Gal 5:24 KJV And
they that are Christ's have crucified the flesh with the affections and lusts.
Gal 5:24 jvb And those belonging to Christ crucify the
flesh with its cravings and afflictions.
N.B. Our traditional translations impute overly
noble motives to the elect. The spiritual know that they crucify the flesh in
order to avoid the cravings and afflictions of sin in the flesh. But the error
of the Galatians is ubiquitous.
Only true artist working in pop
today
The description of the recent work of a popular rap artist brought to
mind my translation and interpretation of Gal 5.24. Particularly in the
depiction of the cravings and afflictions of the flesh. The emphasized words in
the article below illustrate how a great art critic evaluates a great artist in
the depiction of the "old man" (Eph 4.22) suffering from "sin in
the flesh" (Rom 7.23-24). Even though neither artist nor critic might
characterize this in biblical terms. The creature made in the image of the
Creator knows the truth of God's power and intolerance of sin (Rom 1.18-20).
The creature cannot avoid confessing much of this truth in its present suffering
(Rom 8.22).
Eminem's art beats Gaga's pop
Forget Lady Gaga. Eminem is the only true
artist working in pop today, says Camille Paglia, America’s foremost cultural
critic [/] Camille Paglia Published: 16 February 2014
[Picture caption.] Eminem channels Auguste
Rodin’s The Thinker (Maciek Kobielski)
Lady Gaga never saw it coming. After a
relentless, mammoth, publicity extravaganza for her new album, ArtPop, she was
upstaged by a comet seeming to swoop in out of nowhere — the release of
Eminem’s The Marshall Mathers LP 2. Eminem’s sales boomed big, while Gaga’s
embarrassingly fizzled, leading to quick deep discounts to keep ArtPop on the charts.
Eminem, now 41, did few interviews and personal
appearances for this formidable double album. As with Adele sweeping the
Grammys two years ago, his instant
commercial triumph demonstrates the readiness of a discerning world public to
respond to power and passion of voice rather than to manipulative gimmicks
or exhibitionistic stunts.
The greatest irony is that Gaga, product of an
affluent Manhattan home and a private-school education, had boasted that ArtPop
would be the album of the millennium in fusing popular culture with art. She
hired Jeff Koons to design the cover, which features a vacuous Koons sculpture
of a spread-legged Gaga, backed by a crassly ripped strip of Botticelli’s Birth
of Venus. During a London TV interview, Gaga betrayed her limited art knowledge
by bizarrely identifying that great Renaissance painting as the Venus de Milo,
a notoriously armless late-Greek marble.
Gaga with her constant costume tat fatigues the
eye, says Camille Paglia (Target Presse)
But it turned out to be Eminem, a high-school dropout from a squalid trailer-trash past, who
has produced the true work of art. I have been arguing for years that the
avant-garde is dead, that it ended the moment my hero Andy Warhol cheekily
embraced commercial popular culture. But Eminem, with his churning nightmare
visions and brutally raw hatreds, has proved that authentic avant-garde shocks
are still possible. After a first listen, I wrote to a friend, “This album slaughters all p.c. taboos.”
I used to regard white rap - Vanilla Ice, the
Beastie Boys - as little more than posturing, crotch-grabbing minstrelsy. Hence
my shock and awe when I heard a tremendous song bursting from my car radio last
year: it was The Monster, Eminem’s duet with Rihanna, his seething machine-gun delivery alternating with her robust, pensive
contralto. It was like a conversion experience — Saul struck by lightning on
the road to Damascus. . . .
His new album, with all its tormented veering between craving and disgust dramatically
demonstrates how much deeper Eminem’s view of women is than that of his rap
precursors and peers, who are stuck in tedious formulas of male sexual
prowess and booty-wagging female compliance.
[Picture caption] Note to Lady Gaga. Left is
the Venus de Milo, a sculpture by Alexandros of Antioch (c100BC). Not to be
confused with Botticelli’s The Birth of Venus (a 15th-century painting) (Sipa
Press; Franco Origlia)
With
amazing candor and clarity, Eminem has shown the full spectrum of male emotions
on his albums, from a cooing tenderness toward children to ranting arias of
betrayal and revenge. We see in him the agonizing ambivalence that is one of
the principal engines of obsessive art-making from Michelangelo to Picasso...
Gaga with her constant costume tat fatigues the
eye. Eminem in his simple hoodie looks
like an ascetic monk, fed on apparitions and devoted to art.
To read the full article, go to The [UK] Sunday
Times Magazine [Free trial, I think.]
[My Evernote suggested reference:] Camille
Paglia: How Capitalism Can Save Art - WSJ.com [My emphasis.]
I2C 140218a aa Gal 5v24 New popart king / I2C / 140218 1026 / Gal 5:24 New popart king / Only true artist working in pop today
