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IrREVerence, Winter 2000

By Rev. James Conn

After we interviewed Reverend James Conn for our November issue, we were so inspired by him and his ideas that we asked him to write a regular column for us! So, here it is, the first of a series of articles by our own irREVerent reverend, James Conn.

What is something you love to do so much that you get lost in it for hours without getting bored? I don't mean sex, and I'm not talking about being stoned. I mean, what do you do that takes your full attention, that you can spend hours involved with, completely losing the sense of time, without ever running out of interest?

Your answer to that question may tell you a lot about what your gifts are--what you do well that makes you a strong, valuable, and unique human being. Gifts or strengths are your capacities, skills, abilities, and possibilities. A gift is a natural endowment that comes out of a deep interest and enthusiasm inside of you. It's your unique attribute.

Often we get into a rut of self-doubt. We think we can't do anything and there is nothing special about us. We run ourselves down. We think we have no skills or abilities. We think we are worthless. We feel only shame, some deep sense that we are totally inadequate as human beings. We forget that we have some strong gifts that are ours alone.

Sometimes we get together with our friends who think they are worthless too. Instead of affirming each other, we make each other feel equally useless. We build a strong bond with worthlessness, and we confirm it with our friends.

Sometimes we get together with friends to forget we feel so bad. But they feel bad too, and we spiral downwards together.

Sometimes we feel better by making someone else feel wrong or bad or stupid. Sometimes we make others into enemies in order to make ourselves feel ok.

But I believe that every human being has a gift. Sometimes they are gifts like everyone else has: energy, spirit, enthusiasm, curiosity, or powerful emotions. Sometimes they are uniquely ours: our skills with the internet, our ability to make a motor run, our hands on a drum, the bug collection we keep in the closet when our friends come over, our touch in the kitchen, our way of putting words together.

Some of us see other people with amazing clarity. Some of us can describe situations with insight. Some of us write poems on tiny scraps of paper spread all over. Some of us keep them in elaborate order. Some of us clip photos. Some of us make collages from them. These are all our unique gifts.

A few years ago my son and two of his friends decided to pack up everything they own and move it to New York City. They had to rent a truck. They had to pick up furniture and sound systems and boxes and books and vinyl from three different places. And they had a deadline to meet. Then all the usual things occurred. One guy wasn't ready. One guy overslept--at his girl friend's house. So my son organized the first guy's stuff. Found the second one and got him up and going so they could make their deadline on the other end. Out of that experience my son learned he was organized and could organize and mobilize other people. Those are gifts.

Along about half-way across the country, the guys were tired and irritable. One of them spotted a state park on the map, not too far off the Interstate. He guided them there, where they found a lake and went skinny dipping, letting all the stress slide off into the water. That was another gift--finding a place to play!

Gifts come in all sizes and shapes. Here are some other ways to figure out what your gifts might be:

• What two talents or skills do you have that make you a valuable family member or friend?

• What two skills make you especially good at your work--whether it's paid or volunteer?

• What talent do you have that not many people know about?

• What are your favorite hobbies?

• What is it in school that really catches/caught your imagination?

If you are still stuck, try thinking about it this way: gifts can be gifts of the head--how we think, analyze, process, solve problems or know how to teach. My gift is seeing opportunities and figuring out how to use them. Or gifts can also be gifts of the hand--how we do things, our skills and abilities. I can't play a musical instrument, but those same numb fingers can pound out words on a keyboard. And there are gifts of the heart--how we feel, remember, hope, and dream. People often tell me that I listen well. They feel heard when they talk to me. Those are some ways I have found helpful in thinking about my own gifts. These ways of thinking help me value myself and focus on things I really do well.

When we do not have a clear picture of our gifts and strengths as individuals, we can easily let others carry our confusion and our dislike of ourselves. I believe that much of the hatred and anger and rage we feel about other people is really our own bad feelings about ourselves. What we dislike about ourselves we put onto others.

It's especially easy to rage about people who we think are different from ourselves in some fundamental way. We identify them for their age or their sexuality or their life style or their skin color or their culture or their religion, or because they don't like the kind of music we like. These people we lump together become easy targets. And it's easier to target someone else than examine our own sense of inadequacy and shame. We let them stand in for what we hate about ourselves, or what we fear that we are.

When we know our gifts, we don't need to make others feel inadequate. We do not need to diminish or belittle them. Even your parents who don't talk to you anymore. Or the woman who stole your boyfriend. Or the man who seems scary and intimidating. We can look for their gifts, too. We can look for strengths and abilities that complement our own. We can identify someone else's gift in a way that connects us and builds relationships.

So these questions can help us identify what makes us worthwhile as unique and special people. They are questions that you could ask your friends. How do they see their gifts? And how do they see yours? The answers can help create a sense of identity for ourselves that helps make us feel valuable.

And I believe that everyone is valuable.

Bookalicous, Winter 1999


Rave America: New School Dancescapes
By Mireille Silcott
The origin and history of "rave culture" as it sprouted in the UK during the late 1980s has been covered in detail by numerous books, most notably Matthew Collin and John Godfrey's excellent Altered State, but what happened when the culture found its way across the Atlantic to North America? Mireille Silcott explores this question in Rave America. After a quick chapter recounting the emergence of house music in New York City and Chicago clubs, the birth of raving in the UK, and the first Storm Raves in New York in the early 1990s, Silcott goes on to explore in depth the introduction and evolution of raving in four areas of North America. Focusing on San Francisco, Toronto, the Midwest, and Orlando, as well as a chapter on the gay circuit parties (similar to raves in many respects), Rave America is an interesting and sometimes disturbing look at how raving took root on this side of the ocean and was shaped into different forms across the continent. Through extensive first hand accounts and insightful commentary, Silcott takes us through the familiar "honeymoon period" in each community as raving takes root, flourishes, and later begins to experience growing pains. Though the lack of a chapter on LA seems a glaring omission, the book does an excellent job of exploring the forces that have shaped the North American rave community today, and how varied it has become from place to place. The chapter on Orlando in particular sheds some interesting light on the past that helped to create Florida's recent Operation Heat Rave. Though no book of this type can ever be complete, Rave America delivers an informative and well-balanced account of the history of the North American part of our culture and is sure to fascinate those who wonder where this all began. -David Center

Poptics
Inspired by Bungalow
Is it a book? Yes. Is it a CD? Yes. Is it a web page? Yes. Is it an art project that combines the work of musicians, graphic designers using CD-ROM, print and Internet as its media? Well…Yes! Poptics comes with a CD and a 70-page book, which includes info on the artists and a two-page graphic design spread created by either by the composers or a designer with whom they are affiliated. The focus is on the pop culture in which we all live, and each piece of design and song is created with that in mind. Each song, at only two minutes (or less), manages to expand on mere popular culture, succeeding as undeniable uber-pop. The web site (www.poptics.de) enables web miners and novices alike an opportunity to admire artwork both from eboy (www.eboy.com), the designer of the web-site, and from the designers featured in Poptics. Some of the pieces that you see in the book are even Flash movies on the site. The book will make a fine coffee table piece that won’t take up too much room since it is the same dimensions as a CD case, while the CD offers tunes catchy enough to turn a series of ringing doorbells into popish kitsch. The idea is marvelously imagined and absurd enough to make an interesting conversation piece at the very least. Respect is due for the fact that the entire project knows how silly it is and for sheer inventiveness. This is a wacky ride that could un-stuff many a shirt! -eli Huntington

Once in a Lifetime
Jane Bussmann
"Bullocks…You’re going out Monday, Tuesday, Wednesday, Thursday, Friday you’d have to go out; Saturday was a definite. Sunday you might chill until something happened Sunday night, but you’d have to go out Monday night to tell everyone what you’d been through.” Who says this acid house thang doesn’t become a lifestyle? Once in a Lifetime, a rave-you-mentalricious book by Jane Bussmann, brings us all back to the glory (and the not so glorious) days of acid house in England and Ireland. Organized chronologically, Once in a Lifetime directly links us to the consciousness of the acid house scene. Most of the story is told by the promoters, DJs, ravers, anti-ravers, “acid-teds,” and the odd coppers who were there dancing, spinning, whirling, hugging, waving, stomping, Eing, tripping balls, quaffing (pints, of course), and vomiting (there seems to be an awful lot of this) at some of the first “raves.” The recollections are often quite frank, painting a dark depiction of those crazy days.
Certainly, this story is filled with enthusiasm and nostalgia as well. We are reminded of the ubiquity of the “rave” experience: "We had no idea what it would be like. David went up to DJ as normal. Then half an hour later it hit us–this wave of pure MDMA. I was whooping, running up to people and saying 'Let me feel your face! Wooo! It feels like velvet!'” If this all sounds too familiar then read on, at some point you will probably say to yourself “If I think I’m bad, take a look at these guys!”
Undoubtedly, we all can relate to many aspects of the acid house scene as depicted in Once in a Lifetime, however, what I find most interesting about this book is the music, traditions, and viewpoints that are quite apart from anything that transpired in the US scene. -TC, Raverbooks.

If you have trouble finding these books at your local independent bookseller, ask our friends at Raverbooks for help.