One way to find Winger (and much of rock music and culture) theologically interesting has to do with bodies. We can ask: What does rock culture model about bodies for those who partake of that culture?

For many complicated reasons, Christian theology has been invested in this question for a long time. The human body has been a site of interest, and “bodiliness” itself a site of invention, for the entire length of the tradition. The debates often center around how the body is a conduit for divinity. Christianity has contributed a remarkable share of creative means for having the body as a beautiful experience of being reconciled. It has also contributed powerfully domesticative and destructive body philosophies and practices.

Christianity has taken on as well as contributed to such creative and domesticative body philosophies and practices. Whatever else a theology of the body is about, it is always at least a theography of cultural materials in a situation for Christian use. This should make the theologian interested in what they can learn of bodies from around them in the larger culture. This is especially true of examples from the larger culture that are influential, or can perhaps be made theologically to be influential.

Thus can we come to rock with a keen theological interest, for rock culture has too always been wrapped up in bodily expression and knowledge, somatic invention, happening, wizardry, particularly in its musicianship and fan behaviors. So we can come to Winger.

To be continued…

Tom Beaudoin

New York City, United States