Queen B of Heaven?

On Tuesday, SFGATE, the online sister publication of the San Francisco Chronicle, ran a piece announcing Grace Cathedral’s Beyoncé Mass on April 25.

And, on cue,  the Episcopalians (on Facebook) went crazy in a manner normally reserved for discussions on Christian-led Seders or offering communion to the unbaptized.

Before delving into this issue, let’s take a look at the announcement made by The Vine, which describes itself as “Grace Cathedral’s fresh take on Christian spiritual community, combining progressive worship, contemporary values and new connections.
categories.”

Beyoncé? At church? That’s right!

Come to The Vine SF to sing your Beyoncé favorites and discover how her art opens a window into the lives of the marginalized and forgotten — particularly black females. We’ll be hearing an incredible message from Rev. Yolanda Norton, Assistant Professor of Old Testament at San Francisco Theological Seminary. This special service was created in partnership with the Bible class at SFTS.

———

This is the third week in our teaching series, “Speaking Truth: The Power of Story in Community.” Join us throughout May as we look at how we can grow together using each of our unique voices.

Whew! Lots to unpack here.

Personally, I am not certain whether or not I would attend this service if I happened to be in San Francisco next Wednesday. I enjoy Beyoncé’s music, but I am hardly the superfan that others of my sexual orientation purport to be. On the other hand, I would be interested in hearing Rev. Yolanda Norton’s homily and I believe the church needs more discussions about marginalized communities, especially of women of color. In other words, the deeper content of this service intrigues me more than discovering which of Bey’s songs The Vine thinks best match with an Episcopal service. And that’s okay.

But that is not the controversy.

I am not surprised the message of the service draws few comments from those complaining about the Beyoncé Mass. The primary issue seems to be the inclusion of secular music as part of a worship service in an Episcopal Cathedral. Seriously. In 2018.

Now, I have an opinion.

I don’t think it is possible to sing Day By Day from Godspell without a tambourine.

Music represents an important part of my church-going experience. I have sung with a variety of church choirs whose collective repertoire ranged from Anglican Chant to Traditional Shaker Hymns to Getty and Townend. I served under one music minister who believed we should primarily sing sacred music written prior to the nineteenth century because “That’s the music Jesus loves best.” Fun fact: Jesus and the Apostles intoned the Psalms in perfect Anglican Chant. Another music director programmed all spirituals for Black History Month, which seemed odd for an all white choir. Some churches had guest performers from the local Philharmonic. Others hosted local artists, even a drumming group. I been accompanied by brass, strings, piano, solo guitar, and, of course, organ and a cappella. I even played tambourine last Advent during, you guess it, People Look East. I bet you thought I was going to say Day By Day…

At each if these churches, the music minister or choir director carefully programmed the music to correspond with the readings and liturgical season. Sacred music that compliments the scriptures and the prayers. Lyrics and melodies in which God is apparent.

But does that mean there is no place in church for secular music?

I can think of countless secular songs in which I hear something spiritual or mystical. Melody and instrumentation so poignant it rips out my heart, throws it threw a wood chipper, and returns it, still beating, to the gaping wound it left in my chest. Bernstein’s orchestral genius in Somewhere from West Side Story. The strings after the word “forgiveness” in It’s Quiet Uptown from Hamilton. So beautiful that it is painful to listen to. The lyrics from songs like Imagine, Blackbird, What a Wonderful World. Words perhaps not intentionally meant to be spiritual, but through which we can hear God speak to us.

True to stereotype, I am a theatre queen and show tunes junkie. In Paul Rudnick’s Jeffrey, the titular character questions a priest about God. The clergyman tells Jeffrey he sees God as a Columbia Recording artist – receiving his idea of God from the original cast recording of My Fair Lady with George Bernard Shaw manipulating Rex Harrison and Julie Andrews on strings. The priest continues by saying that God is on the record in the songs of Lerner and Loewe. It’s a fictional conversation, but can it be that far off?

Now, would I want to attend services at a church which regularly sang show tunes in place of mass settings and hymn? Of course not. It might be fun to experience on occasion, but not on a regular basis.

God speaks to each of us using the ways God knows we will hear and comprehend his message. It may be George Herbert or George Harrison, Bach or Bono, Beethoven or Beyoncé. I remember the arguments between a music minister and a choir member (and generous donor) who wanted to sing Mendelssohn’s church music more often. A classical composer who spoke to one person and not the other.

If I hear God in Somewhere or It’s Quiet Uptown, then why not at a U2Charist?

If I hear God in the drag finale of Kinky Boots, then why not at a Polka Mass?

If I hear God during The Full Monty, then why not from Beyoncé?

In the end, The Vine planned their Beyoncé Mass on a Wednesday night as part of a three-part teaching series. Is Grace Cathedral planning to change its Sunday morning services to feature the music of Beyoncé, Bruno Mars, and Kendrick Lamar? I don’t think so. Is this foray into popular music pandering? Perhaps. Might this program reach new people or cause others to think about God in a new way? Maybe.  And, when it comes down to it, isn’t this just an argument about aesthetics?