In a review recently in the New York Times, Stephen Holden discussed Little Anthony and the Imperials’ recent performance in Manhattan. The group dates from the “golden age of doo-wop” in the late 1950s.

I enjoy learning about how musicians (and theologians) change over the course of their careers, especially long careers like this group’s. Looking at what those who are passionate about the importance of music or religion are able to maintain and must let go of over time gives me a sense of hope for the radically unfinished character of my own work, and more broadly, for the unpredictable character and finally open future of both religion and music.

So I was reading Holden’s review, and was intrigued to find these sentences:

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