Brandon Hook

I was born in 1990. That puts me squarely in the middle of what is referred to as the millennial generation.

It also, apparently, makes me a lazy, entitled, narcissist who still lives with my parents.

But that’s beside the point. What’s more important about the date of my birth is that it places me at a distinct and pivotal point in human history: I grew up with the Internet — what they call a “digital native.”

I (vaguely) remember when the Internet got popular; having slow, dial-up that made lots of crazy noises whenever you wanted to use it; talking to other angsty teens on AOL Instant Messenger (“AIM”); downloading music on Napster and Kazaa; and then, slowly but surely, having the Internet became engrained in my everyday life as if it was there the whole time.

But, like the bratty sibling I grew up with (upon reflection, I was equally, if not more, bratty — #humility #perspective), I’ve recognized that I have a love/hate relationship with the Internet. It’s a game-changer for the human experience, so, like that sibling, I think I’ll always love it. But, for every positive, innovative element of the Internet there is an equal and opposite reaction.

It seems rare these days to find an album where each song is valuable both individually and as part of the collective whole that makes up the record. Musicians are always telling us that they “don’t want to make just a few good singles with filler,” but few are able to fulfill those lofty intentions. Wilco did it on Yankee Hotel Foxtrot, where the songs were different from themselves and anything Wilco had ever done in the past, and Animal Collective did it more recently on the 2009 album Merriweather Post Pavilion with the opposite approach: each song was unified by a cohesive and consistent sonic palette. Many point to Fleetwood Mac’s 11^th studio album Rumours as another example, and there are surely others depending on one’s musical tastes.

But I think a newer, much lesser known group has entered that conversation, and they’ve done it on their first studio release, nonetheless. Brooklyn-based Lucius have managed to craft an album with diverse songs, catchy hooks, and really powerful vocals and harmonies stick in your head for days. There isn’t a song on their debut, Wildewoman, I want to skip through. Bob Boilen of NPR’s ‘All Songs Considered’ perhaps says it best when describing their EP: “If it were possible to wear out a digital file, then my copy of Lucius' self-titled 2012 EP would now be scattered digital bits.”

Life is riddled with a smorgasbord of emotional highs, lows, tragedies, triumphs, and what might feel like monotony to fill in the gaps.

On the newest album from Seattle folk and Americana band The Head and the Heart, you can feel the wear and tear of a group who have simply experienced a lot and probably had little time to rest and reflect.

“When I think about the two records together, the first one feels like we all wanted to fulfill this dream we’d had about playing music, meeting people and traveling around,” drummer Tyler Williams told Sub Pop. “This one feels like the consequences of doing that — what relationships did you ruin? What other things did you miss? You always think it will all be perfect once you just do ‘this.’ And that’s not always the case.”

It may have taken a little bit of prodding — a little ‘you-want-me-to-do-what?’ and a lot of faith — but in the end, Congressman John Lewis agreed to go along with staffer Andrew Aydin’s out-of-the-box idea. The result: March (Book 1) — the first of a three-part graphic novel autobiography chronicling Lewis’ life and the Civil Rights Movement.

“The story of the movement that we tell is very much John Lewis’ story in this first book,” Aydin said. “It is a story of him growing up poor, on a farm, and it builds to a climax of the national sit-in movement.”

Lewis certainly has a lot to tell. He and other activists famously were beaten by police on the Edmund Pettus Bridge in Selma, Ala., in 1965 during an attempted march for voting rights — an event that became known as “Bloody Sunday.” He served as chairman of the Student Nonviolent Coordinating Committee during the height of the movement, spoke at the historic March on Washington alongside Dr. Martin Luther King, Jr., and was instrumental in the passage of the Voting Rights Act of 1965.

Aydin, who co-wrote the book with Congressman Lewis, and illustrator Nate Powell sat down with Sojourners to explain how the series came about and why it is such an important story these 50 years later.

Oddly enough, whenever I think about eternal life, Animal Collective come to mind.

That might — well, almost certainly will — need some clarification because, as many Christians might be quick to point out, shouldn’t Jesus be the first person that comes to mind, or maybe living on some clouds in a golden city or something?

Yes and no. What comes to mind when I think about eternal life is painted by Frederick Buechner’s entry on the subject in his book Wishful Thinking, which I studied for a class in college. Buechner takes religious terms and eloquently and poetically explores what they might mean.

Days before President Barack Obama's high-profile speech on drones and U.S. counterterrorism efforts, Sojourners sat down with investigative reporter Jeremy Scahill to take an inside look at U.S.-led covert wars and the drones that have become an integral part of our global “war on terror.”

His thesis?

"After years of traveling in these countries, I really believe that we’re creating more enemies than we’re killing.”

In some respects, drones are simply a new tool of old empire. Scahill, author of Dirty Wars: The World is a Battlefield and producer of the documentary of the same name, now in theaters, calls this an "unending war ... being legitimized under a popular Democratic president, who is a constitutional lawyer by trade.”

Indeed, within five years, the Bush administration's invasion of Iraq for terrorist attacks the country did not commit has transformed under the Obama administration into pre-emptive assassinations halfway around the world, for crimes citizens have not yet committed. The result, Scahill suggested, is our collective complicity to “unending war.”

Passion and purpose.

Sounds familiar, huh? Those two words are at the heart of activism and social justice. I could have safely assumed that almost every young Christian activist at the Justice Conference in Philadelphia back in February was passionate about a particular purposeful cause. I’m surprised a Christian conference hasn’t already picked up on the whole passion and purpose thing for slogan or tag line.

Christian conferences aside, I never thought those two words would be the foundation of a cutting-edge music and food festival at Merriwewather Post Pavilion, and certainly not one where 18,000 people were jamming to some of their favorite artists and scurrying over to local food trucks for healthy, delicious food in between sets. Heck, I didn’t know there was such a thing as a festival that focuses on both music and food.

I first got wind of Stornoway back in 2011 when Izzy Westbury was president of the Oxford Union during the Michaelmas term of 2011 at Oxford University while studying abroad. The group of Oxford natives were Izzy’s favorite band at the time, and she made sure to give them a chance to play that I regretfully passed up to grab a pint with some friends.

So when the opportunity arose to see Stornoway in Washington, D.C., envelope myself in Oxford nostalgia, and enjoy some good tunes, I couldn’t pass it up.

And Stornoway delivered with hopeful, honest songs about life, love, and everything in between. Delightful is probably the best word to describe their music and the experience of seeing them live. It’s like taking a deep, refreshing breath. The British quartet mix elements of beach boys-esque pop with fleet foxes’ harmonies and a low fi, organic feel.

A while back I had an opportunity to sit down and talk with up-and-coming singer-songwriter Nataly Dawn about faith and songwriting. Dawn grew up in France, went to Stanford for undergrad, and made it big on YouTube with a duo called Pomplamoose before signing with Nonesuch records and starting her solo work.

This interview was edited for length and content.

Nataly: I have to warn you, I’m in a little bit of a food coma; I just made a really big brunch. I had probably five pancakes.

Brandon: Wow. Impressive. That’s awesome.