Saturday, March 07, 2009

The Coming War on Sovereignty, by John Bolton

Barack Obama’s nascent presidency has brought forth the customary flood of policy proposals from the great and good, all hoping to influence his administration. One noteworthy offering is a short report with a distinguished provenance entitled A Plan for Action,1 which features a revealingly immodest subtitle: A New Era of International Cooperation for a Changed World: 2009, 2010, and Beyond.

In presentation and tone, A Plan for Action is determinedly uncontroversial; indeed, it looks and reads more like a corporate brochure than a foreign-policy paper. The text is the work of three academics—Bruce Jones of NYU, Carlos Pascual of the Brookings Institution, and Stephen John Stedman of Stanford. Its findings and recommendations, they claim, rose from a series of meetings with foreign-policy eminences here and abroad, including former Secretaries of State of both parties as well as defense officials from the Clinton and first Bush administrations. The participation of these notables is what gives A Plan for Action its bona fides, though one should doubt how much the document actually reflects their ideas. There is no question, however, that the ideas advanced in A Plan for Action have become mainstays in the liberal vision of the future of American foreign policy.

That is what makes A Plan for Action especially interesting, and especially worrisome. If it is what it appears to be—a blueprint for the Obama administration’s effort to construct a foreign policy different from George W. Bush’s—then the nation’s governing elite is in the process of taking a sharp, indeed radical, turn away from the principles and practices of representative self-government that have been at the core of the American experiment since the nation’s founding. The pivot point is a shifting understanding of American sovereignty.

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While the term “sovereignty” has acquired many, often inconsistent, definitions, Americans have historically understood it to mean our collective right to govern ourselves within our Constitutional framework. Today’s liberal elite, by contrast, sees sovereignty as something much more abstract and less tangible, and thus a prize of less value to individual citizens than it once might have been. They argue that the model accepted by European countries in the Peace of Westphalia in 1648, which assigned to individual nation-states the right and responsibility to manage their own affairs within their own borders, is in the process of being superseded by new structures more appropriate to the 21st century.

In this regard, they usually cite the European Union (EU) as the new model, with its 27 member nations falling under the aegis of a centralized financial system administered in Brussels. On issue after issue, from climate change to trade, American liberals increasingly look to Europe’s example of transnational consensus as the proper model for the United States. That is particularly true when it comes to national security, as John Kerry revealed when, during his presidential bid in 2004, he said that American policy had to pass a “global test” in order to secure its legitimacy.

This is not a view with which the broader American population has shown much comfort. Traditionally, Americans have resisted the notion that their government’s actions had to pass muster with other governments, often with widely differing values and interests. It is the foreign-policy establishment’s unease with this long-held American conviction that is the motivating factor behind A Plan for Action, which represents a bold attempt to argue that any such set of beliefs has simply been overtaken by events.

To this end, the authors provide a brief for what they call “responsible sovereignty.” They define it as “the notion that sovereignty entails obligations and duties toward other states as well as to one’s own citizens,” and they believe that its application can form the basis for a “cooperative international order.” At first glance, the phrase “responsible sovereignty” may seem unremarkable, given the paucity of advocates for “irresponsible sovereignty.” But despite the Plan’s mainstream provenance, the conception is a dramatic overhaul of sovereignty itself.

“Global leaders,” the Plan insists, “increasingly recognize that alone they are unable to protect their interests and their citizens—national security has become interdependent with global security.” The United States must therefore commit to “a rule-based international system that rejects unilateralism and looks beyond military might,” or else “resign [our]selves to an ad-hoc international system.” Mere “traditional sovereignty” is insufficient in the new era we have entered, an era in which we must contend with “the realities of a now transnational world.” This “rule-based international system” will create the conditions for “global governance.”

The Plan suggests that the transition to this new system must begin immediately because of the terrible damage done by the Bush administration. In the Plan’s narrative, Bush disdained diplomacy, uniformly preferring the use of force, regime change, preemptive attacks, and general swagger in its conduct of foreign affairs. The Plan, by contrast, “rejects unilateralism and looks beyond military might.” Its implementation will lead to the successful resolution of dispute after dispute and usher in a new and unprecedented period of worldwide comity.

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As the Obama years begin, we certainly do need a lively debate on the utility of diplomacy, but it would be better if that debate were not conducted on the false premise offered by A Plan for Action. In reality, in the overwhelming majority of cases, foreign-policy thinkers on both sides of the ideological divide believe diplomacy is the solution to the difficulties that arise in the international system. That is how the Bush administration conducted itself as well.

The difference arises in the consideration of a tiny number of cases—cases that prove entirely resistant to diplomatic efforts, in which divergent national interests prove implacably resistant to reconciliation. If diplomacy does not and cannot work, the continued application of it to a problematic situation is akin to subjecting a cancer patient to a regimen of chemotherapy that shows no results whatever. The result may look like treatment, but it is, in fact, only making the patient sicker and offering no possibility of improvement.

Diplomacy is like all other human activity. It has costs and it has benefits. Whether to engage in diplomacy on a given matter requires a judicious assessment of both costs and benefits. This is an exercise about which reasonable people can disagree. If diplomacy is to work, it must be preceded by an effort to determine its parameters—when it might be best to begin, how to achieve one’s aims, and what the purpose of the process might be. At the cold war’s outset, for example, Harry Truman’s Secretary of State, Dean Acheson, frequently observed that he was prepared to negotiate with the Soviets only when America could do so from a position of strength.

Time is one of the most important variables in a diplomatic dance, because it often imposes a cost on one side and a benefit to its adversary. Nations can use the time granted by a diplomatic process to obscure their objectives, build alliances, prepare operationally for war, and, especially today, accelerate their efforts to build weapons of mass destruction and the ballistic missiles that might carry them. There are concrete economic factors that must be considered as well in the act of seeking to engage an adversary in the diplomatic realm—the act of providing humanitarian assistance as an act of good will, for example, the suspension of economic sanctions, or even resuming normal trade relations during negotiations.

Obviously, the United States and, indeed, all rational nations are entirely comfortable paying substantial costs when they appear to be wise investments that will lead to the achievement of a larger objective. Alas, such happy conclusions are far from inevitable, and failing to understand the truth of this uncomfortable and inarguable reality has led nations to prolong negotiations long after the last glimmer of progress has been snuffed out. For too many diplomats, there is no off switch for diplomacy, no moment at which the only sensible thing to do is rise from the table and go home.

Has one ever heard of a diplomat working to fashion an “exit strategy” from a failed negotiation? One hasn’t. One should.

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Diplomacy is a tool, not a policy. It is a technique, not an end in itself. Urging, however earnestly, that we “engage” with our enemies tells us nothing about what happens after concluding the initial pleasantries at the negotiating table. Just opening the conversation is often significant, especially for those who are legitimized merely by being present. But without more, the meaning and potency of the photo op will quickly fade.

That is why effective diplomacy must be one aspect of a larger strategic spectrum that includes ugly and public confrontations. Without the threat of painful sanctions, harsh condemnations, and even the use of force, diplomacy risks becoming a sucker’s game, in which one side will sit forever in naïve hope of reaching a settlement while the other side acts at will.

Diplomacy is an end in itself in A Plan for Action. So, too, is multilateralism. The multilateralism the Plan celebrates and advocates is, of course, set in sharp contrast to the portrait it draws of a Bush administration flush with unilateralist cowboys intent on overturning existing international treaties and institutions just for the sport of it. Defining unilateralism is straightforward: the word refers to a state acting on its own in international affairs.2 It is a critical conceptual mistake, however, to pose “multilateralism” simply as its opposite.

Consider, for example, the various roles of the United Nations, the North American Treaty Organization, and the Proliferation Security Initiative. The UN, the Holy Grail of multilateralism, is an organization of 192 members with responsibility for the maintenance of international peace and security lodged in its Security Council. NATO is a defense alliance of 26 states, all of which are Western democracies. The Proliferation Security Initiative (PSI), created in 2003 by the Bush administration, now includes 90-plus diverse countries dedicated to stopping international trafficking in weapons of mass destruction.

Each organization is clearly “multilateral,” but their roles are so wildly different that the word ceases to have any meaning. For example, if the United States confronted a serious threat, it would be acting multilaterally if it took the matter either to NATO or the UN. Both options would be “multilateral,” but widely divergent in diplomatic and political content, and quite likely in military significance as well. They would be comparable related in the same way a steak knife is comparable to a plastic butter knife.

The PSI offers an even starker contrast, for unlike either the UN or NATO, it has no secretary general, no Secretariat, no headquarters, and no regularly scheduled meetings. One British diplomat described the initiative as “an activity, not an organization.” In fact, the model of the Proliferation Security Initiative is the ideal one for multilateral activity in the future, precisely because it transcends the traditional structures of international organizations, which have, time and again, proved inefficient and ineffective.

“Multilateralism” is, in other words, merely a word that describes international action taken by a group of nations acting in concert. For the authors of A Plan for Action, however, multilateralism has an almost spiritual aspect, representing a harmony that transcends barriers and oceans.

Harmony is designed to stifle any discordant notes, and so is the multilateralism envisioned by an American foreign policy guided by “responsible sovereignty.” It is one in which the group of nations, of which the United States is but a single player among many, initiates policies and activities that would likely be designed to constrain the freedom of action of the United States in pursuit of that harmony—not only in its activities abroad, but also in its activities within the 50 states.

There is a precedent for this in the conduct of the European Union, whose 27 nations now possess a common currency in the form of the euro and an immensely complex series of trade and labor policies intended to cut across sovereign lines. The EU is the model A Plan for Action proffers for the “responsible sovereignty” regime its authors wish to import to the United States. EU bureaucrats based in Brussels have been reshaping the priorities and needs of EU member states for a decade now, and proposing a system based on the design of the EU suggests a desire to subject the United States to a kind of international oversight not only when it comes to foreign policy but also on matters properly understood as U.S. domestic policy.

That very approach has been on display at the United Nations for years in an effort to standardize international conduct that has come to be known as “norming.” In theory, there is good reason to create international standards—for measurement, for example, or for conduct on the high seas. But “norming” goes far beyond such prosaic concerns. The UN has, for example, repeatedly voted in different committees to condemn the death penalty, in a clear effort to put pressure on the United States to follow suit. Similar votes have been taken on abortion rights and restricting the private ownership of firearms.

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Such issues have been, and likely will again be, the subjects of intense democratic debate within the United States, and properly so. There is no need to internationalize them to make the debate more fruitful. What is common to these and many other issues is that the losers in our domestic debate are often the proponents of internationalizing the controversies. They think that if they can change the political actors, they can change the political outcome. Unsuccessful in our domestic political arena, they seek to redefine the arena in which these matters will be adjudicated—moving, in effect, from unilateral, democratic U.S. decision-making to a multilateral, bureaucratic, and elitist environment. For almost any domestic issue one can imagine, there are likely to be nongovernmental organizations roaming the international arena desperately trying to turn their priorities into “norming” issues.

This is what “responsible sovereignty” would look like. For the authors and signatories of A Plan of Action, sovereignty is simply an abstraction, a historical concept about as important today as the “sovereigns” from whose absolute rights the term originally derived. That is not the understanding of the U.S. Constitution, which locates the basis of its legitimacy in “we the people,” who constitute the sovereign authority of the nation.

“Sharing” sovereignty with someone or something else is thus not abstract for Americans. Doing so by definition will diminish the sovereign power of the American people over their government and their own lives, the very purpose for which the Constitution was written. This is something Americans have been reluctant to do. Now their reluctance may have to take the form of more concerted action against “responsible sovereignty” if its onward march is to be halted or reversed. Our Founders would clearly understand the need.



The Coming War on Sovereignty

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Footnotes

1 The report can be downloaded free of charge at http://www.brookings.edu/reports/2008/11_action_plan_mgi.aspx.

2 An important subtext is the continuing confusion between unilateralism and isolationism, confusion especially evident in Europe in the late 1990’s. Even before the Bush administration, I tried to explain the distinction in “Unilateralism Is Not Isolationism” in Gwyn Prins, ed., Understanding Unilateralism in American Foreign Relations, Chatham House, 2000. More recently, Mackubin Thomas Owens makes a similar point in “The Bush Doctrine: The Foreign Policy of Republican Empire,” Orbis, Winter, 2009.


About the Author

John Bolton, a senior fellow at the American Enterprise Institute, served as the United States Permanent Representative to the United Nations (2005-2006) and as Under Secretary of State for Arms Control and International Security (2001-2005). He is the author of Surrender Is Not an Option.

Stimulus: A History of Folly

Before he was sworn in as President, Barack Obama began to lay out his plans for reviving an American economy that, it would later be discovered, had declined 3.8 percent in the fourth quarter of 2008, its worst performance in 26 years. About the first part of his project, “stimulating” businesses to invest and consumers to consume through government spending and tax remittances, he was forthcoming and enthusiastic. About the second, stabilizing the financial system, he wished to reserve judgment.

He anointed the stimulus proposal with a convenient and vivid metaphor. “We’re going to have to jump start this economy with my economic recovery plan,” he said on January 3. According to the image, one can jolt a dormant economy into action just as one can hook up polarized cables to a car battery, clamp a defibrillator to the chest, or breathe into the ear of a reluctant lover. Suddenly, the object of our attention will be back in action, aroused.

Alas, the questions raised by a proposed stimulus—whether to apply it, what sort it should be, how much it should cost, and when it should begin and end—are far trickier to answer than problems involving dead batteries. And, remarkably enough, history and economic research offer no conclusive answers. The recession that began in 2008 could turn out to be the worst slowdown since the Great Depression of the 1930’s. For three-quarters of a century, economists have been studying it diligently. And even now they cannot come to a definitive conclusion about the cause of that depression, the reasons for its severity and duration, or what cured it. In an introduction to a book of essays on the Great Depression he compiled in 2000, Ben S. Bernanke, then a Princeton professor and now chairman of the Federal Reserve Board, wrote, “Finding an explanation for the worldwide economic collapse of the 1930’s remains a fascinating intellectual challenge.”

Today, of course, the challenge is more than intellectual.

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When he wrote in 1936 that “practical men, who believe themselves to be quite exempt from any intellectual influences, are usually the slaves of some defunct economist,” John Maynard Keynes surely did not have himself in mind. But, in times of trouble, Americans still cling to Keynes, or at least to the caricature of him as the economist who said you could spend your way out of a recession. His big idea was that, left to its own devices, an economy can fall into a slump and just stay there. Self-corrective mechanisms will not necessarily work on their own; they will need help.

Prosperity depends on investment, on businesses building new plants, buying new machines, and employing more workers. In a typical case, when an economy slows, businesses reduce their demand for credit. At the same time, worried consumers save their earnings in banks, and by doing so, add to the store of money available for lending. These two forces—as well as actions taken by the Federal Reserve Board—combine to push interest rates to levels so attractive that businesses start borrowing again, and the economy picks up. The Great Depression, however, was atypical. The economy slowed and interest rates fell, but businesses were so frightened about the future that they refused to invest; instead, they did the opposite, shutting plants and firing workers. As for consumers, while they may have wanted to save, they lacked the cash to put away. Because they were out of work, they depleted what savings they had.

Keynes argued that when businesses and people cannot or will not invest, then the government must take on the role of filling the gap. The key is speed. The means, Keynes wrote in The General Theory of Employment, Interest and Money, really did not matter so much:

If the Treasury were to fill old bottles with bank notes, bury them at suitable depths in disused coal mines which are then filled to the surface with town rubbish and leave it to private enterprise on well-tried principles of laissez-faire to dig the notes up again, . . . there need be no more unemployment and with the help of the repercussions, the real income of the community would probably become a good deal larger than it is.

Of course, Keynes favored large public-works projects over the burying of bottles. Building roads in the right places, for example, would both put people to work and provide the basis for more commerce. At first, Keynes emphasized government spending as stimulus, but when pressed in 1933, he advocated tax cuts as well—specifically in response to criticism that public-works projects do not put cash into the system quickly enough.

The dire situation for which Keynes prescribed a cure bears distressing similarities to our own. Interest rates set by the Fed stand effectively at zero percent, but banks are recalcitrant about lending and even businesses flush with cash are hesitant to invest. It appears that the current sickness occurred because the Fed, in an effort to keep the economy stimulated after the collapse of the tech-stock bubble and in the wake of September 11, cut interest rates far too much during 2001 (from 6.5 percent at the start of the year to 1.75 percent at the end) and waited too long to raise them, making credit so easy that businesses expanded beyond all reasonable bounds, and banks, flush with cash and trying to make higher returns, shoveled money at borrowers with poor credit; risk aversion disappeared, and loans, especially to home buyers, went bad. Booms do, after all, create their own busts.

In response, Congress last year voted funds for the Treasury to use to shore up financial institutions—the widely maligned Troubled Asset Relief Program, or TARP—and the Fed opened wide its lending window. Those actions forestalled mass failures, but banks, chastened by their past overindulgence and worried about depleting their capital, still do not want to lend. So while government action proved necessary (and remains necessary) to maintain public confidence in the banking system, it became clear those actions could not and would not mitigate the parlous effects of the recession that, we were told late in 2008, had begun at the end of 2007. So the question becomes: In a world in which monetary adjustments do not appear effective, can tax and spending policies pull us out of the slump?

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The track record is discouraging. Despite Franklin Roosevelt’s aggressive spending, unemployment reached 25 percent in 1933, fell only to 14 percent by 1937, and was back up to 19 percent in 1939.1 In the end, the New Deal did little or nothing to resuscitate the economy. Certainly, inept monetary policies helped prolong the Great Depression, as did tax increases, constant interventions in the conduct of business, and the erection of global trade barriers, beginning with the Smoot-Hawley Tariff in 1930, more than two years before Roosevelt took office. There was a stretch of twelve years from the stock-market crash to Pearl Harbor, and, during that time, fiscal stimulus simply did not jump-start the economy (or, in Keynes’s own metaphor, “awaken Sleeping Beauty”). Now, some do attempt to make the case that Roosevelt did not increase government spending enough during the early and mid-1930’s and that it took World War II and the unprecedented infusion of government dollars into the economy to provide the stimulus that finally pulled America from the swamp.

But even if that were true—and considering the fact that federal spending tripled during the Great Depression, rising from 3 percent of the country’s gross domestic product to nearly 10 percent in 1939,2 it does not seem the likeliest explanation—it still does not offer much in the way of guidance through our current thicket. Few economists today believe the United States could tolerate the kind of budget deficits that developed during World War II, which ran more than 50 percent of gross domestic product, or about $7 trillion annually in current terms. When the federal government ramped up its spending during the war, it had not yet grown into the entitlement cash machine it is now, spitting out trillions of dollars a year in retirement and health-care benefits.

Not only was the stimulative effect of Great Depression fiscal policy non-existent, but follow-on efforts during the ten subsequent recessions proved equally ineffective. As a result of that hard-won experience, the consensus until recently among economists was that attempts at stimulus through emergency fiscal policies—as opposed to monetary policies and the automatic effects of increases in unemployment assistance and decreases in tax payments—were useless at best. Typical was the statement of Martin Eichenbaum of Northwestern University in the American Economic Review in 1997: “There is now widespread agreement that countercyclical discretionary fiscal policy is neither desirable nor politically feasible.” Martin Feldstein, then president of the National Bureau of Economic Research, agreed. Fiscal stimulus, he said in 2002, “has not contributed to economic stability and may have actually been destabilizing.”

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A good place to turn to understand the failure of the jump-start is the work of Frederic Bastiat, a French politician of the early 19th century. “In the economic sphere,” he wrote,

an act, a habit, an institution, a law produces not only one effect, but a series of effects. Of these effects, the first alone is immediate; it appears simultaneously with its cause; it is seen. The other effects emerge only subsequently; they are not seen; we are fortunate if we foresee them.

To prove his point, Bastiat described what happens when a vandal breaks a shopkeeper’s window. The seen effect is that repairing the glass creates economic value in the payment to the glazier, who then has money to buy a new suit or hire a part-time employee. What is unseen is that the shopkeeper has to pay the glazier with money that he would otherwise have used to buy a suit or add an employee. “The broken-window fallacy, under a hundred disguises, is the most persistent in the history of economics,” wrote the economic journalist Henry Hazlitt in 1946.

Like payments for broken windows, tax rebates and new roads (the seen) do not come free. The stimulus money that flows to taxpayers, government agencies, and businesses has to come from somewhere (the unseen). During a recession, it is usually borrowed, and the anticipation of taxpayers is that they will have to repay these loans, which means their taxes will rise in the future. This knowledge makes people anxious about spending the extra money, or even about investing it in the kind of ventures that help an economy grow.3

Lately, however, economists have become more sanguine about the power of fiscal stimulus, in large part because of the apparent success of the tax-rate reductions and rebates in 2001 and 2003 (although such a conclusion may ignore the monetary effects of the huge cut in interest rates). A summary of a conference held in May by the Federal Reserve Bank of San Francisco stated that “the consensus” against stimulus “has unraveled and perhaps even begun to emerge on the opposite viewpoint.” Last year, Jason Furman and Douglas Elmendorf of the Brookings Institution wrote, “Fiscal policy implemented promptly can provide a larger near-term impetus to economic policy than monetary policy can.” And, in a paper delivered to the American Economic Association in January, Feldstein himself switched sides and said he now favored tax cuts and government spending.

The views of these economists are undoubtedly heartfelt, but it must be recognized that one of the great attractions of Keynes’s theories is that he gives you permission to do what you wanted to do anyway. Feldstein, chairman of the Council of Economic Advisers under Ronald Reagan, proposes a stimulus policy that extends the Bush tax cuts currently scheduled to expire in 2011 and increases spending on defense and national intelligence. In their stimulus proposal, Furman, now deputy director of Obama’s National Economic Council, and Elmendorf, head of the Congressional Budget Office under the current Democratic majority, adamantly oppose extending the Bush cuts and instead want to extend unemployment and Food Stamp benefits and issue short-term tax credits, even to people who owe no taxes.

Also, in the new enthusiasm for stimulus, there is not a small degree of panic; monetary policy is not working, so fiscal policy must! To his credit, however, Feldstein writes toward the end of his January paper, “It is of course possible that the planned surge in government spending will fail. Two or three years from now we could be facing a level of unemployment that is higher than today and that shows no sign of coming down.”

The truth is that we have learned almost nothing about the use of fiscal stimulus since the Great Depression, and it is a fatal conceit to assume that we can hurriedly construct a fiscal policy that will produce the prescribed results today. Economists seem to admit this fact by advocating what they prefer anyway, for political or ideological reasons. I would feel better about stimulus if Elmendorf were clamoring for permanent tax cuts and Feldstein for food stamps.

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On being presented the Nobel Prize in economics in 1974, Friedrich von Hayek devoted his Stockholm lecture to acknowledging the severe limitations of his profession. “It seems to me,” he said, “that this failure of the economists to guide policy more successfully is closely connected with their propensity to imitate as closely as possible the procedures of the brilliantly successful physical sciences—an attempt which in our field may lead to outright error.” Government simply cannot know enough to direct an economy successfully, and when the President claims that his fiscal stimulus plan will create (or save) at least 3 million jobs, he is taking a wild, and dangerous, leap. Said Hayek:

If man is not to do more harm than good in his efforts to improve the social order, he will have to learn that in this, as in all other fields where essential complexity of an organized kind prevails, he cannot acquire the full knowledge which would make mastery of the events possible. He will therefore have to use what knowledge he can achieve, not to shape the results as the craftsman shapes his handiwork, but rather to cultivate a growth by providing the appropriate environment, in the manner in which the gardener does this for his plants.

What is that environment? First, it provides a confidence that, in a crisis, bank deposits are safe and insurance policies will be paid in full. Such confidence can be provided only by the government of the United States in its legitimate and essential role as the lender of last resort. Second, the environment supports, rather than denigrates or browbeats, productive members of society. The U.S. will not emerge from a serious recession unless businesses and investors lead it out. Third, it recognizes that Americans have undergone a financial calamity and that we need time to adjust; we cannot, like a car battery, be shocked back to life, and we aren’t in the mood to have someone blow in our ear.

In fact, stimulus may be precisely the wrong metaphor. Rather than getting jazzed up, we need to be calmed down and to take the time to learn from the Great Depression, a time when government did too much, not too little. Amity Shlaes makes the argument in The Forgotten Man, her book about the Great Depression, that the constant experimenting and meddling of the New Deal froze investors and business operators in fear: “Businesses decided to wait Roosevelt out, hold on to their cash, and invest in future years.”

Despite the warnings of Keynes, the experience of the past half-century indicates that today’s low interest rates will start having a positive effect, though it still will take many months. Meanwhile, left alone, what Hayek called “spontaneous order” will find its way forward. Using a different metaphor, James Grant, in his history of credit, Money of the Mind, wrote, “The cycle of decay and renewal is as much a part of capitalism as it is of the forest floor.” But in the 1930’s, “something in the normal regenerative process was missing. There was no decisive recovery from the business-cycle bottom. People had lost their speculative courage, and the more government legislated and taxed, the more that credit sulked.”

Stimulus—that is, fiscal intervention with the express purpose of speeding up the normal regenerative process that Grant describes—is unnecessary and almost certainly harmful, a policy based on hubris and anxiety, rather than on history and good sense. Under such circumstances, the proper way to analyze discrete proposals today for spending or taxing is on their own merits, not on their supposed ability to stimulate something else. There may, in fact, be a good reason for government to spend billions of dollars today on building highways, and it has nothing to do with stimulus. It is that long-term interest rates are at historic lows and that the right highways can boost the economy in the long term. There also may be a good reason, again far apart from stimulus, for revising the tax code and reforming Social Security and Medicare. It is that Americans now understand that the economic future is not so assured as they believed a couple of years ago, and it is time for decisions to be made—in a manner careful, sensible, and unstimulated.



Stimulus: A History of Folly

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Footnotes

1 For some perspective, the unemployment rate in January 2009 was 7.2 percent. 2 The figures are from a paper by David Wheelock, published by the Federal Reserve Bank of St. Louis. 3 The notion that people make current consumption decisions based on their lifetime income, rather than their current income, was laid out brilliantly in 1957 by Milton Friedman in his “permanent income hypothesis,” which has never been seriously challenged.


About the Author

James K. Glassman is the former Under Secretary of State for Public Diplomacy and Public Affairs. He is president of the World Growth Institute, which promotes global economic development.

U2 Letterman Interview

U2's I'll Go Crazy on Letterman, Night #4



U2's I'll Go Crazy on Letterman, Night #5

Friday, March 06, 2009

Xfm Meets U2

The Edge popped in to see Ian Camfield at Xfm Towers. Thirty minutes of the guitar hero's time passed, many gems of wisdom were imparted.

The Edge visitied Xfm for a chat with Ian Camfield. Over the course of forty minutes, he revealed that some good came out of new album, 'No Line On The Horizon', being leaked, that he was wrong to dissaude Bono from cosying up to Bush and that Larry Mullen held the reigns of the band for approximately forty minutes.

You can hear the full interview right here,

When you’re at this stage and the album’s coming out, what are your thoughts on the day of release?
“Things like, ‘Did I put my Mum on the thank you list’…”
Listen To Part 1 Now

Did Daniel Lanois, Brian Eno and Steve Lillywhite get the most out of you because they know you very well?
“I think they do know us very well and they know when we hit something…”
Listen To Part 2 Now

Originally you planned on finishing the album in Summer. Was that you being confident or scared?
“It’s never nice to let people down…”
Listen To Part 3 Now

What do you want people to get from the new U2 album?
"First of all, that it is an album..."
Listen To Part 4 Now

Is Bono’s extra curricular activities easier because it takes the heat off the other three?
“That’s what he’s good at, and that’s why he’s the frontman…”
Listen To Part 5 Now

There was always the conception before that U2 was Larry’s band…
“The Larry Mullen Band existed for all of about 40 minutes..."
Listen To Part 6 Now

You’ve got bigger and better. How?
“From the very get-go it was always about being a great band..."
Listen To Part 7 Now

There is still a massive interest in what U2 do musically. How?
"We always create by finding something new…"
Listen To Part 7 Now

Depeche Mode - "Wrong"

Ask U2

U2 Talk About Fordham University Gig

On Friday (March 6), U2 rocked a crowd of college kids on the campus of New York's Fordham University — which is exactly the demographic that the iconic rockers want to expose to their new album, No Line on the Horizon.

The band tore through three songs from the album on the college's picturesque campus in the New York City borough of the Bronx.

"Every album is like our first album. And we want to do the thing we did with our first album and go out and play the colleges," Bono told MTV News on Friday after the show. "Play to the people who are living closest to the music."

Bono said that for the most part, young people can best appreciate new sounds. "They're often students," he said. "They're often not people in their 30s. Bob Dylan has this line, 'He not busy being born is busy dying' [from 'It's Alright Ma, I'm Only Bleeding']. I love that line. I often think it applies to music. People, as they get older, they stop listening to the music. We want to go to where people are still passionate for music."

"You can feel that out in Fordham today," he continued. "There's people probably watching MTV going, 'Who are those guys ... what are they doing here?' Well we're ready to make our case."

Bassist Adam Clayton said that despite being in the industry for over 30 years, playing new songs to a crowd of college kids felt right. "When we came out with our first record, Boy, we couldn't get played on commercial radio," he recalled. "And it was the colleges that kept that record alive, and we would go to every college and do interviews."

"It was very cool to have a real crowd there and to be playing the new songs," guitarist the Edge agreed. "Always, for us, you learn almost instantly what's right and what's wrong as soon as we play. That's where we grew up as a band: in front of a live audience. As you're hearing it through all of the people, you're playing to sense their reaction."

For drummer Larry Mullen Jr., those reactions make all the difference in the world for future performances. "When you play live you get to understand the nuances, the things that make a difference," he said. "When we were playing it today I felt like, 'I get this.' "

Earlier this week, the band had a street in New York named after them.

Exclusive: U2 To 'Kiss The Future' On Global Stadium Tour

U2 reveal "Kiss The Future" tour details.
March 06, 2009 09:00 AM ET
Ray Waddell, Nashville

Kiss The Future, U2's world tour in support of its new album "No Line on the Horizon," will play stadiums around the world, beginning June 30 in Barcelona, Billboard can exclusively reveal. Details of the tour will be announced March 9.

It’s a groundbreaking tour with production that includes a 360-degree audience configuration, ambitious staging and a cylindrical video screen. “We’re very excited about the idea to go on the road with this album,” the Edge says. “It’s an album that I think is going to translate so well to the live context. The songs we’ve tried in rehearsal are sounding fantastic, so that’s got everyone really fired up.”

U2 will be playing in a setting unique among all previous tours, by any artist. The tour will be global and lengthy. U2 will stay in Europe through Aug. 22, then hit American shores on Sept. 12 with a show at Soldier Field in Chicago. The band will play in North America until Oct. 28 and plans on working the globe until the fall of 2010. In addition to its production firsts, the tour is destined to become one of the highest-grossing tours ever; at $389 million, the band’s 2005-2007 Vertigo tour is second only to the Rolling Stones’ A Bigger Bang trek.

After playing arenas in North America and stadiums elsewhere on their last few tours, U2 will play stadiums everywhere this time out. “This is going to be completely different, and that’s what makes it exciting -- finding something new to bring to the touring culture,” says the Edge. “It’s hard to come up with something that’s fundamentally different, but we have, I think, on this tour. Where we’re taking our production will never have been seen before by anybody, and that’s an amazing thing to be able to say. For a band like U2 that really thrive on breaking new ground, it’s a real thrill.”

As they have for well over a decade, Live Nation global music chairman Arthur Fogel and his team will produce and promote U2 worldwide. Committing to a global stadium tour is “obviously a major undertaking on a bunch of different levels,” says Fogel. “On the last tour it basically broke down indoors in America and stadiums outside of America. Both shows were pretty different and they were both incredible, but I think the general feeling, and certainly mine, was the experience of U2 in a stadium is special and unique, and it would be great for North America to experience that the way the rest of the world did the last time around.”

Playing in a 360 configuration will increase the capacity by about 15%-20%, depending on the stadium. The configuration opens up myriad opportunities for scaling ticket prices, an important consideration for Fogel and the band. The top ticket price will be slightly higher than last time and the bottom price will be lower, with the floor seats -- the closest to the stage -- the lowest priced. In fact, playing larger capacity venues allows for more conservative pricing overall. Field level is going to be $55, and there will be 10,000 tickets a show, every show, at $30, Fogel says. The price points are $250, $90-$95, depending on the market; $55 and $30.

On-sales will begin in Europe in mid-March, and North American on-sales will start in late March/early April. U2 will also resurrect its random upgrade program first seen on the Elevation tour in 2001, where select fans purchasing GA tickets will be moved closest to the stage.

The basic layout of the tour is Europe in July and August, America in September and October with a total of 40-45 shows this year; more stadiums in America in June and July next year, then August and September in Europe. The trek then tentatively will hit South America in the fall of 2010, for potentially as many as 90-100 shows over the next two years.

This will be the first tour under U2’s 12-year multi-rights deal with Live Nation, though the band’s relationship with Fogel dates back to a show at the El Mocambo in Toronto in 1979. “Arthur and I are great friends and I’ve been very interested in the Live Nation project for years now, and we’ve been very supportive of it,” says U2 manager Paul McGuinness. “We obviously intend to go on performing for a long time to come and that’s what the deal reflects. U2 always had parallel careers as recording artists and a touring act and it was always fundamental to our way of thinking that the two should be complimentary.”

More thoughts on No LIne on the Horizon - Get on Your Beautiful Feet

The NLOTH Wordle

The web is spewing reactions to the album - faster than anyone can keep up with - lots of +ve and -ve stuff. The world is full of people who love to hate U2, and who love to love U2, with not a lot in between. Bono doesn’t help by being an arrogant idiot sometimes (bit lame to say his insults to Chris Martin were just a joke). But still, there’s so much to get your teeth into with this album, as ever.

So i’m keeping an eye on U2sermons - an ever-ready help in such circumstances. Also always interested in what Christian Scharen has to say on these things - but couldn’t help be stung a little by his charge to those who indulged in precisely what i’ve been doing as being akin to trainspotting. Well - i suppose it is a bit geeky. But then, I’ll do it anyway (and not care too much - i won’t notice the passers-by and they certainly won’t notice me). Digging around the lyrics has certainly helped me to understand what is going on - and to explain why they took many of the musical decisions they have.

But an ultra-geeky thing i’ve done is to see what happens you combine all the lyrics from the album onto one Wordle. So here it is. The outright winner is as you’d expect (for ‘love is our law’)- but it’s quite interesting to see what follows (far) behind it… (Click the image to get detail)

nloth-wordle-2

Isn’t wordle.net just a fab thing?

I Found Grace Inside the Sound: U2's No Line On The Horizon

Over the weekend Mockingbird blog received an anonymous, theological review of the new U2 record, which was just too good not to post. The record is out 3/3/09:

Good music is like a diamond; one can look at it from many different angles and see various facets of beauty. The new U2 album is like this, and I could have written a review about many other topics, such as its guitar riffs, its “moments of surrender”, or whether or not it is the “best ever” U2 album. Instead, I’m going to focus on the facet that played loudest to my ears: the repeated lyric, "let me in the sound."

If the title No Line on the Horizon refers to a yearning for the removal of the barrier between heaven and earth, then I assume it is evoked from Jesus’ prayer to his Father, “Your will be done on earth as it is in heaven.” It is an idea displayed in visual form on the album’s cover, which is a photograph of a blurred line where the ocean meets the sky, and an “equals” sign over it (…on earth as it is in heaven). The theme certainly would fit within the larger context of Bono’s theology of eschatological tension (the “already / not yet” reality of Christ’s Kingdom), so poignantly painted in the scenes of Sunday Bloody Sunday and many other examples.

In that earlier U2 era, the tension was mostly focused on the brokenness of life on earth’s side of the horizon line (“broken bottles under children’s feet”). It sometimes alluded to the Kingdom on heaven’s side, showing us that it would include unity and hope (“tonight, we could be as one”). That unity was later analogized as radiant color, for example in the lyric “then [in heaven] all the colors will bleed into one” in I Still Haven’t Found What I’m Looking For.

So many times, Bono has pleaded with the Divine to come down through the barrier once again. He would wonder why the delay (“how long must we sing this song?”), especially in the face of such a mess here on earth. He even pleaded by mocking God’s absence in Wake Up Dead Man: “I know you’re lookin’ out for us, But maybe your hands aren’t free?”

But on this latest album he has started to paint a fuller picture of that “other place,” the Kingdom (not yet) come, on the other side of the horizon line.

Moving beyond the color analogy, Bono here describes heaven as full of sound.

In the new song Breathe he has us imagine “the roar that lies on the other side of silence” and in I’ll Go Crazy If I Don’t Go Crazy Tonight, he sings “…the sweetest melody is the one we haven’t heard.” I think this sound--a roar!--must be the same vision of heaven described in Revelation 4 and 5, where all the living creatures in heaven and on earth say/sing without ceasing “Holy Holy Holy” to the lamb on the throne.

Pointing us toward that sound, Bono invokes a prophetic tone by asking God to be witness to the truth of the Kingdom (“let me in the sound!”) and then he declares that he’ll be communicating that truth on earth, singing to the hearer, “Listen for me, I’ll be shouting. But we’re gonna make it all the way to the light.” Like a prophet, he then gives a rally cry to his people: “Let’s shout into the darkness, squeeze out sparks of light.” This lyric is an obvious footnote to the Bruce Cockburn lyric that Bono quoted on Rattle and Hum, “gotta kick the darkness till it bleeds daylight.” But here, instead of kicking at evil, Bono asks us to sing into it. He asks us to listen for Jesus’ tune, then sing with him that not-yet-heard melody of the Kingdom.
Walk out into the street,
Sing your heart out.
The people we meet,
will not be drowned out.
The song concludes its last verse with this:
We are people born of sound,
The songs are in our eyes.
Born to wear them like a crown, oh.

Walk out into the sunburst street
Sing your heart out,
Sing my heart out.
I found grace inside the sound,
I found grace, it's all that I found.
Like a minister reminding his flock of their mission to be salt and light, Bono declares to us that we were created to sing of God’s grace. If we would yearn to hear, as he does, the song already being sung on the other side of the horizon, we might catch a note or two. We might “tune our hearts to sing God’s grace”, as the 18th century hymn Come Thou Fount also beckons. We might sing these notes in the darkness until we see sparks of light.

How long must we sing this song? Until that day when Christ returns and there is no line on the horizon.

U2’s NLOTH spiritual resonances (part 2)

Here are some more random thoughts.

Magnificent

In tone, this is the most explicitly biblical song on the album. It is a psalm, nothing less. Beth has a nice observation on how Bono sings this, contra those who are perceive it as really arrogant. But taken in its biblical context, it is clear that when Bono sings I was born to sing for you, he can’t be referring to the U2 fanclub. He is singing primarily for an audience of one: God. It’s a song of throbbing praise, driven mainly by an insistent rhythm section (Adam seems to be working really hard on this album!). But despite the stadium feel of the song (which was evident when they sang it on the BBC roof last week), it remains intensely personal. That’s not to say it is exclusive though: it draws those close by to join in the magnifying at the end (the ‘you’ in the final choruses seems to be different from the object of praise - it is a fellow worshipper being drawn in to join the praise of ‘the Magnificent’).

I was born to be with you;… to sing for you… this is the heart of existence and purpose. How can this be anything other than God? ≈ (amongst many) Psalm 139 (esp vv13-16); Psalm 61:8: I will sing praise to your name and fulfil my vows day after day.
in this space and time, after that and ever after I haven’t had a clue it’s about life in the here and now - and beyond. But there are limits to how much we know about that ≈ Ps 61:8 again; note that in John 17:2-3 eternal life starts now…
Only love can leave such a mark But only love can heal such a scar living a life of love for God IS costly - it leaves a heart black and blue (and looks & feels like foolishness at times) - but God’s love can heal that - which reminds me of one of my favourite books on ministry by our dear friend Marjorie Foyle: Honourably Wounded. ≈ Proverbs 10:12; 1 Peter 4:8.
i didn’t have a choice but to lift you up and sing whatever song youw anted me to - now that is clearly psalmic - ≈ Psalm 63:4 & Psalm 134:2. and then there’s the first bit - is that what it looks like? Surely not? Election perhaps?!
I give you back my voice - the archetypal response of the one who knows from where we have everything in the first place ≈ King David’s response to God in 1 Chronicles 29:14.
From the womb my first cry it was a joyful noise - it’s that birth theme again - Bono gets born a lot on this album. But the cry of a new life is wonderfully, one of joy! ≈ the King James version of Psalm 66:1; 98:4, 100:1 (etc).
Justified till we die, you and I will magnify oh, the magnificent - justification! it’s everywhere in Paul - but it’s also everywhere in Psalms (i.e. righteousness language) ≈ so how about Psalm 35:27 (in KJV); cf. Psalm 64:10, 97:12, 140:13 etc etc

There is something reminiscent of the good old days of October in this song - Gloria anyone?

FEZ - Being Born

This is a suggestive song but seems quite opaque and nebulous. Being in Fez, the ancient pre-colonial capital of Morocco, of course rebooted the album writing process. It seems that the band went there after Bono was invited to be involved in a world festival of sacred music that takes place there. That in itself is intriguing - and there is a sense of slightly (Sufi?) trancelike meandering as the song opens - which gets interrupted a couple of times by a couple of abrupt reboots. But somehow, these interruptions never allow the building pace to be derailed. (I couldn’t help be reminded of a faux-James Bond mission soundtrack in the introduction - a bit derivative perhaps - but that is wiped away once the song proper gets under way).

During the intro, we hear echoes of a north african market square, mixed in with the final refrain from Get on your boots (let me in the sound). If i’m right about this being a resonance of the sound of amazing, divine grace, then it is interesting to find that even in Fez.

Bono’s singing is drawn out and even - almost a trance in itself - each word getting equal weight, as he makes the journey home across the Straights of Gibraltar and the Atlantic until reaching Africa’s shores. As far as I can tell, this is the only Africa moment on the album. Is it about setting sail leaving cars and engines behind, reaching Africa which is the true home of the heart. Having lived in East Africa, i can relate to that a bit - there is something elemental about the continent.

But as you can tell, i’m groping in the dark on this one - but gripped by the song.

U2’s NLOTH spiritual resonances (pt 1)

Am prepping for an updated talk on U2 at the ELF in Hungary this year - so obviously paying close attention to the new album, No Line on the Horizon. Here are a few biblical & spiritual resonances that I’ve picked up. There are probably gazillion others. Various bods out there are saying that it is one of their most Christian albums to date - and various obsessives are doing this sort of thing. So for what it’s worth, here’s my stab at a contribution. If I’m onto something with even half of these references, it is pretty exciting. And I have a bit a of a theory to do with the hymn Amazing Grace

Moment of Surrender

This song has got a lot of people’s attention - and it’s certainly grabbed mine. A powerful, slow burn - it starts with a muffled rhythm section before opening out into something a bit more straightforward, accompanied by the humming of a Hammond organ, giving it a gentle gospel sonic landscape (well i don’t normally talk like that, but because Brian Eno is involved, i feel justified). Like so many, it can be understood on various levels. It indulges in the trad. U2 blurring of human relationships with our relationship with Christ (just as Paul did in Ephesians 5 - and perhaps Song of Songs) - two souls too smart to be in the realm of certainty even on our wedding day. Weddings of course are about BOTH - but perhaps it’s a bit more edgy than a neat fit, because presumably after the wedding supper of the lamb there will be some degree of certainty…

On the human level: in an exclusive human relationship, one has no eyes for anyone else (I did not notice the passers-by and they did not notice me), one doesn’t have absolute certainty in the decision one is making (we’re too smart for that), but there is a passion and fire in love (we set ourselves on fire).

Then comes the magical lyrical turning point: It’s not if I believe in love But if love believes in me, Oh believe in me. Fabulous. This is the invasion of grace - or rather the yearning for it. There is a sense of wonder in a great human relationship that love has come - but surely it is even more applicable to Christ’s call (and he’s just cried Oh God in the previous line). There is a shrinking back, a doubt that love might not come cf. George Herbert’s LOVE BADE ME WELCOME.

But the key change comes at the moment of surrender, I folded to my knees. This is echoed earlier in the song by another role reversal - playing with the fire till the fire played with me. But that’s what happens when we start getting involved with God - he is so much bigger, so much greater. We put him in the dock only to find ourselves in the dock; we think we’re doing him a favour by loving him, but find that his is the greater favour. Such surrender could sound like a subjugation, a resignation. But the music lifts it up to a moment of joy - with the Edge’s backing vocal giving it a sense of shared joy.

And that is done without any concern about passers-by. Who cares what they think? [For that matter, who cares what music critics might think if they whinge or cringe at the spiritual dimensions of U2 songs, eh?!] What matters is what LOVE thinks… Hence the last 2 versions of the chorus: at the moment of surrender of vision over visibility I did not notice the passers-by. It is about having the courage to sing because the importance of what is happening eclipses everything else (cf. singing in Breathe below)

The clincher of course for arguing the Christian significance is the fact that I was speeding on the subway through the stations of the cross. What is that if not a clear meditation on the passion of Christ, the events of the last few hours of his life. Every eye is looking the other way - but he still surrenders. A little echo perhaps of Joseph & Nicodemus?? They were prepared to get involved in the passion, at great personal cost, when everyone else had turned their backs (John 19:38-42).

That is what makes his staring reflection in the ATM screen bearable - he had been in ‘every black hole at the altar of the dark star‘ and was reduced to beg … to be released from control - what is that if not a pleading for rescue? ≈ Romans 7:24-8:1 Who will rescue me from this body of death…? The only hope for the apostle Paul, and for the subject of this song, is the moment of surrender.

Unknown Caller

This opens with a weird sustained whining noise, and the echoes of birdsong - it feels like the long lonely hours of the early hours - lost between the midnight and the dawning in a place of no consequence or company. It actually gives sound to those times of lying awake and longing for the dawn (sunshine, sunshine) - a very Psalmic thing to be doing. (e.g. Psalm 63:6; Psalm 119:147). But what do you do with that time? Often you pray. This is a song about prayer - and about God speaking. For he is presumably the eponymous Unknown Caller. But when it gets going, it is anthemic - I can see it getting the stadiums going. Can’t wait.

3.33 when the numbers fell off the clock face ≈ It’s that number again! Jeremiah 33:3 is the almost the U2 motto verse - remember the airport gate sign on the cover of All you can’t leave behind? It is particularly appropriate for this song, for there God says, “Call to me and I will answer you and tell you great and unsearchable things you do not know“. And this is immediately followed by the chorus, sung (or rather, almost said) by both Bono & Edge together. This is GOD, in his triune plurality, talking:
Go, shout it out, rise up ≈ God calls on people to get out there with ’shouts of joy’ Psalm 105:43

Hear me, cease to speak, Shush now ≈ we have domesticated Psalm 46:10 with soppy christian choruses about being quiet and meditative. But actually, this Psalm is telling people to Shut Up! and stop their gabbling and mumbling - he is the exalted God! So shush now…
That I may speak ≈ he is a speaking God! And our gassing drowns out what he says.

Force quit and move to trash // restart and re-boot yourself ≈ you can tell Bono is a Mac user! And so, by the sound of things is God. It is about stopping in your tracks - going back to the scene of the accident; I sat there waiting for me. Repentance, in other words, isn’t it? Is this waiting for the new/real me/rebooted and therefore reborn me? Is this not an appeal to go back to the moments before the moment of surrender? But when you get to that point,
you’re free to go.. shout for joy if you get the chance, password, enter here, right now ≈ passwords have biblical precedence: e.g. shibboleth (Judges 12:6) But who is our Shibboleth if not Jesus himself. He is the one who gets us in and who makes us truly free. John 8:32-36; Rom 8:2
you know your name so punch it in is this the new name that Jesus has revealed to those who are his? Revelation 2:17 Or is it Jesus’ name again, the name that he has revealed (cf. Philippians 2:11)

White As Snow

Simply beautiful rearrangement of the melody from the old advent carol, O Come, O Come Emmanuel - which is itself all about living in, and longing for the end of, the Last days. The title imagery is explicit - Isaiah speaks of the sins that are scarlet becoming white as snow (Isaiah 1:18). But the song is not as simple as a declaration of the wonders of forgiveness. Is it more of a reflection of the reality of sin in the believer’s life? It is apparently a soldier’s tale, lying dying by a road (hence poppies and passing wolves), perhaps in Afghanistan or Iraq - under a crescent moon.

If only a heart could be as white as snow ≈ this is the central yearning of the song. It is both a yearning for his own heart to be white (he and his brother have faces that are as pale as the dirty snow), and a recognition that it is only possible with someone who is the lamb white as snow.

Now the wolves are passing by, every face we cannot know ≈ could this be religious charlatans (wolves in sheep’s clothing) - Matt 7:15

Breathe

This is one of my absolute winners. My first impression is that it’s a reflection on how in Christ we have the fullness of life, despite whatever the world has to offer us, even if that means there is suffering and cost. It takes courage, it takes a determination to serve sacrificially - but I’ve found grace and so i can breathe now… In other words, i can TRULY live. It is set in the real world of news reports (e.g. Chinese stocks and Avian flu). There is nothing more fundamental than breathing - nor pleasurable when you think about it: think of taking a deep and long breath on a cold crisp blue-skied winter’s morning in the countryside.

Invite a complete stranger into my home - would you Matt 25: 35, 38, 43 - would you invite Jesus in…? Even (in context here) someone who is selling things on the doorstep? But isn’t that what Jesus expects us to do with him - which is why, after he’s come, these days are better than that
Every day I die again, and again I’m rebornTitus 3:5 (on rebirth and grace); but mainly 1 Cor 15:31 - Paul speaks of the way he pours out his life for the Corinthians at great personal cost, which is preciesly the point that seems to flow from the next line…
Courage to walk… with arms out Rom 12:1-2 - because of his mercy, offer yourselves…
Got a Love you can’t defeat Rom 8:35, 38-39 - NOTHING can separate us…

The key is in the choruses I think:

Nothing you have that i need, i can breath, breath now ≈ is this an echo of the temptation in the wilderness? The devil offers all kinds of things that will alleviate suffering - but Jesus refuses of course - for he has true life. Rom 5:17 - how much more abundant grace through one man…? cf. John 10:10 life in all its fullness…

walk out into the street, sing your heart out ≈ in some ways this is classic psalmic theology - praise and singing in the Psalms is nearly always has 2 axes: vertically, in praising God for all that he is and does; horizontally, in simply telling people how great he is. e.g. Ps 9:11, 18:49

I found grace inside a sound… all that i found… i can breathe now ≈ I still haven’t found what I’m looking for (heaven) but I HAVE found this - grace and so i can truly live and breathe in the meantime. Is the sound (cf. Get on your boots) therefore song of the gospel? So without being too reductionistic, at least one of the songs be that totemic hymn Amazing Grace [nb it's first line:] how sweet the sound (cf. Bono’s conversations with Steve Turner mentioned at the start of Steve’s history of the hymn)? - cf. John 1:16 fullness of grace…

Stop Helping God Over the Road

U2's new album is truly gospel - Bono and his band spreading the good news of God's love and grace

March 6, 2009

Without a line on the horizon, we may feel like there is no limit to how far we can go. But it also makes the seas difficult to navigate.

That is, in many ways, where we find ourselves today. It's as infinitely terrifying as it is exciting. Where do we go from here and how do we find our way?

U2's 12th studio album, "No Line on the Horizon," gives a few great answers, if you have the ears to hear and the eyes to see them. (I hope you do.)

More than 25 years ago, when I dropped the needle on a U2 album for the first time, I heard the words of a familiar liturgy -- "Gloria in te domine, Gloria exultate!" -- punctuated by the keening sound of The Edge's guitar and followed by Bono's gnarly tenor shout-singing, "O Lord, loosen my lips!"

My soul did a backflip and kept on tumbling. ...

Earlier this week, while listening to "No Line on the Horizon," I felt that familiar movement in my spirit over and over again. First with the sacred anthem, "Magnificent," which tossed me into the air and sent me soaring. Listen to the words:

I was born to sing for you

I didn't have a choice

But to lift you up

And sing whatever song you wanted me to

I give you back my voice

From the womb my first cry

It was a joyful noise ...

Justified until we die

You and I will magnify

Magnificent

Some misled critics have booed Bono for that song, misinterpreting "I was born to sing for you" as a boast to his audience, rather than the prayer to his Maker that it is. (Mind you, this is the same lyricist who later on the album seemingly refers to himself as a "Napoleon" and cautions, "be careful of small men with big ideas.")

There is plenty of rock 'n' roll levity and grandeur on "No Line on the Horizon," but it is eclipsed by the heart and soul of this album -- perhaps the most dynamic gospel music I've ever heard.

With The Edge, Larry Mullen Jr. and Adam Clayton, Bono began the odyssey that became "No Line on the Horizon" at a rented riad in Fez, Morocco, in June 2007 during the international festival of sacred music.

"[Bono] thought that our job was to create contemporary gospel music ... that we are essentially soul musicians that look for soul in what we do," Daniel Lanois, one of several producers on the new album, told Rolling Stone magazine recently.

Fez is "a holy city for music and musicians," said Bono, and the band was on a pilgrimage -- to listen and to learn -- to go wherever the music (and the Spirit) took them.

As he has for years, but not as explicitly so since 1991's "Achtung Baby," Bono, the band's chief lyricist, has laced "No Line on the Horizon" with the language and images of his humble Christian faith.

The result, however, is a work of gospel music -- "gospel" in its literal sense as "good news" -- for people of all faiths and none. The ecstatic language and imagery Bono evokes throughout could have been penned by the Hebrew King David or Sufi Muslim poets Rumi or Hafez, as much as by a latter-day Christ-follower from Dublin.

One of the most eloquent examples is "Moment of Surrender," which says in part:

My body's now a begging bowl

That's begging to get back

Begging to get back to my heart

To the rhythm of my soul

To the rhythm of my unconsciousness

To the rhythm that yearns

To be released from control

Faced with a horizon-less journey, isn't that what so many of us want right now -- to have someone else steer the ship? To lose control and surrender?

The Spirit feels like the unnamed fifth member of the band on this album more than any other. Its presence is subtle, but powerful.

Whether it's as an unknown caller (or perhaps the one the unknown caller is dialing), a comforting father who frees us "from the dark dream" and hands us "candy floss" and "ice cream," to the one who challenges us to walk into the frightening world with open arms (and hearts), God's love and grace are present.

"God is love, and love is evolution's very best day," Bono sings in "Stand Up Comedy." "I've found grace inside a sound, I found grace, it's all that I found," he sings on "Breathe."

In a beautifully confessional song (with a tune based on the 16th century hymn "O Come, O Come, Emmanuel"), Bono seems to say that even when it feels like we've lost sight of what matters, what's real and enduring, it's right there. "White as Snow," which Bono says was written about a dying soldier's last moments in Afghanistan, says:

Once I knew there was a love divine

Then came a time I thought it knew me not

Who can forgive forgiveness where forgiveness is not

Only the lamb as white as snow

U2 intends to release another album by year's end, one tentatively called, "Songs of Ascent." Bono has said it will be "a more meditative album on the theme of pilgrimage."

I'd guess it'll be for a place that has to be believed to be seen.

My bags are packed.

U2 on Good Morning America Part 2

U2 on Good Morning America,