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“Lord, there are no streams but thine,
Can assuage a thirst like mine!
’Tis a thirst thyself didst give,
Let me therefore drink and live.”
John Newton, Olney Hymns, Book 3 (Hymn 94).
“One view of Jesus as he is,
Will strike all sin for ever dead.”
William Cowper, “Hatred of Sin,” Olney Hymns, Book 3 (Hymn 64).
“Grits, apparently, taste like whatever you put on them. . . To the uninitiated Yankee, therefore, the question arises as to why Southerners think grits taste good. In striking contrast to this Southern delicacy stands salt. While not strictly a food, salt nonetheless has a character that is the complete opposite of grits. Whereas grits takes on the flavor of anything that is added to it, salt imparts its own distinct taste to the food to which it is added.”
Jason Stellman, Dual Citizens: Worship and Life Between the Already and the Not Yet (Lake Mary: Reformation Trust, 2009), 17-18.
“The filmmaking process is slow and expensive, so movies are always the last idiom to respond to social evolution; the finest films from the seventies were really just the manifestation of how art and life had changed in the sixties.”
Chuck Klosterman, Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto (New York: Scribner, 2004), 163.
“For the past twenty-five years, culture has been obsessed with making males and females more alike, and that’s fine. Maybe it’s even enlightened. But what I’ve noticed — at least among young people — is that this convergence has mostly just prompted females to adopt the worst qualities of men. It’s like girls are trying to attain equality by becoming equally shallow and selfish.”
Chuck Klosterman, Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto (New York: Scribner, 2004), 178.
“The significance of lyrics in pop music is not overrated; in fact, it’s probably underrated. And this is what people overlook about modern country music. They fail to see that it’s a word-based idiom, and words are far more effective than pianos or guitars.”
Chuck Klosterman, Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto (New York: Scribner, 2004), 183.
“Nothing is more familiar or characteristic among Christians than assertion. Take away assertions, and you take away Christianity. Why, the Holy Spirit is given to Christians from heaven in order that He may glorify Christ and in them confess Him even unto death — and is this not assertion, to die for what you confess and assert?”
Martin Luther, The Bondage of the Will, in John Dillenberger, ed., Martin Luther: Selections From His Writings (New York: Anchor, 1962), 168.
“In life, high school actually never ends, even though they hand you a paper and tell you farewell. The prom kings and prom queens continue to snipe at each other for the duration of existence.”
Chuck Culpepper, Bloody Confused (New York: Broadway, 2007), 173.
“Of course, the problem with caring is that it leaves the door wide open for nervousness, . . .”
Chuck Culpepper, Bloody Confused (New York: Broadway, 2007), 95.
“But a ditty at maybe the seventy-first minute latched itself onto my memory, not to unfasten anytime soon — odd given I couldn’t understand the lyrics. Suddenly, before my ears, the Holte End [of Villa Park, Aston, Birmingham] crooned a phenomenal version of the Monkees’ 1967 hit ‘Daydream Believer,’ one of the few songs I’d actually liked from the ballyhooed 1960s that preceded my adolescence. I asked my host for the lyrics that we’d just heard but that the Monkees had never imagined. Maybe two or three times, he repeated to me the phrase ’sad bluenose bastard,’ but I just couldn’t understand him, and so, with his hand shaking a bit — he was a nervous viewer who doubled over and smoked during matches — he carefully spelled it out:
Cheer up, Stevie B [Steve Bruce, manager of Birmingham City FC],
Oh, what can it mean
To a sad bluenose bastard
And a s*** football team.“
Chuck Culpepper, Bloody Confused (New York: Broadway, 2007), 52.
