Robert Moynihan is the founding editor of Inside the Vatican magazine, a journal on Church and world affairs published every month in Rome. His email address is http://themoynihanletters.com/.
Sunday, January 12, 2014
New Year and New Cardinals on the Feast of the Baptism of Our Lord.
Robert Moynihan is the founding editor of Inside the Vatican magazine, a journal on Church and world affairs published every month in Rome. His email address is http://themoynihanletters.com/.
Thursday, January 9, 2014
Bishop Vasa: 'Remember, rejoice, return': A final goodbye to Father Eric Freed
Bishop Vasa's brother priest from his diocese, Father Eric Freed, was brutally murdered on New Year's Day. Here is a newspaper article sharing Father Freed's funeral mass.
Rest In Peace dear Father.
Will Houston/The Times-Standard
Posted: 01/07/2014 02:33:14 AM PST | Updated: 2 days ago
Hundreds of mourners gathered at Sacred Heart Catholic Church in Eureka on Monday to attend their last Mass in the presence of the late Rev. Eric Freed of St. Bernard Catholic Church in Eureka. Before the ceremony began, attendees consoled each other with embraces while others knelt in prayer.
After the opening prayer and readings, Bishop Robert Vasa spoke to the congregation as he had done the night before during a vigil at St. Bernard Catholic Church. ”Each time we gather, it seems that the grief becomes a little more manageable,” Vasa said. During his homily, Vasa said that the community would share the grief of Freed's “untimely death,” but said that his teachings would still remain.
”The torch is passed to all of you,” Vasa said. “Do not lose faith, do not lose hope. The examples and teachings Father Eric gave you, these too remain.” As a way to begin after such a loss, Vasa told the congregation to utilize a characteristic that Freed exuded on a daily basis.
”The commission here in Eureka is to love with the same joy that he possessed contagiously,” Vasa said.
Dance Farrell, who read scripture during the funeral Mass, said in an interview that Freed's joy in living was what brought everyone together. "The one thing that he focused on more than anything else was the idea of joy,” Farrell said. “That joy that he brought is the reason all these people are here. Because he lived and shared that joy in a very real way.”
After the Mass ended, a funeral procession followed the hearse to St. Bernard's Cemetery. Mourners had the chance to say their final goodbyes -- some with a simple flower laid upon the casket while others fell to their knees and wept. A reception was held after the burial where the many mourners were able to share their memories of Freed.
Maria Homen said she first met Freed in 2001 when he was administrator of St. Mary's Catholic Church in Arcata. "He was a friendly, nice priest who was really nice to talk to” Homen said. “I'm really shocked that this happened to him.” For Homen, Freed's ability to connect with his parishioners made a lasting impression on her. "He was able to explain the sermons and their meaning very well,” she said. “And he was really good with kids.”
Arcata resident Diana Cavinta said Freed was very close to her family, even attending her daughter's second birthday. "He was part of our family, our family life and religious life,” she said. “He was a wonderful person to everyone. It didn't matter if you were Catholic or a non-believer.” Like Homen, Cavinta initially met Freed in Arcata and chose to follow him when he left to the Newman Center at Humboldt State University in 2006 and again when he moved to St. Bernard in Eureka. She even gave up her lunchtime jogs to go attend Freed's noon sermons. Like many who knew Freed, Cavinta said she is having a difficult time coming to terms with his death. "He sacrificed himself,” she said. “If he had to pick, instead of seeing someone else suffer, he would volunteer and take it. That's the only way I can justify it.”
Vasa told the congregation that their grief will eventually pass, which will give them the chance to live as Freed did. ”Remember, rejoice, return,” Vasa said. “We must do that.”
After the opening prayer and readings, Bishop Robert Vasa spoke to the congregation as he had done the night before during a vigil at St. Bernard Catholic Church. ”Each time we gather, it seems that the grief becomes a little more manageable,” Vasa said. During his homily, Vasa said that the community would share the grief of Freed's “untimely death,” but said that his teachings would still remain.
”The torch is passed to all of you,” Vasa said. “Do not lose faith, do not lose hope. The examples and teachings Father Eric gave you, these too remain.” As a way to begin after such a loss, Vasa told the congregation to utilize a characteristic that Freed exuded on a daily basis.

Dance Farrell, who read scripture during the funeral Mass, said in an interview that Freed's joy in living was what brought everyone together. "The one thing that he focused on more than anything else was the idea of joy,” Farrell said. “That joy that he brought is the reason all these people are here. Because he lived and shared that joy in a very real way.”
After the Mass ended, a funeral procession followed the hearse to St. Bernard's Cemetery. Mourners had the chance to say their final goodbyes -- some with a simple flower laid upon the casket while others fell to their knees and wept. A reception was held after the burial where the many mourners were able to share their memories of Freed.
Maria Homen said she first met Freed in 2001 when he was administrator of St. Mary's Catholic Church in Arcata. "He was a friendly, nice priest who was really nice to talk to” Homen said. “I'm really shocked that this happened to him.” For Homen, Freed's ability to connect with his parishioners made a lasting impression on her. "He was able to explain the sermons and their meaning very well,” she said. “And he was really good with kids.”
Arcata resident Diana Cavinta said Freed was very close to her family, even attending her daughter's second birthday. "He was part of our family, our family life and religious life,” she said. “He was a wonderful person to everyone. It didn't matter if you were Catholic or a non-believer.” Like Homen, Cavinta initially met Freed in Arcata and chose to follow him when he left to the Newman Center at Humboldt State University in 2006 and again when he moved to St. Bernard in Eureka. She even gave up her lunchtime jogs to go attend Freed's noon sermons. Like many who knew Freed, Cavinta said she is having a difficult time coming to terms with his death. "He sacrificed himself,” she said. “If he had to pick, instead of seeing someone else suffer, he would volunteer and take it. That's the only way I can justify it.”
Vasa told the congregation that their grief will eventually pass, which will give them the chance to live as Freed did. ”Remember, rejoice, return,” Vasa said. “We must do that.”
Monday, December 23, 2013
from Bill Diss: Fired from Benson High School in Portland
Dear Friends for Life and Purity,
I think many of you have heard that the school board, in a very strange manner, voted to dismiss me on December 16, 2013. A bit of a strange Christmas present. Life Legal Defense Fund will be assisting me along with the law firm of McKanna Bishop Joffe, LLP. I do appreciate the prayers of everyone. Please pray for my family and pray for those persecuting me.
It is my opinion that many administrators at Portland Public Schools will do everything to keep Planned Parenthood on the campuses. I do not think that the district cares how much money they have to spend to keep Planned Parenthood and the philosophy of Planned Parenthood at the campuses of the district.
The following
was released by Life Legal Defense Fund on December 17, 2013:
Portland, Oregon: On Monday, December 16, 2013 the school board
for the Portland Public School District voted to terminate the teaching contract
of Bill Diss, a teacher who has been an outspoken opponent of Planned
Parenthood. Mr. Diss experienced censure in his teaching career beginning in
2007 when he publicly opposed the building of a new Planned Parenthood abortion
clinic in downtown Portland. The current action follows Mr. Diss’ opposition to
being forced to facilitate presenters from the Teen Outreach Program (TOP), a
program administered by Planned Parenthood, coming into his tutorial session to
recruit students.
“Bill Diss is a well qualified teacher with a track record of success,” states Dana Cody, President and Executive Director of Life Legal Defense Foundation. “As the circumstances surrounding this termination demonstrate, Mr. Diss has done nothing that would merit being fired from his job. LLDF will pursue every possible avenue in defending Mr. Diss’ rights in this matter, and hopes to see his rights ultimately protected despite PPS’ actions.”
Background: Bill Diss has taught Technology, Math, Computers and Electronics at Benson High School since 2002. He has also taught several classes at the community college level. He is highly regarded in his abilities and his success both by students themselves, by their parents, and fellow teachers. Mr. Diss is the only teacher in the state of Oregon who has been certified as qualified to teach college level computer science to high school students for dual credit. His initiative and hard work have attracted outside grants to Benson opening up even greater opportunities for Benson students. For the first five years at Benson High, Mr. Diss was rated as proficient or better, with numerous positive compliments in his reviews. Mr. Diss’ methodology and teaching style has remained substantially the same in all his years of teaching.
The positive reviews took a dramatic change for the worse, however, when Mr. Diss began to speak out in opposition to the building of a new Planned Parenthood facility in downtown Portland. Mr. Diss was involved in opposition activities on his own time, and did not bring his political or religious convictions into his instruction in the classroom. Nonetheless, he began to experience complaints about his political activities from school administrators, and his teaching came under sudden, rigorous scrutiny. Complaints, negative evaluations, letters of reprimand and formal meetings became a regular part of Mr. Diss’ life at school for as long as he engaged in outspoken, public opposition to Planned Parenthood.
Shortly after the beginning of the 2012-2013 school year, presenters with the Teen Outreach Program (TOP) came to Mr. Diss’ tutorial classes to give a presentation recruiting students for the TOP program. When presenters entered the tutorial, Mr. Diss, consistent with District policy, asked for identification. He was handed a card that identified the presenters as employees of Planned Parenthood. This knowledge surprised Mr. Diss, and caused him serious emotional distress due to his well-known personal religious convictions and his years of work to oppose that organization. He expressed his dilemma to Benson Principal, Carol Campbell at the time and asked to be excused from being present for the presentation due to his religious convictions. His request was denied. He was told that he would be required to be present for the TOP presentation. Through the remainder of the school year during which he taught, Mr. Diss continued to have to deal with Planned Parenthood staff as they administered the TOP program.
Simultaneous to his request not to be involved with TOP, Mr. Diss’ teaching came under renewed censorial review. Mr. Diss accepted the input from school administration, but the year proved to be extremely stressful, including numerous classroom observations and meetings with school administration. On March 19, 2013 school administrators summarily demanded that Mr. Diss leave the school premises and not return—placing him on paid administrative leave. Mr. Diss was told to leave the school and was escorted off the premises by a police officer. This unnecessary show of force is symbolic of the animus faced by Mr. Diss throughout the year.
Again Thank you and God Bless You,
Bill Diss
503-334-6183
I think many of you have heard that the school board, in a very strange manner, voted to dismiss me on December 16, 2013. A bit of a strange Christmas present. Life Legal Defense Fund will be assisting me along with the law firm of McKanna Bishop Joffe, LLP. I do appreciate the prayers of everyone. Please pray for my family and pray for those persecuting me.
It is my opinion that many administrators at Portland Public Schools will do everything to keep Planned Parenthood on the campuses. I do not think that the district cares how much money they have to spend to keep Planned Parenthood and the philosophy of Planned Parenthood at the campuses of the district.
One of the board members, Bobbie Regan sits on the advisory
board of the “mercy killing” organization Compassion & Choices of
Oregon along with former Planned Parenthood Columbia Willamette CEO David
Greenberg. I would imagine others support other anti-life activities in
the area.
Portland Public Schools Terminate Employment of Pro-Life Teacher
“Bill Diss is a well qualified teacher with a track record of success,” states Dana Cody, President and Executive Director of Life Legal Defense Foundation. “As the circumstances surrounding this termination demonstrate, Mr. Diss has done nothing that would merit being fired from his job. LLDF will pursue every possible avenue in defending Mr. Diss’ rights in this matter, and hopes to see his rights ultimately protected despite PPS’ actions.”
Background: Bill Diss has taught Technology, Math, Computers and Electronics at Benson High School since 2002. He has also taught several classes at the community college level. He is highly regarded in his abilities and his success both by students themselves, by their parents, and fellow teachers. Mr. Diss is the only teacher in the state of Oregon who has been certified as qualified to teach college level computer science to high school students for dual credit. His initiative and hard work have attracted outside grants to Benson opening up even greater opportunities for Benson students. For the first five years at Benson High, Mr. Diss was rated as proficient or better, with numerous positive compliments in his reviews. Mr. Diss’ methodology and teaching style has remained substantially the same in all his years of teaching.
The positive reviews took a dramatic change for the worse, however, when Mr. Diss began to speak out in opposition to the building of a new Planned Parenthood facility in downtown Portland. Mr. Diss was involved in opposition activities on his own time, and did not bring his political or religious convictions into his instruction in the classroom. Nonetheless, he began to experience complaints about his political activities from school administrators, and his teaching came under sudden, rigorous scrutiny. Complaints, negative evaluations, letters of reprimand and formal meetings became a regular part of Mr. Diss’ life at school for as long as he engaged in outspoken, public opposition to Planned Parenthood.
Shortly after the beginning of the 2012-2013 school year, presenters with the Teen Outreach Program (TOP) came to Mr. Diss’ tutorial classes to give a presentation recruiting students for the TOP program. When presenters entered the tutorial, Mr. Diss, consistent with District policy, asked for identification. He was handed a card that identified the presenters as employees of Planned Parenthood. This knowledge surprised Mr. Diss, and caused him serious emotional distress due to his well-known personal religious convictions and his years of work to oppose that organization. He expressed his dilemma to Benson Principal, Carol Campbell at the time and asked to be excused from being present for the presentation due to his religious convictions. His request was denied. He was told that he would be required to be present for the TOP presentation. Through the remainder of the school year during which he taught, Mr. Diss continued to have to deal with Planned Parenthood staff as they administered the TOP program.
Simultaneous to his request not to be involved with TOP, Mr. Diss’ teaching came under renewed censorial review. Mr. Diss accepted the input from school administration, but the year proved to be extremely stressful, including numerous classroom observations and meetings with school administration. On March 19, 2013 school administrators summarily demanded that Mr. Diss leave the school premises and not return—placing him on paid administrative leave. Mr. Diss was told to leave the school and was escorted off the premises by a police officer. This unnecessary show of force is symbolic of the animus faced by Mr. Diss throughout the year.
Again Thank you and God Bless You,
Bill Diss
503-334-6183
Wednesday, December 4, 2013
CCHD Names to Remember: Where are the Catholic Values?
Day labor site feels lack of support | |||
Of the Catholic Sentinel Organizers of a Portland center for day laborers say support from city officials has waned. That is complicating a capital campaign meant to fund a permanent building on the site. The center, on city-owned land amid industry at Northeast Martin Luther King and Everett, is run by Voz Workers' Rights Education Project. In part with funding from the Catholic Campaign for Human Development, Voz gives workers a dry and central place to wait for employers to find them. The center also prevents wage fraud and other shady deals, which were par for the course when laborers stood on various corners around the city. When the site opened, the city offered a five-year lease. After that agreement expired in March, the Portland Development Commission offered only a month-by-month arrangement and said Voz could be asked to leave with six months notice. Leaders of Voz say the precarious standing has made it difficult to secure funders for a plan to construct better buildings. Romeo Sosa, executive director of Voz, says he has asked PDC to list the property in the name of Voz so that funders will have confidence. He does not want to buy the land or have it donated — just listed with the Voz name. (VOCAL: It is very bold of Mr. Sosa) "We want a permanent building," says Sosa, comparing the shed-like enterprise to larger and sturdier centers in Seattle, Los Angeles and Baltimore. More professional offices would not only be more humane for workers, but would attract more employers, he explains. The Seattle day labor center received $2 million in public funding and includes rooms for English and computer classes, a waiting area and a kitchen. Baltimore's center is housed on a donated mansion. "Voz has done a lot of good work down there," says Valerie Chapman, pastoral administrator of St. Francis Parish, where Voz has offices. "The place provides dignity for workers. They don't get caught out in the rain." Chapman recalls that the initiative was favored by business owners and residents of the neighborhood, who saw it as a way to prevent various corners from springing up as crowded day labor sites. "Month-to-month makes it really complicated for planning," says Chapman, who has also worked with the city on St. Francis Dining Hall, which provides free meals to people in need. "Funders need to know they will be around." Chapman says PDC is giving a mixed message: send potential funders to us for assurance, but also, we can have you leave the site with only six months notice. Portland gave $200,000 to Voz to start the center and has given $25,000 annually since, charging only $1 per year in rent. (WHY do they need Catholic money?) "We have made it abundantly clear that our support is in place," says Shawn Uhlman, PDC spokesman. Uhlman says the commission has no intention of asking Voz to leave the property. Patrick Quinton, PDC’s executive director, has invited Voz to send potential donors to him to be reassured. Uhlman says PDC will do what it can to help if Voz wants to purchase the property, but does not simply sign over city-owned parcels. The 2013 market value of the land tops $360,000 — well out of the reach of Voz. The value has tripled since 2000 as industry has picked up in inner Northeast. Selling the parcel could mean a boost to the PDC, which is trying to reduce its land holdings. The original agreement between the city and Voz said the non-profit would work toward building a more permanent center on city site or elsewhere. The center was created with backing of former Mayor Tom Potter. The office of current Mayor Charlie Hales had not offered comment as of press time. "Support is not as strong as it used to be," Sosa concludes. "We feel the city sees it as us against them instead of us together. They say they support us, but we don't feel that." Sosa says if the center closes, day laborers will head back to the corners. (VOCAL: There is no movement forward for this organization. It is a political movement and for Catholics, which all of the players say they are, disregards the Mind and Heart of Christ with pro-Abortion and pro-homosexual factors involved in VOZ) |
Tuesday, November 19, 2013
Guest Post “Partisan Political Activity” : CCHD California Style
“Partisan Political Activity”
HOW Strictly D0
We Define It?
by William Snear
HOW Strictly D0
We Define It?
by William Snear
While doing research for a ZOGS article on ACORN. l became aware of the Catholic Campaign for Human Development`s operational design. Most of the approximately $9 million it collects every
year is dispensed to community organizations.
Not community organizations like the Boys and Girls Clubs, but community organizations like ACORN. CCHD gave over $7 million to ACORN organizations before declaring it ìneligble for in 2008.
Not community organizations like the Boys and Girls Clubs, but community organizations like ACORN. CCHD gave over $7 million to ACORN organizations before declaring it ìneligble for in 2008.
I have continued to be concerned that in the parishes I attend, there is no straightforward disclosure on Collection Sunday of CCHD`S modus operandi. So most of the congregation thinks that
CCHD is a conventional Catholic charity.
My concern recently spiked when I accidentally discovered the role that PICO California played in the campaign to pass California's Proposition 30 which raised the top state income tax rate on high earners to 12.3 percent.
PICO California is a member of the PICO National Network, one of the largest networks of community organizations. The California unit comprises 19 faith-based affiliates.
ln the 2011-2012 grant year, CCHD gave 115,470,130 in grants to 12 of those 19 organizations. The affiliate in my diocese, San Bernardino's Inland Congregations United Change (ICUC) received $50.000.
I was surprised to learn that PICO California was teamed up with the Alliance of Californians for Community Empowerment (ACCE). the successor group to ACORN, in a massive effort
to pass Proposition 30.
Even more surprising PICO Califomìa. which depends on offerings from good hearted worshipers. had contributed $259,000 to the campaign for Proposition 30.
Naturally. l wondered if any of that money was contributed to PICO California by lCUC. SO. I called Verne Schweiger. the staffer at the Diocese of San Bernardino's Office of Social Concerns
who manages CCHD matters and asked him to investigate.
When we spoke again. he declined to disclose whether ICUC had contributed to the Proposition 30 campaign, but he did tell me that any such contributions would be a matter of public record.
l said that it would be unethical for the CCHD to collect funds under the guise of helping the poor if some of that money is going to political efforts. particularly something like Proposition 30.
He replied that there was no problem. because lCUC was not involved in partisan political activity. which would disqualify them from CCHD funding. Further his review of the ICUC audit had shown
that the $50.000 grant was spent tirely for the purpose described in its grant application` and ICUC does not support any initiative contrary to Catholic teaching.
After some intensive inquiry. I located the pertinent public records. PICO California established its own Proposition 30 campaign committee. ICUC did not contribute to the $259.90() that PICO California contributed. Worse`ICUC made an individual contribution of $54.000 to the PICO California Committee for Proposition 30 - $4,000 more than the grant it received from CCHD. The Orange County Congregation Community Organization contributed $90,000... $50,000 more than its CCHD grant.
Total 2012 contributions to the committee were $671,516. In addition to PICO Califomia's $259,000, 11 of the19 affiliated community organizations contributed $357,492 (which includes$206,992 from 5 of the 12 groups that received recent CCHD grants). The balance of $55,124 was contributed by others.
For many. the argument that campaigning for Proposition 30 did not constìtute partisan political activity is a hair-splìtting hedge. lt's true that it involved a ballot measure, not only sponsored
candidates, but Proposition 30 was Democratic Gov. Jerry Brown`s initiative. and support and opposition were more clearly divided along party lines than for most ballot measures.
The elephant in the grant office is why Catholics never should have donated hundreds of thousands of dollars to organizations that had hundreds of thousands of dollars available for Proposition 30: Catholic schools would have been better recipients.
It is the undeniable right of these groups and their supporters to contribute and campaign. though perhaps not at the same time they are receiving CCHD money. But it is certainly the right of people in the pews to know that their sacrificial giving supported an organization that spent almost $0.7 mil-
lion campaigning against the preference that many of the givers expressed on their own ballots.
Honesty remains the best policy even in church.
Bill Snear is a dentist who lives in California.
Contact him at billsnaer@verizon.net,)
Monday, November 18, 2013
Hearing Update from Bill Diss

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Saturday, November 16, 2013
Friday, November 15, 2013
Guest Post from Pro-Life Action of Oregon
Here is a guest post. N.B. (note well) that the Archdiocese of Portland's Office of "Life", Justice and Peace needs to represent a true understanding that it is a lack of promoting Divine Justice to save unborn babies and not economic justice that is the answer. This office gives monies to pro-abortion groups and that works against the the ultimate justice to succeed: Divine. VOCAL
++++++++++++++++++++++++++++++++++++++++
OPINION
Dear Pro-Life Friends,
Pro-Life Action of Oregon is dedicated to ending all abortion, no exceptions, no compromises. In this context, I'm calling your attention to two recent developments.

(1) "THE PRESIDENT'S PITCH TO THE PEOPLE OF FAITH." -- Crisis Magazine
Search result for "Obama's Abortion Reduction Strategy". This strategy is still in play. For those of you who are new to my alerts, back in 2008 I posted an analysis of Obama and the Catholic vote. It may be a good time to read it again.
______________________________
(2) Matt Cato's Liberal Views Exposed
Matt Cato - photo op. (article link below)
Matt Cato, the Archdiocesan Director of Life, Justice and Peace, has some "abortion reduction" nuanced things to say:
++++++++++++++++++++++++++++++++++++++++
OPINION
Dear Pro-Life Friends,
Pro-Life Action of Oregon is dedicated to ending all abortion, no exceptions, no compromises. In this context, I'm calling your attention to two recent developments.
(1) "THE PRESIDENT'S PITCH TO THE PEOPLE OF FAITH." -- Crisis Magazine
'This year his pitch to the religious is a little more tricky in light of the HHS mandate and other overtly secularist policies of his administration. Still, he could pull it off. Recent polling suggests that he is on track to win the Catholic vote again.'
______________________________
(2) Matt Cato's Liberal Views Exposed
Matt Cato, the Archdiocesan Director of Life, Justice and Peace, has some "abortion reduction" nuanced things to say:
- Matt Cato on the government ending abortion - "...the church has an obligation to advocate for government aid [to end abortion]. If society can remove financial pressures, that will end the reason cited for 7 in 10 abortions." (In other words, he is dedicated to Obama's "abortion reduction strategy.")
- In same article, Cato apologizes to liberal readers for being pro-life: "I don't want anyone to think I want to limit legitimate rights, but where do we get to the point where we make individual choices for the good of a baby, for the good of the community?" Cato asks. (What is he saying, exactly??)
- "He envisions a strong Catholic-led pro-life movement, in which people are inspired to protect all life not because of politics, but because of faith." (He is unsure of the motivation of pro-lifers!)
- FULL ARTICLE
After reading the article, you can send an email to Matt Cato mcato@archdpdx.org .
Send a letter to the Sentinel sentinel@catholicsentinel.org .
Blessings,
Nina Rhea, Director
Prolife Action of Oregon
Dedicated to exposing the Culture of Death
P.S. I've sent a message to Mr. Cato pointing out his lack of citations for his claims. I also call him out as an Obama Catholic and ask for his correction if I'm wrong.
Send a letter to the Sentinel sentinel@catholicsentinel.org .
Blessings,
Nina Rhea, Director
Prolife Action of Oregon
Dedicated to exposing the Culture of Death
P.S. I've sent a message to Mr. Cato pointing out his lack of citations for his claims. I also call him out as an Obama Catholic and ask for his correction if I'm wrong.
Thursday, November 14, 2013
"The Hidden Hand Behind Bad Catholic Music" - Great insight.
J. A. Tucker
It usually starts with the missalettes — those lightweight booklets scattered around the pews of your parish church. They contain all the readings of the Sunday Masses, plus some hymns and responses in the back. There's nothing between the covers that would offend an orthodox sense of the faith, and most of the songs are traditional by today's standards.
So, what's the problem?
Well, if your missalettes are like those issued in more than half of American parishes, they're copyrighted by the Oregon Catholic Press (OCP) — the leading Catholic purveyor of bad music in the United States. Four times a year, it prints and distributes 4.3 million copies of the seemingly unobjectionable booklets (which OCP doesn't call missalettes).
But that's just the beginning of its massive product line, where each item is integrated perfectly with the others to make liturgical planning quick and easy. To instruct and guide parish musicians and liturgy teams, the OCP prints hymnals, choral scores, children's songbooks, Mass settings, liturgy magazines (with detailed instructions that are slavishly followed by parishes around the country), and CDs for planning liturgies and previewing the newest music.
This collection of products, however, does not include a hymnal — or anything else — designed to appeal to traditional sensibilities (its Heritage Hymnal is deceptively misnamed). The OCP's experts never tire of promoting the new, rewriting the old, and inviting you to join them in their quest to "sing a new church into being" (as one of their hit songs urges). The one kind of "new" that the OCP systematically avoids is the new vogue of traditional music that has proved so appealing to young Catholics.

The bread and butter of the OCP are the 10,000 music copyrights it owns. It employs a staff of 150, runs year-round liturgy workshops all over the United States, sponsors affiliates in England and Australia, and keeps song-writers all over the English-speaking world on its payroll. In fact, it's the preferred institutional home of those now-aging "St. Louis Jesuits" who swept out the old in 1969 and, by the mid-1970s, had parishes across the country clapping and strumming and tapping to the beat.
The OCP also sails under the flags of companies it has acquired, established, or represented along the way: New Dawn Music, Pastoral Press, North American Liturgy Resources, Trinitas, TEAM Publications, White Dove Productions, and Cooperative Ministries. Every time it purchases — or assumes the distribution of — another publisher, its assets and influence grow.
But while the OCP dictates the liturgies of most U.S. parishes,
it has no ecclesiastical authority. It's a large nonprofit corporation —
a publishing wing of the Diocese of Portland (VOCAL correction, Archdiocese of Portland) — and nothing else. It has
never been empowered by the U.S. bishops, much less Rome, to oversee music or liturgy in American parishes.
The OCP's power over Catholic liturgy is derived entirely from its copyrights, phenomenal sales, and marketing genius. Nonetheless, it wields the decisive power in determining the musical culture of most public Masses in the United States.
And once a parish dips into the product line of the OCP, it is very difficult to avoid full immersion. So complete and integrated is their program that it actually reconstructs the sense that the liturgy team has about what Catholicism is supposed to feel and sound like.
But few of those subject to the power of the OCP understand that it's the reason why Catholic liturgy so often seems like something else entirely. For example, pastors who try to control the problem by getting a grip on their liturgies quite often sense that they're dealing with an amorphous power without a name or face. That's because very few bother to examine the lay-directed materials that are shaping the liturgies. Too many priests are willing to leave music to the musicians, fearing that they lack the competence to intervene.
Meanwhile, the nature of the OCP is completely unknown to most laypeople. Many Catholics shudder, for example, when they hear the words Glory & Praise, the prototypical assortment of musical candy that was already stale about 15 years ago but which mysteriously continues to be repackaged and rechewed in parish after parish. "Here I am, Lord," "Be Not Afraid," "City of God," "One Bread, One Body," "Celtic Alleluia," and (wait for it) "On Eagle's Wings" — these all come courtesy of the OCP.
But at the publisher itself, this moldy repertoire is not an embarrassment. On the contrary, the publisher brags that Glory & Praise, whose copyright it acquired in 1994, continues to be the best-selling Catholic hymnal of all time. And what about those prayers of the faithful that seem far more politically than doctrinally correct? They're probably from the OCP, too. A new edition of its Prayer of the Faithful is printed every year. (In what is surely great news for the unrepentant, the OCP brags that the volume helpfully includes "creative alternatives to the Penitential Rite.")
It wasn't always like this. Before 1980, the OCP was called the
Oregon Catholic Truth Society. It was founded in 1922 in response to a
compulsory school-education law that forced Catholics to attend public
schools. Archbishop Alexander Christie got together with his priests to
found the society. Its aim: to fight bigotry and stand up for truth and
Catholic rights.
In 1934, the Oregon Catholic Truth Society released a missal called My Sunday Missal. It was good-looking, inexpensive, and easy to use. It became the most popular missal ever (you can still run across it in used bookstores).
But the rest of the story is as familiar as it is troubling. Sometime in the late 1960s and early 1970s, the Oregon Catholic Truth Society began to lose its moorings. Catholic truth had to make room for the Age of Aquarius. Thus, in the course of a single decade, a once-reliable representative of Catholic teaching became reliably unreliable. Money given to the organization to promote truth was now being used to advance a revolutionary approach to Catholic life, one that repudiated traditional forms of the faith. The only thing that did not change was the breadth of its influence: Under the new dispensation, it was still a powerhouse of Catholic publishing.
If you've been keeping up with the OCP's latest offerings, you
know that the songs from the mid-1970s don't begin to plumb the depths.
The newest OCP hymnals are jam-packed with music from the 1980s and
1990s, with styles meant to reflect the popular music trends of the
time. (Actually, they're about five years behind the times.)
They sail under different names (Music Issue, Journeysongs, Heritage Hymnal, Glory & Praise), but the content is similar in all of them: an eclectic, hit-and-miss bag with an emphasis on new popular styles massaged for liturgical use. (Worst choice: Spirit & Song, which "encourages the youth and young adults of today to praise God in their own style")
Some of the newer songs sound like variations on the musical themes you hear at the beginning of TV sitcoms. Some sound like Broadway-style love songs. Others have a vague Hawaiian, calypso, or blues feel. You never know what's going to pop up next.
Not all of it is terrible. In fact, there are real toe-tappers among the songs. The question to ask, however, is whether it's right for liturgy. The answer from the Church has been the same from the second century to the present day: The Mass requires special music, which is different from secular music and popular religious music. It must have its own unique voice — one that works, like the liturgy itself, to bring together time and eternity. It's a style perfectly embodied in chant, polyphony, and traditional hymnody.
The OCP revels in its ability to conflate these categories; indeed, that's the sum total of its purpose and effect. And judging from its newest new line of songs and CDs — "we just couldn't wait until our next General Catalog to tell you about it" — your parish can look forward to a variety of ska and reggae songs adapted for congregational purposes.
It's also quite a bargain. If you buy more than 50 subscriptions to the quarterly missalette, you receive other goodies bundled inside. You'll get a Music Issue (the main OCP hymnal) to supplement the thin selection in the missalette. In addition, you'll receive a keyboard accompaniment book, a guitar book, the Choral Praise Comprehensive, a handy service binder, two annual copies of Respond & Acclaim for the psalm and the gospel acclamation, biannual copies of Prayer of the Faithful, two subscriptions to Today's Liturgy (which tells liturgy teams what to sing and say, when and how), and one master index. And the more you buy, the more you get.
Why would you want all this stuff? Well, if you're in parish music, you'll quickly discover that the missalette has too few hymns to cover the whole season. The Music Issue seems like an economical purchase. But there's something odd about the OCP's most popular music book: There's no scriptural index. How do you know what hymns fit with what gospel reading?
No problem. Just buy a copy of Today's Liturgy, which spells it all out for you. If you want a broader selection of possible hymns, you can also order the OCP's LitPlan software or its monthly Choral Resources, which is visually more complicated than the Federal Register (but still contains no scriptural index).
If you follow the free liturgical planner closely, you'll notice you can purchase a variety of choral arrangements and special new music (copyright OCP) that match perfectly with the response, the hymnal, and the missalette (copyright OCP), which is itself integrated with the prayers of the faithful (copyright OCP) and the gospel (not yet OCP copyright). And so it goes, until you follow the complete OCP plan for each Mass, from the first "Good morning, Father!" to the last "Go in peace to love and serve others!" By making each element dependent on the next, the OCP has ensured a steady — if trapped — clientele.
But why should the liturgy team go along with this program? The
average parish musical team is made up of non-professionals. Its poorly
paid members are untrained in music history; they have no particular
craving for chant or polyphony, which often seems quite remote to them.
Most musicians in average Catholic parishes would have no idea how to
plug into the rite an extended musical setting from, say, the high
Renaissance, even if they had the desire to do so.
The OCP understands this point better than most publishers. In an interview, Michael Prendergast, editor of Today's Liturgy, pointed again and again to the limited resources of typical parishes. The OCP sees serving such needs as a core part of its publishing strategy; its materials keep reminding us that we don't need to know Church music to get involved.
Lack of familiarity with the Church's musical tradition would not be a grave problem if there were a staple of standard hymns and Mass settings to fall back on. But it has been at least 30 years since such a setting was available in most parishes. The average parish musician wants to use his talents to serve the parish in whatever way possible, but he's at a complete loss as to how to do it without outside guidance. The OCP fills that vacuum.
Under its tutelage, you can aspire to be a real liturgical expert, which means you have attended a few workshops run by OCP-connected guitarists and songwriters (who explain that your job as a musician is to whip people into a musical frenzy: loud microphones, drum tracks, over-the-top enthusiasm when announcing the latest hymn). These "experts" love the OCP's material because it allows them to keep up the pretense that they have some special knowledge about what hymns should be used for what occasions and how the Mass ought to proceed.
Real Catholic musicians who have worked with the OCP material tell horror stories of incredible liturgical malpractice. The music arrangements are often muddled and busy, making it all but impossible for regular parishioners to sing. This is especially true of arrangements for traditional songs, where popular chords give old hymns a gauzy cast that reminds you of the 1970s group Chicago.
The liturgical planning guides are a ghastly embarrassment. Two years ago, for example, the liturgical planner recommended "Seek Ye First" for the first Sunday in Lent ("Al-le-lu-, Al-le-lu-yah"). In numerous slots during the liturgy, OCP offers no alternative to debuting its new tunes. When traditional hymns are offered, they're often drawn from the Protestant tradition, or else the words are changed in odd ways (see, for example, its strange version of "Ubi Caritas"). The liturgical instructions are equally pathetic. On July 8 this year, the liturgical columnist passes on this profound summary of the gospel of the day: "Live and let live."
This is where OCP steps in and serves as the peacekeeping moderate. After all, it's an established music publisher, and thanks to the missalette, it doesn't appear (at first) to be particularly partisan. Its literature contains enough traditional material to allow the liturgical team to claim they're sensitive to the needs of both the contemporary and traditional factions. Indeed, the OCP eschews the most extreme forms of grunge-metal Life-Teen music (though its Spirit & Song comes close). At first sight, it does appear to take the middle ground between two extremes. In truth, however, it's only slightly behind the curve of the most radical liturgical innovators — as it's always behind the curve in the popular styles it tries to imitate.
What about the other option of splitting up the Masses according to style, so that those who like traditional music can have their own Mass and the people who compose for the OCP can have theirs? Prendergast rejects this. Whether the style is traditional, contemporary, folk, or even "rock," Prendergast says, "everyone in the parish has to be exposed to it." And what if a pastor just doesn't like rock and other contemporary styles? Prendergast says, "I would talk to the [chancery's] Office of Worship about him." I asked whether that means he would turn this poor priest in to the bishop. His response: "I would try to arrange for him to attend a workshop on liturgy."
With a great deal of knowledge, careful planning, and conscious intent, it is possible to manufacture decent liturgies even if the OCP music is all you have. You'll have to dig to find the good hymns (10 to 20 percent in the typical OCP publications), but it can be done. It's also true that not everyone involved with the OCP wants to destroy all that has gone before. There are probably many people on its middle-aged staff who from time to time cringe at the music, just as the people in the pews do. For his part, Prendergast is sure that he thinks with the mind of the Church, and there's no reason to doubt his sincerity.
In fact, there are periodic signs of hope. Regular readers of Today's Liturgy might have been astounded to see the recent one-page article buried in its pages that urged children be taught Latin hymns and chant. "The Second Vatican Council did not destroy the tradition of chant," said the writer, who was a student of the excellent English composer John Rutter. "We can still claim our chant heritage as part of the living Church's journey into the future." Indeed we can! But the news seems to be slow in getting around the OCP office. (The same issue contained a blast against a poor old lady who read a prayer book during Mass instead of singing goodness knows what.)
What's completely amazing about the entire OCP family is how lacking it is in self-awareness. The poor quality of contemporary Catholic music is a cultural cliché that turns up in late-night shows, Woody Allen movies, and Garrison Keillor's Prairie Home Companion. It is legendary among real musicians. Ask an organist what he thinks about today's Catholic music, and you will receive a raised eyebrow or a knowing laugh.
The truth is that no one is happy with the state of
Catholic liturgical music — least of all musicians — and the OCP is a
big part of the problem. So, what can you do?
Step 1 is to get rid of the liturgical planning guides and use an old Scripture index to select good hymns that have stood the test of time (if you absolutely must continue to use the OCP's materials).
Step 2 is to rein in the liturgical managers and explain to them that the Eucharist, and not music, is the reason people show up to Mass Sunday after Sunday.
Step 3 is to get rid of the OCP hymnals and replace them with Adoremus or Collegeville or something from GIA (no, none of these is perfect, but they are all an oasis by comparison).
Update 2013 St. Joseph's Salem has St. Michael Hymnal. A step towards Sacred Music. It is beautiful and does not include changes in wording to have a static gender neutral meaning.
Finally, reconsider those innocuous little missalettes. These harmless-looking booklets may be the source of the trouble. Parishes can unsubscribe — accept no OCP handouts or volume discounts. There are plenty of passable missalettes and hymnals out there, and all the choral music you'll ever need is now public domain and easily downloadable for free (www.cpdl.org).
In his book, The Spirit of the Liturgy (Ignatius Press, 2000), Joseph Cardinal Ratzinger states clearly that popular music does not belong at Mass. Indeed, it's part of "a cult of the banal," and "rock" plainly stands "in opposition to Christian worship."
This is very strong language from the cardinal. And yet we know that many liturgy teams in American parishes will continue to do what they've been doing for decades — systematically reconstructing the liturgy to accommodate pop aesthetic sensibilities. The liturgy is treated not as something sublimely different but as a well-organized social hour revolving around religious themes.
It's up to you to decide the future course of your parish's liturgy: reverent worship or hootenanny.
Despite what the OCP might tell you, you can't have both.
J. A. Turner is the choral director of a schola cantorum and writes frequently for Crisis.
It usually starts with the missalettes — those lightweight booklets scattered around the pews of your parish church. They contain all the readings of the Sunday Masses, plus some hymns and responses in the back. There's nothing between the covers that would offend an orthodox sense of the faith, and most of the songs are traditional by today's standards.
So, what's the problem?
Well, if your missalettes are like those issued in more than half of American parishes, they're copyrighted by the Oregon Catholic Press (OCP) — the leading Catholic purveyor of bad music in the United States. Four times a year, it prints and distributes 4.3 million copies of the seemingly unobjectionable booklets (which OCP doesn't call missalettes).
But that's just the beginning of its massive product line, where each item is integrated perfectly with the others to make liturgical planning quick and easy. To instruct and guide parish musicians and liturgy teams, the OCP prints hymnals, choral scores, children's songbooks, Mass settings, liturgy magazines (with detailed instructions that are slavishly followed by parishes around the country), and CDs for planning liturgies and previewing the newest music.
This collection of products, however, does not include a hymnal — or anything else — designed to appeal to traditional sensibilities (its Heritage Hymnal is deceptively misnamed). The OCP's experts never tire of promoting the new, rewriting the old, and inviting you to join them in their quest to "sing a new church into being" (as one of their hit songs urges). The one kind of "new" that the OCP systematically avoids is the new vogue of traditional music that has proved so appealing to young Catholics.

The bread and butter of the OCP are the 10,000 music copyrights it owns. It employs a staff of 150, runs year-round liturgy workshops all over the United States, sponsors affiliates in England and Australia, and keeps song-writers all over the English-speaking world on its payroll. In fact, it's the preferred institutional home of those now-aging "St. Louis Jesuits" who swept out the old in 1969 and, by the mid-1970s, had parishes across the country clapping and strumming and tapping to the beat.
The OCP also sails under the flags of companies it has acquired, established, or represented along the way: New Dawn Music, Pastoral Press, North American Liturgy Resources, Trinitas, TEAM Publications, White Dove Productions, and Cooperative Ministries. Every time it purchases — or assumes the distribution of — another publisher, its assets and influence grow.
Power Without Authority
The OCP's power over Catholic liturgy is derived entirely from its copyrights, phenomenal sales, and marketing genius. Nonetheless, it wields the decisive power in determining the musical culture of most public Masses in the United States.
And once a parish dips into the product line of the OCP, it is very difficult to avoid full immersion. So complete and integrated is their program that it actually reconstructs the sense that the liturgy team has about what Catholicism is supposed to feel and sound like.
But few of those subject to the power of the OCP understand that it's the reason why Catholic liturgy so often seems like something else entirely. For example, pastors who try to control the problem by getting a grip on their liturgies quite often sense that they're dealing with an amorphous power without a name or face. That's because very few bother to examine the lay-directed materials that are shaping the liturgies. Too many priests are willing to leave music to the musicians, fearing that they lack the competence to intervene.
Meanwhile, the nature of the OCP is completely unknown to most laypeople. Many Catholics shudder, for example, when they hear the words Glory & Praise, the prototypical assortment of musical candy that was already stale about 15 years ago but which mysteriously continues to be repackaged and rechewed in parish after parish. "Here I am, Lord," "Be Not Afraid," "City of God," "One Bread, One Body," "Celtic Alleluia," and (wait for it) "On Eagle's Wings" — these all come courtesy of the OCP.
But at the publisher itself, this moldy repertoire is not an embarrassment. On the contrary, the publisher brags that Glory & Praise, whose copyright it acquired in 1994, continues to be the best-selling Catholic hymnal of all time. And what about those prayers of the faithful that seem far more politically than doctrinally correct? They're probably from the OCP, too. A new edition of its Prayer of the Faithful is printed every year. (In what is surely great news for the unrepentant, the OCP brags that the volume helpfully includes "creative alternatives to the Penitential Rite.")
Hijacking Of Catholic Truth
In 1934, the Oregon Catholic Truth Society released a missal called My Sunday Missal. It was good-looking, inexpensive, and easy to use. It became the most popular missal ever (you can still run across it in used bookstores).
But the rest of the story is as familiar as it is troubling. Sometime in the late 1960s and early 1970s, the Oregon Catholic Truth Society began to lose its moorings. Catholic truth had to make room for the Age of Aquarius. Thus, in the course of a single decade, a once-reliable representative of Catholic teaching became reliably unreliable. Money given to the organization to promote truth was now being used to advance a revolutionary approach to Catholic life, one that repudiated traditional forms of the faith. The only thing that did not change was the breadth of its influence: Under the new dispensation, it was still a powerhouse of Catholic publishing.
De Profundis
They sail under different names (Music Issue, Journeysongs, Heritage Hymnal, Glory & Praise), but the content is similar in all of them: an eclectic, hit-and-miss bag with an emphasis on new popular styles massaged for liturgical use. (Worst choice: Spirit & Song, which "encourages the youth and young adults of today to praise God in their own style")
Some of the newer songs sound like variations on the musical themes you hear at the beginning of TV sitcoms. Some sound like Broadway-style love songs. Others have a vague Hawaiian, calypso, or blues feel. You never know what's going to pop up next.
Not all of it is terrible. In fact, there are real toe-tappers among the songs. The question to ask, however, is whether it's right for liturgy. The answer from the Church has been the same from the second century to the present day: The Mass requires special music, which is different from secular music and popular religious music. It must have its own unique voice — one that works, like the liturgy itself, to bring together time and eternity. It's a style perfectly embodied in chant, polyphony, and traditional hymnody.
The OCP revels in its ability to conflate these categories; indeed, that's the sum total of its purpose and effect. And judging from its newest new line of songs and CDs — "we just couldn't wait until our next General Catalog to tell you about it" — your parish can look forward to a variety of ska and reggae songs adapted for congregational purposes.
How It Hooks You
But let's go back to that innocent, floppy missalette. The OCP
claims it has many advantages. Missalettes "make it easy for you to
introduce the latest music to your parish, and changes in Church rituals
are easy to implement." Thus the missalette is "always up-to-date."It's also quite a bargain. If you buy more than 50 subscriptions to the quarterly missalette, you receive other goodies bundled inside. You'll get a Music Issue (the main OCP hymnal) to supplement the thin selection in the missalette. In addition, you'll receive a keyboard accompaniment book, a guitar book, the Choral Praise Comprehensive, a handy service binder, two annual copies of Respond & Acclaim for the psalm and the gospel acclamation, biannual copies of Prayer of the Faithful, two subscriptions to Today's Liturgy (which tells liturgy teams what to sing and say, when and how), and one master index. And the more you buy, the more you get.
Why would you want all this stuff? Well, if you're in parish music, you'll quickly discover that the missalette has too few hymns to cover the whole season. The Music Issue seems like an economical purchase. But there's something odd about the OCP's most popular music book: There's no scriptural index. How do you know what hymns fit with what gospel reading?
No problem. Just buy a copy of Today's Liturgy, which spells it all out for you. If you want a broader selection of possible hymns, you can also order the OCP's LitPlan software or its monthly Choral Resources, which is visually more complicated than the Federal Register (but still contains no scriptural index).
If you follow the free liturgical planner closely, you'll notice you can purchase a variety of choral arrangements and special new music (copyright OCP) that match perfectly with the response, the hymnal, and the missalette (copyright OCP), which is itself integrated with the prayers of the faithful (copyright OCP) and the gospel (not yet OCP copyright). And so it goes, until you follow the complete OCP plan for each Mass, from the first "Good morning, Father!" to the last "Go in peace to love and serve others!" By making each element dependent on the next, the OCP has ensured a steady — if trapped — clientele.
Musical Gnosticism
The OCP understands this point better than most publishers. In an interview, Michael Prendergast, editor of Today's Liturgy, pointed again and again to the limited resources of typical parishes. The OCP sees serving such needs as a core part of its publishing strategy; its materials keep reminding us that we don't need to know Church music to get involved.
Lack of familiarity with the Church's musical tradition would not be a grave problem if there were a staple of standard hymns and Mass settings to fall back on. But it has been at least 30 years since such a setting was available in most parishes. The average parish musician wants to use his talents to serve the parish in whatever way possible, but he's at a complete loss as to how to do it without outside guidance. The OCP fills that vacuum.
Under its tutelage, you can aspire to be a real liturgical expert, which means you have attended a few workshops run by OCP-connected guitarists and songwriters (who explain that your job as a musician is to whip people into a musical frenzy: loud microphones, drum tracks, over-the-top enthusiasm when announcing the latest hymn). These "experts" love the OCP's material because it allows them to keep up the pretense that they have some special knowledge about what hymns should be used for what occasions and how the Mass ought to proceed.
Real Catholic musicians who have worked with the OCP material tell horror stories of incredible liturgical malpractice. The music arrangements are often muddled and busy, making it all but impossible for regular parishioners to sing. This is especially true of arrangements for traditional songs, where popular chords give old hymns a gauzy cast that reminds you of the 1970s group Chicago.
The liturgical planning guides are a ghastly embarrassment. Two years ago, for example, the liturgical planner recommended "Seek Ye First" for the first Sunday in Lent ("Al-le-lu-, Al-le-lu-yah"). In numerous slots during the liturgy, OCP offers no alternative to debuting its new tunes. When traditional hymns are offered, they're often drawn from the Protestant tradition, or else the words are changed in odd ways (see, for example, its strange version of "Ubi Caritas"). The liturgical instructions are equally pathetic. On July 8 this year, the liturgical columnist passes on this profound summary of the gospel of the day: "Live and let live."
The Middle Way?
Nevertheless, the OCP seems to have solved a major liturgical
rift affecting today's local churches. Just as every parish used to have
a low-Mass crowd and a high-Mass crowd, there are now two factions in
parishes: One wants more "contemporary" music of the sort seen in
Life-Teen Masses— loud, rhythmic, and rockish. Another wants traditional
music and sensibly asks whatever happened to the hymns of the old days.
These two groups are forever at loggerheads and have been so for
decades. In fact, most pastors are so sick of the dispute that they'll
do anything to avoid talking about music at Mass.This is where OCP steps in and serves as the peacekeeping moderate. After all, it's an established music publisher, and thanks to the missalette, it doesn't appear (at first) to be particularly partisan. Its literature contains enough traditional material to allow the liturgical team to claim they're sensitive to the needs of both the contemporary and traditional factions. Indeed, the OCP eschews the most extreme forms of grunge-metal Life-Teen music (though its Spirit & Song comes close). At first sight, it does appear to take the middle ground between two extremes. In truth, however, it's only slightly behind the curve of the most radical liturgical innovators — as it's always behind the curve in the popular styles it tries to imitate.
What about the other option of splitting up the Masses according to style, so that those who like traditional music can have their own Mass and the people who compose for the OCP can have theirs? Prendergast rejects this. Whether the style is traditional, contemporary, folk, or even "rock," Prendergast says, "everyone in the parish has to be exposed to it." And what if a pastor just doesn't like rock and other contemporary styles? Prendergast says, "I would talk to the [chancery's] Office of Worship about him." I asked whether that means he would turn this poor priest in to the bishop. His response: "I would try to arrange for him to attend a workshop on liturgy."
With a great deal of knowledge, careful planning, and conscious intent, it is possible to manufacture decent liturgies even if the OCP music is all you have. You'll have to dig to find the good hymns (10 to 20 percent in the typical OCP publications), but it can be done. It's also true that not everyone involved with the OCP wants to destroy all that has gone before. There are probably many people on its middle-aged staff who from time to time cringe at the music, just as the people in the pews do. For his part, Prendergast is sure that he thinks with the mind of the Church, and there's no reason to doubt his sincerity.
In fact, there are periodic signs of hope. Regular readers of Today's Liturgy might have been astounded to see the recent one-page article buried in its pages that urged children be taught Latin hymns and chant. "The Second Vatican Council did not destroy the tradition of chant," said the writer, who was a student of the excellent English composer John Rutter. "We can still claim our chant heritage as part of the living Church's journey into the future." Indeed we can! But the news seems to be slow in getting around the OCP office. (The same issue contained a blast against a poor old lady who read a prayer book during Mass instead of singing goodness knows what.)
What's completely amazing about the entire OCP family is how lacking it is in self-awareness. The poor quality of contemporary Catholic music is a cultural cliché that turns up in late-night shows, Woody Allen movies, and Garrison Keillor's Prairie Home Companion. It is legendary among real musicians. Ask an organist what he thinks about today's Catholic music, and you will receive a raised eyebrow or a knowing laugh.
What You Can Do Right Now
Step 1 is to get rid of the liturgical planning guides and use an old Scripture index to select good hymns that have stood the test of time (if you absolutely must continue to use the OCP's materials).
Step 2 is to rein in the liturgical managers and explain to them that the Eucharist, and not music, is the reason people show up to Mass Sunday after Sunday.
Step 3 is to get rid of the OCP hymnals and replace them with Adoremus or Collegeville or something from GIA (no, none of these is perfect, but they are all an oasis by comparison).
Update 2013 St. Joseph's Salem has St. Michael Hymnal. A step towards Sacred Music. It is beautiful and does not include changes in wording to have a static gender neutral meaning.
Finally, reconsider those innocuous little missalettes. These harmless-looking booklets may be the source of the trouble. Parishes can unsubscribe — accept no OCP handouts or volume discounts. There are plenty of passable missalettes and hymnals out there, and all the choral music you'll ever need is now public domain and easily downloadable for free (www.cpdl.org).
In his book, The Spirit of the Liturgy (Ignatius Press, 2000), Joseph Cardinal Ratzinger states clearly that popular music does not belong at Mass. Indeed, it's part of "a cult of the banal," and "rock" plainly stands "in opposition to Christian worship."
This is very strong language from the cardinal. And yet we know that many liturgy teams in American parishes will continue to do what they've been doing for decades — systematically reconstructing the liturgy to accommodate pop aesthetic sensibilities. The liturgy is treated not as something sublimely different but as a well-organized social hour revolving around religious themes.
It's up to you to decide the future course of your parish's liturgy: reverent worship or hootenanny.
Despite what the OCP might tell you, you can't have both.
J. A. Turner is the choral director of a schola cantorum and writes frequently for Crisis.
© 2002 The Morley Institute
Catholicculture.org
Monday, November 11, 2013
Add on from Bill Diss Regarding Thursday, November 14th Meeting
Is it lawful for you to scourge a man who is a Roman, and uncondemned?” (Acts 22:25 NKJV)
Dear Friends for Life, Purity and Healing,
I wanted to thank all of you for your messages last week. Some asked for handouts and I am including three different handouts that hopefully can be distributed and soon.
Some asked about signs and we will have some signs. The important thing is that the signs should reflect 1st Amendment Rights. Some examples follow:
- Civil Rights Are Not Special Rights
- Teachers are Citizens
- We Support Rights for Teachers
- First Amendment Rights ???
- Freedom of Speech for Teachers
- Freedom of Religion for Teachers
It is so ironic that I was the subject of many hearings in 2007 and 2008 at Benson because I told people I was a "teacher". An administrator and the district lawyer told me I could not even state my occupation. On the other hand the highest members of the district can say (watch video) [only 17 seconds].
Peter was therefore kept in prison, but constant prayer was offered to God for him by the church.
(Acts 22:25 NKJV)
Bill Diss
503-334-6183
A Catholic Lament: Catholic Cemeteries
VOCAL received this email yesterday. This is one Oregon Catholics opinion and experience. We are here to give people a voice for their observations that hinder our Faith.
You might consider posting the following, especially during November.
Thanks.
A Catholic Lament:
One
could do an interesting study as to how many people the former
Archdiocesan Superintendent of Catholic Cemeteries, Pat Balfe, fired, as
compared with the current Superintendent, Tim Corbett. You will find
that Pat probably never fired anyone, and that Tim has fired many.
Are
people now-a-days just incompetent slobs, as compared to people in the
not-so-distant past? No. A new inhuman and diabolical attitude has
arrived. It is that people are now not considered anything but
expendable throw away items. They have lost their human dignity and
value through a new way of thinking which is spread throughout
corporations via Human Resources departments. “HR” departments only
seem to care about corporate profits and expansion. Their only interest
in workers is how they might be used to advance the profits and
expansions of their given corporations. They have no concern for the
worker as a person. “Human Resources” in the Portland Archdiocese works
in tandem with Tim Corbett to fire, fire, fire.
This
dismissive attitude toward workers certainly does not take into account
the Christian understanding that a worker (a person) is a creature
created in the Love of the infinite God, in His Image and Likeness, and
thereby is of an infinite value, and hence cannot be treated as
something to be used and discarded at a whim.
Now,
let us look again at the former Superintendent of Cemeteries, Pat
Balfe. Pat was a Catholic. Tim Corbett, the current Superintendent, is
not. There are striking differences between the two. It is not just a
matter of how efficiently a business is run. There is more to it than
that: there is the Catholic perspective, which shows great respect for
the living as well as the dead.
One really
cannot adequately respond in a cemetery situation, where you have people
coming in, in a highly emotional and perhaps vulnerable state who needs
someone to talk to about Catholic beliefs and burial practices, and not
be a Catholic. A Catholic is truly necessary for the job. And yet,
and yet…so many non-Catholics are hired for so many positions within the
Portland Archdiocese! This is part of the reason that the Faith is not
being adequately transmitted.
We truly need
to hire people who are actual practicing Catholics, who have letters
from their parish priests attesting to their good standing in the
Church. Catholics are needed who have a true Catholic heart and a true
Catholic way of looking at things; who have a knowledge of the Faith,
and a baptismal certificate.
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