of my biggest gripes with both the poets I read and the songwriters I listen to is that they both seem to think, as I used to, that obscurity is the epitome of artistic expression.

Not.

If I don’t get it, you failed to communicate.

Today, I found a website that’s dedicated to poetry that reflects these values. It’s published by, no surprise, Orson Scott Card. The site is http://strongverse.org, and their slogan is “Great Poetry is meant to be understood, not decoded.” In their submission guidelines is the following rule: “If your poetry can only be understood by you or your close group of friends, share it with them.”

That’s so cool. I wish more mopey, angtsy, sappy “alternative” songwriters would do that…

MRKH
Mark Hansen
http://markhansenmusic.com

Yeah, Cool, ...But is it Art?

Today, I want to talk about art.

It seems that, lately, there’s been a lot of discussion (in the circles that I circle in, anyway) about what art is. We haven’t really been saying, “What is art”, but we have been talking about trends in LDS film, and the nature of free speech. All of which is leading me to ask, “What is art?”

And that leads me to another question, which is, “What’s the difference between bad art and great art?”

I touched on this a while back, when I reviewed Doug Erekson’s “Backporch Believer”. But I’d like to go into a bit more depth.

I grew up with a couple of artists. Mom is a visual artist. A painter, and erstwhile sculptor, specifically. She mostly does watercolors. Amazingly skilled in both execution and expression. Wow. She got a Masters in Fine Art when I was just a tiny kid, and just kept doing it, year after year, better and better. She also played in orchestras.

My Dad’s strongest artistic endeavor is probably his photography. He’s done a few shows, but mostly just takes great pictures when he travels. He also sings, mostly in choirs, but some solo, and plays piano. He also is a great appreciator of classical and orchestral music as well as the art that mom and her colleagues make.

So, I learned a lot about the arts as a kid. I grew up around it. We saw concerts, we saw plays. We went to galleries. I played ‘cello in school orchestras and the youth symphony.

Still, I think I define art in different terms than they do.

Art is a very difficult thing to define, when you think about it. One man’s scribble is another man’s art. Dad and I, for example, used to go rounds over and over about whether or not rock was actually music. Good thing he never heard any rap, eh?

So, my definition of art is: “Something original that someone consciously does to express their ideas or beliefs.”

I admit that this definition is very broad, and includes a lot of things that others wouldn’t include. I’m OK with that. See, I can allow something to BE art, without actually having to LIKE it personally. Too often, I've encountered people who define art by what they personally like, then justify that with arguments of technical advancement, or respectability, or even shock value.

And I follow that to a certain extent. What makes art great, is that it impacts me. If something makes me think something new, feel something new, or just makes me consider something in a new way, then it elevates from the world of simple art to great art.

That becomes very personal. Great art is then, by definition, in the “eye of the beholder”. What impacts me will not impact someone else. Or, it might impact me and someone else in different ways.

The problem I’ve been seeing in a lot of these discussions of late, and ultimately, in the discussions that I’ve had over many, many years is that too many people think that once they’ve defined “Great Art” in their own minds, they think that gives them the right to impose that definition on others. I’ve seen that as those in the avant garde try to force their way into traditional venues, and I’ve seen traditionalists reject the new and untried. Both are interpreting art from their own perspectives, and trying to force that perspective onto others.

The biggest example in I’ve seen recent years is going on in the debate in LDS film. Those that made edgy, challenging movies proclaim that the Mormon masses are uneducated philistines that wouldn’t know great art if it was hung around their necks.

Those that make simple love stories and comedies complain that the others are elitists that don’t understand a clear, minimal message.

In my mind, I’ve seen greatness and lameness in both camps. And the difference is NOT in technical excellence, but rather, how *I* feel when I’m done with the experience. Did it leave me thinking? Feeling? If so, it was art. If not, then, “…meh…” to it.

What will become the “Great Works” of Mormon Art? Time will determine, and debate and argument won’t.

But, honestly, that won’t stop the debate and argument…

MRKH
Mark Hansen
http://markhansenmusic.com

A Testimony of the Arts

Woody posted a comment over at The Inner Dad, reflecting back on the post I’d done on Dutcher’s movies back in November, I guess.

His last paragraph really summed it all up for me:

“We should not turn the arts into substitutes for a true testimony of the gospel. It just isn't done that way. The testimony should come first, and the arts should then reflect that. Not the other way around.”

Amen, bro! The arts should be the expression of our souls, not the definition of them.

It works the same way with the listener. I’ll talk about it from a musician’s perspective, because I am one, but it’s really applicable to all arts.

No song ever made anyone sin, nor exalted anyone. A movie will never bring someone back to the gospel, and it will never ruin a life. ON ITS OWN. Violent games don’t, by themselves, make children violent.

Any kind of artistic expression resonates. It touches our life and it resonates within us. How it effects us can often depend on our mood, and our place in our life cycle. If we are in a very spiritual place, we will resonate most with spiritual music. If we are in a dark place, we will resonate with dark music.

Here’s the interesting part: Suppose I’m in a dark place in my life, and I want more light. Uplifting music will resonate with that part of me that wants more light and grow. Dark music will resonate with the dark parts of me, and that will grow instead.

So, someone that looks to a song for a testimony is looking in the wrong place. Someone, however, that allows art to strengthen a testimony will grow with it. Ultimately, though, a testimony comes from the Spirit, not from art.

MRKH
Mark Hansen
http://markhansenmusic.com

Deseret Book, Covenant, and Me

http://www.sltrib.com/search/ci_4917287
http://www.sltrib.com/search/ci_4963726

Many have probably heard by now that Deseret Book has acquired its biggest competitor, Covenant Communication, including its Seagull Book stores. The addresses above include the articles that cover the event, if you haven’t heard about it yet.

There’s been lots and lots of talk on the ‘net about it in the aftermath. Who’s the bad guy? Who’s the good guy? What will it mean?

I don’t really know the answers to any of those questions. What I see, from my little perspective, is that it indicates a big lull in the LDS artistic scene. Let me clarify.

When I got interested in LDS music again, after a long hiatus (this was back in ’99 or so), I looked around and I saw a lot of very exciting things happening. There were some incredible new albums coming out. LDS publishing was exploring many new genres, and—wonder of wonders—people were making movies! It was like the LDS popular arts were exploding. It was a pretty heady time.

Then the movies played out and trickled off. Music started slowing down. DB bought out Excel and after a time, many artists were dropped from the roster. Now the biggest competitor is also acquired.

First off, I don’t really see it as good guy/bad guy. It’s easy to point fingers at the big, bad establishment and say that they’re stomping out the little competition. But it is, after all, a business, and businesses do what they do to survive.

For me, personally, it’s not going to have a big impact directly. Neither Covenant nor Deseret was pounding on my door to start a bidding war over my recording contract. There were probably few in either office that even knew my name. Still, to me, it is sad to see happen because it indicates that the scene is down. Not as much creative output is being published or bought. The demand isn’t as high as we’d like it to be.

There could be hundreds of causes for that. Some say it’s because the quality is so poor. Others say it’s because people simply don’t know it’s there to buy. Others say it’s because the economy isn’t as strong. Whatever the reason or the combination, it shows me that things aren’t as booming as they once were.

But my sadness is tempered by the knowledge that pendulums swing, and they swing back. Things shift. Interest ebbs and flows.

It won’t impact me all that much. I’ll still keep putting out songs. I’ll still keep telling other people about the other musicians I hear.

In the meantime, go out and buy a book, or a song, or a movie. I don’t care whose it is. Just buy one and enjoy it.




MRKH
Mark Hansen
http://markhansenmusic.com

What Happened, Richard?

I can remember a long time ago, when there was no “Mormon Cinema”. There were movies being made by church members, it’s true, but they somehow escaped that label (except the ones the Church itself made).

Then one day I heard about “God’s Army”. At first I was nervous, even skeptical. I went to the website of the production company, “Zion Films”, and was reassured by some of the text there. The filmmaker (Richard Dutcher, though I didn’t know who that was at the time) said something to the effect that he wanted is testimony to “pour from every frame of (his) movies”. I remember that line stood out to me. It showed me that someone wanted to make movies about Mormon life and LDS experience. I was very excited, because I’d encountered many in the LDS arts community who tried to hide their church membership, couch their testimonies in innuendo and inside references, rather than proclaim the gospel as the trump of an angel.

So, Mormon Cinema was born. Soon others joined in and many movies were made.

I like to hang out on a ‘net group of people interested in following LDS film. The sad thing to me is that (contrary to the overall camaraderie I sense in the LDS music world) those in the LDS film world seem to delight in snarky backbiting and petty slander rather than support and encouragement.

Dutcher himself joined in, referring in some public speeches to the LDS film world as a pool that other filmmakers had peed in.

Then, I read this interview in Christianity Today, and I read quotes like this:

“…Because of that film, States of Grace, Dutcher has been shunned by the LDS church. He also says that many other recent "Mormon films" are so bad, he doesn't want to have anything to do with the label.”

The interviewer asked about his diverse religious background, saying: “But you ended up settling in the Mormon church?”

Dutcher: “My wife and kids predominantly attend the LDS church, but I'm so busy that I'm really not active in that community any more. I travel so much, and I find myself just choosing whatever service appeals to me that week. When I'm in Burbank, I attend a Catholic church. And I've recently noticed a Greek Orthodox church across the street, so I'll probably hit that too.”

When asked about “States of Grace” being promoted as a sequel to “God’s Army”, he responded:

“Actually, it kind of backfired on us, because a strange thing has happened in the Mormon community over the past five years. When God's Army came out [in 2000], it created a little "Mormon cinema movement." Before God's Army, there hadn't been many films by and about Mormons; after that, there was a flood of really crappy movies. But I didn't realize that, because I'd away from the Mormon community for a few years while making other movies. When we came back, we didn't realize that the reputation for Mormon film had sunk to such a level that by calling a film God's Army 2, it was almost a bad thing because people thought, Oh no, another Mormon movie, because they'd been burned so many times.”

“My idea of Mormon cinema would be films that take a deep, probing look into Mormonism—its history, doctrine, contemporary life, to explore things that were pretty much untapped. But that's certainly not what Mormon cinema became. It became something so much more superficial and meaningless.”

And:

“…I think the Mormon community just doesn't have reverence or respect for art. It certainly doesn't understand film as an art form. So there's a big educational curve that has to take place before the Mormon community will start taking film seriously.”

But I was most surprised by his answers to these questions:

“I have a hard time now even when people ask me, "Are you Mormon?" I don't know how to answer that anymore, because although the answer is technically "yes," I know what those people have in their minds and the kind of box they put me in. It's almost like you have to sit down and say, "Okay, well, let's talk about what that means to you." It's like a giant philosophical discussion.”

“Do you believe the Book of Mormon is the Word of God, like the Bible?”

Dutcher: “You're not supposed to ask me that!”

“That's not on your approved list of questions?”

Dutcher: [Laughing.] “That's right. I've gone through a real evolution in my religious views and in my faith over the past four years, so I'm reluctant to get too far into that. I could give an answer which is accurate, and yet the ramifications of that would be misinterpreted. Does that make any sense? Do you know what I'm getting at?”

“Yeah, it sounds like you don't want to answer the question.”

Dutcher: “Well, uhh, I guess I don't have a problem answering it, but it needs to be a pretty long answer. Let's just say that my religious views are much more universal than one would expect from someone raised … I'm starting to sound like a politician now. But I don't believe that Mormons have any special claim to God. I don't believe that Mormonism has any special doorway to heaven.”

I guess he’s come a long way from pouring his testimony.

To me, it all comes across as artistic arrogance. I’m sorry. I’ve only met the man once. I shouldn’t judge his personal character. On the other hand, I get a bit miffed when he calls me a philistine and turns his back on me. I paid to see his movies, and I’ve loved every one of them. I also liked the movies that “ruined it for him”. I was able to look past the production and see the fun in them. I was able to accept the effort and delight in the creativity. And just because they didn’t all fall in behind him and make movies that were his kind of good (and frankly none of them, including his, have been all that well promoted – but that’s not the reason they failed, of course) he’s now rejected the community, and it seems, his beliefs.

Well, sorry, Richard, but I’m not taking the blame for you.

MRKH

Mark Hansen
http://markhansenmusic.com