March 22, 2025
Christianity vs 80’s Pop Song
The story of how christianity stole a classic 80’s song from me.
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JioSaavn JioSaavn The story of how christianity stole a classic 80’s song from me.
WEBVTT
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Looking at our world from a theological perspective. This is
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the Theology Central podcast, making Theology Central. Good evening everyone.
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It is Saturday, March the twenty second, twenty twenty five.
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It is currently nine thirty six pm Central Time, and
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I am coming to you live from the Theology Central
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studio located right here in Abilene, Texas. Now, this evening,
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I'm going to try to tell you a very important story,
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one that means a lot to me, but one that
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may offend many Christians. You may not like this story,
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but the story is accurate. The story is true. It's
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my own personal story, my own personal experience. And hope
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that you will come along with me and you will
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give it much thought and consideration, because I'm going to
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really challenge the way Christians approach certain aspects of culture.
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All right, So I need you to close your eyes,
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and we're gonna go back. We're gonna go back in
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time to a specific place, a specific location, and a
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specific event or events. And I hope it means as
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much to you as it does to me. I don't
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think it will, but hopefully the lessons will resonate with you.
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So are you closing your eyes? Close your eyes. Imagine
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Are you imagining? Your imagination is going? Start listening. Can
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you hear the sound of a fan clicking in the
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corner of the room. Can you hear the sound of
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the fan? The windows are open. A dry West Texas
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wind carries in the smell of dust and mesquite. A
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boy thirteen years of age lays on his bed. He's
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got a pair of headphones clamped over his ears, plugged
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into a stereo system. It's summer nineteen eighty one, Buffalo Gap, Texes.
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I'm alone in my room. The heat is rising off
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the floorboards. Sky outside as wide and black as forever.
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I take the arm of the turntable and I lower
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it down on the vinyl, and for the next four
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minutes and ten seconds, nothing else in the world exists.
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I don't know it yet, but what I am hearing
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will become one of the most iconic songs in music history.
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It will play under stadium lights, it will echo across
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movie endings. It will be belted out in bars and
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bedrooms for decades. But right now, it's just mine. It
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doesn't belong to anyone else. It's just mine. The needle
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lowers onto the LP and I hear the sound of
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the piano. It's unmistakable. It's the opening of Don't Stop
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Believing by Journey. At that moment, I'm not thinking about charts.
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I'm not thinking about cultural impact. I'm not thinking about God.
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I'm not thinking thinking about Sin. I'm not thinking about theology.
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I'm thinking about her, about him, about the small town
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girl and the city boy, and about that midnight train.
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I'm not in Buffalo Gap anymore. I'm not even in
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my house anymore. I see her, I see him, In fact,
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I become him. I imagine the train. I'm inside the story.
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Nothing else in my life exists, no problems, no difficulties,
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no anxieties, no worries. I'm literally in the story. And
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it's that story I want to tell you of that song,
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Don't Stop Believing by Journey, Because as I listened to
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that song on that summer of nineteen eighty one, I
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did what I constantly did. I took a notebook and
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I wrote down how I envisioned the story. Because every
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time I would listen to music, I would be lost
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in the story. What is this song saying? What is
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it telling me? And I would I would almost write
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entire narratives out. Here's the story that was inspired by
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journeys Don't Stop Believing. She stood on the platform alone,
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the yellow lights of the station turning her breath into smoke.
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Her suitcase was old and soft around the edges, like
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her plans. Raised in a town with one diner and
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one gas station and way too many ghosts. She packed
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up what she could as she left a note on
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the kitchen table, don't wait. She didn't know where the
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train was going, just that it was going somewhere anywhere.
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He boarded two cars down. South Detroit was behind him,
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all rust and memory. He chased, noise and neon, tried
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to find meaning in late night gigs and faces that
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never stayed. He didn't have much now, just a guitar case,
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a denim jacket that smelled like the bar he played
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in last night, and a growing suspicion that maybe the
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best parts of his life had already happened and slipped
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by unnoticed. They didn't know each other, not yet, but
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they sat alone, each by a window, staring into the
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same dark passing blur of trees and towns, each wondering
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if tonight might be different, each silently hoping for something, anything,
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to make the ache a little less. The train hummed on,
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the car rocked gently. People talked in murmurs or stared
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at phones that had stopped meaning anything. A man strummed
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a get tire near the back. The notes floated like smoke, fragile,
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fading quickly. She looked up when the music hit a
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certain chord. He turned when he caught her eye in
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the reflection. Just a glance, not a moment yet, but
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the world shifted just a little. Some people meet and
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fill it instantly. Others brushed past a hundred times and
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never see it. Most just passed through each other's stories
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like background noise. The night wore on. Someone opened sheeap wine.
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Someone else sprayed perfume that lingered long after they walked away.
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Laughter rose and fell like waves, and in a room
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full of strangers, loneliness flickered but didn't disappear. She thought
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about turning back. He thought about getting off at the
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next stop. Neither did. The train rolled on. Some will win,
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the guitar man saying softly, and some will lose. And
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still they held on to a memory, to a maybe,
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to that sliver of something that had once felt like joy.
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Don't stop believing. The rhythm seemed to say, don't let
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go just yet, and so they didn't. That's the story
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of Don't Stop Believing. By Journey, That's the kind of
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story I wrote down. Now I had to do a
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little work on that, added a little more modern touch
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with people looking at their phones. But that's the story.
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That's the story I was lost in. Two people on
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a train, both empty, lonely, needing, longing for something. That's
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where I was on that summer night in nineteen eighty one.
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I wasn't in Buffalo Gap. I was on this train
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going somewhere looking for something more than loneliness and emptiness.
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It was beautiful, it was powerful. It was what I
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love about music. But now it's a small, dim bedroom.
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Posters on the wall, some had already been torn down.
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Across now hangs where a led Zeppelin poster used to be.
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Two teenage boys sit cross legged on the carpet, surrounded
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by stacks of cassettes and vinyl. There's a small trash
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can nearby. A Bible sits on the nightstand. Outside it's
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brutally hot. Inside it's quiet and heavy with purpose. A
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few years later, I'm in my best friend's bedroom in Tuscola, Texas.
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We're now Christians. We're on fire for God, or well,
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we've been told that we're supposed to be on fire
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for God. We've just come back from a youth revival
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where the preacher said the devil lives in every riff
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of a guitar, every snare hit, every lyric that doesn't
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explicitly praise Jesus is from the devil. He said that
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if we really loved God, we would prove it by purging,
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by burning, by growing away from the world. And so
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we sit on the floor going through our music collection
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like they are a crime scene. My friend holds up
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a a an album Van Halen, Well, that's gone. That's
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way too much sex. Yeah, we gotta get rid of
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Van Halen ac DC. Well, they got a song literally
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called Highway to Hell. We might as well toss that
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one first. Yeah, man, gotta be radical for Christ. We laugh,
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but it's a little uneasy. We don't want to lose
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these songs. These albums are more than music. They're pieces
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of our lives, their memories and analog. There are identity,
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there are escape, there are stories, there are youth, there
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are life. Then I see it Escape the album by Journey.
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It's almost like I could see Steve Perry staring back
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at me from the cover Frozen in Time, still singing
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something that once felt eternal. I know the first track
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on the album by heart, not just the words. I
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know the mood, I know the movement, I know the ache.
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Just a small town girl living in a lonely world.
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She took the midnight train going anywhere. I know it,
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I know it, I know it by heart. For a moment,
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the room falls away, a flicker of nineteen eighty one returns,
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Buffalo Gap, summer night, the wind blowing in the dust,
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and the smell of mesquite headphones. That moment of wonder,
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that moment of escape. I try to make a case
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for it. I try to save it. I mean, come on,
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it's not even about sex. It's not even about drugs.
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It's just about people who are lonely. Lonely people. They're
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trying to find something real. They're searching, they're hoping. It's beautiful, right. Yeah,
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But listen, this is what my friend says to me.
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Listen the singers in a smokey room. It's the smell
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of wine and cheap perfume, that's a bar man, that's sin,
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that's alcohol, that's temptation, And just like that, it's condemned,
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not because of what it says, but because of what
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they say it says. Christianity, as I had been taught
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at that moment, didn't care about the story, didn't care
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about the ache, didn't care about the longing. All it
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cared about was scanning lyrics for red flags. Smoke, it's gone,
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wine gone, a woman who took a midnight train, too
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independent to free, It's gotta go. They taught us to
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stop feeling and start filtering. We had to start ignoring
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meaning and hunt for a fence. And somewhere in that room,
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under the weight of guilt and zill, I felt something
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slipped from my fingers, something personal, something sacred. The song
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had been mine, and in one afternoon, Christianity took it.
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There's a way certain expressions Christianity teach you to think,
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or maybe I should say, there's a way certain expressions
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if Christianity teach you not to think. It's not always loud,
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it's not always obvious. It's usually wrapped in good intentions
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and the language of purity, holiness. But underneath it there's
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something I believe is deeply damaging. You're taught that meaning
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doesn't really matter. What matters is content, keywords, forbidden, imagery, tone.
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Instead of being trained to interpret, to analyze, to engage
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with a story or a song, you're trained to scan
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for danger, like a spiritual tsa agent with a checklist
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in your head. Smoke, alcohol, kissing, doubt, ambiguity, reject, burn it,
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avoid it. It literally kills something inside of you. It
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robs you of the ability to wrestle with art. It
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robs you of the ability to explore emotion. It robs
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you of the ability to sit in the tension of
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a lyric and ask, what is this really saying? Instead
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of cultivating discernment, it demands censorship. Instead of promoting wisdom,
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it teaches fear. Instead of forming interpreters of truth, it
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form censors of language. You don't learn to understand the world,
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You learn to label it. And so one day you
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find yourself holding the LP of you know, the Escape
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album by Journey in your hands, and instead of hearing
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the heartbeat beneath the music, you hear nothing but red flags.
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It robs it from you, It steals it from you,
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It rips it out of your hands. But let me
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tell you what the song Don't Stop Believing actually says.
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Let's really explore this song that Christianity stole from me,
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that labeled it. Now, I understand most Christianity would not
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condemn Don't Stop Believing. Especially in twenty twenty five, it
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would be considered tame. Nobody would have a problem with it.
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Now some would because it's secular. They would still condemn it.
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But look, I'm very aware that it's twenty twenty five.
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I understand things have changed. But in nineteen eighties when
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Christianity was up in arms about rock and roll and
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we need labels put on music and you shouldn't be
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able to buy the music, and him TV is evil
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and we're all going to be destroyed. And Satan is
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in every rift, Satan is in every lyric, Satan is
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on every album cover. It's it's kind of I mean,
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we went through this much later, years later with all
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every artist was Illuminati. Beyonce is Illuminati, Toby Mack formerly
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of DC Talk Illuminati, everybody's Illuminati. Everything is this and
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we've even seen it, even recent year's Taylor Swift, she's
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a Satanist. I mean christian there's still a form of
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Christianity that still does this madness right, that still does this.
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But even Christianity that may not go that far to say,
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don't stop believing by Journey is bad. Even the Christianity
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that doesn't, they still don't teach you how to actually
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engage art, how to process it, how to think, how
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to interpret. You're just taught to, oh, look, look, look, look,
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look glok, look look it's got this. It's got that.
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It's bad. So so even though it made this may
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be an extreme example, it's still there. But when you
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take the time to literally listen to don't stop Believing
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by Journey, there's something more to it. Because it's not
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about alcohol. It's not about smoky rooms or bar scenes.
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You see don't stop believing by Journey. It's about something
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so deeply human, so raw that if Christianity had taught
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me to listen instead of filter, I might have seen
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myself in it long before I ever saw a cross.
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And I will go so far to say I saw
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myself in that song way before I saw across, way
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before Christianity even came along. In fact, I had already
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lost myself in the song. You see The song begins
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with a girl, just a small town girl living in
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a lonely world. She's anonymous, she could be anyone. She
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takes a midnight train going anywhere. That's not sin, that's longing,
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that's escape, that's the ache for something more than what
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she's known. And then there's him, just a city boy,
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born and raised in South Detroit. He's a mirror of her.
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Maybe he's a little more jaded, maybe he's a little more,
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