Article
Attention
Culture
Digital
Ghosting
Psychology
5 min read

Ghosting is not immature, it’s plain cruel

The dehumanising behaviour hiding in plain sight.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

On a dark street someone checks their mobile phone for messages.

‘Do you really believe that the moon only exists when you look at it?’ 

It’s a great question. Do you know who asked it? It sounds rather Shakespearean, doesn’t it? It’s got a touch of the – ‘that which we call a rose by any other name would smell as sweet’ - about it. 

But not so.  

Interestingly, it was Albert Einstein who asked this question. He asked it again and again – unable to relax into any answer his contemporaries could offer him. He thought, at least initially, that he was asking a question about quantum physics. But he wasn’t; not really. Einstein was asking what it means to exist, what it means to be. 

And that means that he was actually asking a theological question. And I, for one, would appreciate it if we would get into the habit of asking it too, just phrased a little differently. I’d like us to ask something a little like:  

Do you really believe that the person only exists when you text them back?’ 

Yes, I’m imploring us all to take an Einstein-esque approach to the phenomenon of ‘ghosting’.  

Ghosting, just to make sure that we’re all one the same page, is the act of abruptly and completely cutting off all forms of contact with another person, offering no form of prior warning nor any kind of subsequent explanation. To ghost someone is to perform a social cut and run, a relational dine-and-dash, if you will. This, of course, can happen in all kinds of contexts – in work situations, in friendships, and in the most niche of circumstances. There’s an incredibly popular podcast, the title of which – ‘My Therapist Ghosted Me’ - is a tongue in cheek reference to one of the presenters being inexplicably cut off by their own therapist. Ouch.

And so, ghosting causes a social injury, it inflicts a heart wound. Being ghosted, we are coming to realise, is a rejection of the most absolute kind.

But where this phenomenon is reaching astounding heights is in the context of romantic relationships. The technological age in which we live, where the majority of romantic relationships are now being initiated and established online, has meant that we’ve got ghosting down to a fine art. It’s become all too easy. And apparently, nobody is immune.  

Just recently, Billie Eilish – Oscar and Grammy award winning musical genius and all-round cultural icon - explained how she had recently been the victim of an almighty ghosting. She said,  

‘it was insane. I was like – “did you die? Have you literally died?” It was somebody that I’d known for years, we had a plan (to meet) and the day of… nothing. I never heard from him again.’ 

Imagine being ignored so suddenly and completely that your first instinct is that the person must have died, only to realise – they hadn’t died, you were just disposable to them. This is happening all of the time, there’s a generation of people who are having their sense of self and of the ‘other’ defined by this very phenomenon. 

What’s incredibly interesting is that in the span of a few short years, psychologists and relationship therapists have gone from speaking of ‘ghosting’ in terms of emotional immaturity, conflict avoidance and a lack of communication skills, to regarding it as a form of cruelty and even abuse.  

It is not primarily the intent of the ‘ghost’ that is causing psychologists to speak of ghosting in increasingly serious terms. Most ‘ghosts’ are cowardly, perhaps, but not sheer evil. Rather, it is the extraordinary depths of hurt that the behaviour inflicts (intended or not) upon the person who has been victim to it.  

We are learning that there are all manner of harmful things that ghosting does to our brains and all kinds messages that it sends to our self-esteem. Namely, that we weren’t enough for that person, that we’ve failed somehow, that we’re disposable, that we misread the situation, that we misread them, that we’re deficient in almost every kind of way.  

These lies inevitably fill the gaps left by the silence of the other person. False explanations, usually of the most self-depreciating kind, take advantage of that fact that no explanation was offered by the person who hurt us. The bewilderment itself becomes a form of torture. And so, ghosting causes a social injury, it inflicts a heart wound. Being ghosted, we are coming to realise, is a rejection of the most absolute kind.  

Ghosting is the symptom of a society in which we kid ourselves into thinking that people only come to life when our thoughts turn to them or our eyes rest on them.

But I think there’s even more to it. And this is where I return to Einstein’s question, and my modern, admittedly much less cosmic, re-imagining of it. Because underneath it all, I think that ghosting is a theological issue.  

To ghost someone is to act as if they do not exist because you have averted your gaze from them. It is, therefore, to deprive them of the fullness of their existence. Or, at least, to deny it. It is an act of deep diminishment. Do we really believe that the moon only exists when it is looked upon? Ghosting forces us to similarly ask – do we believe that we only exist when we are looked upon?  

So, you see, it goes deep. It cuts to the core of what it means to be.  

Ghosting is the symptom of a society in which we kid ourselves into thinking that people only come to life when our thoughts turn to them or our eyes rest on them. If we can’t see the suffering we’ve caused, it isn’t happening. If we’ve cut someone out of our life, they aren’t existing. At least, we can behave as if they aren’t.  

One could argue that it’s a form of dehumanization, one that’s hidden in plain sight.  

And that, alongside all of the other reasons (or perhaps undergirding them), is the reason that I think being ghosted cuts us to the core; it brings into question the very reality of our existence.  

‘Do you really believe that the moon only exists when you look at it?’ 

Einstein’s question may feel a little abstract but it’s actually as tangible and personal as it gets. 

Article
Culture
Music
Wildness
6 min read

Rock ‘n’ roll’s long dance with religion

How popular music conjures sacred space.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

Rapper Stormzy raises a hand to heaven as he sings with a gospel choir on the Glastonbury stage.
Blinded by Your Grace, Stormzy, Glastonbury 2019.
BBC.

In Faith, Hope and Carnage, his book of conversations with Seán O’Hagan, Nick Cave said: “Music plays into the yearning many of us instinctively have—you know, the God-shaped hole. It is the art form that can most effectively fill that hole, because it makes us feel less alone, existentially. It makes us feel spiritually connected. Some music can even lead us to a place where a fundamental spiritual shift of consciousness can happen. At best, it can conjure a sacred space.”  

That’s because, as Elvis Presley stated during his ‘68 Comeback Special, "Rock and roll is basically just gospel music, or gospel music mixed with rhythm and blues". Following in the wake of key precursors such as Sister Rosetta Tharpe, Rock ‘n’ roll merged Blues (with its spiritual strand) and Country music (tapping its white gospel) while Soul music adapted much of its sound and content from Black gospel. For both, their gestures and movements, and sometimes the songs too, were adopted wholesale from Pentecostalism. Some, such as Jerry Lee Lewis and Sam Cooke, felt guilt at secularising Gospel while others, like Johnny Cash, arrived at a hard-earned integration of faith and music.  

All experienced opposition from a Church angry at its songs and influence being appropriated for secular ends. This opposition fed a narrative that, on both sides, equated rock and pop with hedonism and rebellion. The born-again Cliff Richard was often perceived (both positively and negatively) as the only alternative. Within this context the biblical language and imagery of Bob Dylan and Van Morrison was largely overlooked, although Dylan, in particular, spoke eloquently about the influence of scripture within the tradition of American music on which he drew. 

However, this changed in two ways. First, the Church began to appropriate rock and pop to speak about Christian faith. David Wells has explained that: “The American branch of the Jesus movement effectively started in the Haight-Ashbury district of San Francisco, but there was also a parallel development in the UK that slowly evolved from beat groups performing in church coffee-bars. By 1971, leading British Christian rock band Out Of Darkness were appearing at notorious countercultural gathering Phun City, while Glastonbury introduced a “Jesus tent” that offered Christian revellers mass and holy communion twice a day.” 

This development led eventually to the emergence of a new genre, Contemporary Christian Music (CCM) and a consequent oscillating movement between CCM and the mainstream. Mainstream artists such as Philip Bailey, David Grant, Al Green, Larry Norman and Candi Staton developed CCM careers while artists originally within CCM such as Delirious? Martyn Joseph, Julie Miller, Leslie (Sam) Phillips, Sixpence None The Richer, Switchfoot, and Steve Taylor achieved varying levels of mainstream exposure and success. 

Second, the Hippie movement expanded the spirituality already inherent in rock music through the visionary aspect of drug culture and a wider engagement with religion which included significant connections with Eastern religions but also, in part through the Jesus Movement, with Christianity. This was the period of songs such as 'Presence of the Lord' by Blind Faith, 'My Sweet Lord' by George Harrison, 'Fire and Rain' by James Taylor, 'Sweet Cherry Wine' and 'Crystal Blue Persuasion' by Tommy James and the Shondells, 'Let it Be' by The Beatles, 'That's the Way God Planned It' by Billy Preston, 'Hymn' by Barclay James Harvest, 'Jesus is A Soul Man' by Laurence Reynolds, 'Are You Ready?' by Pacific Gas & Electric, 'Spirit in the Sky' by Norman Greenbaum, 'Put Your Hand in the Hand' by Ocean, 'Jesus Is Just Alright' by the Doobie Brothers, ‘God Gave Rock and Roll to You’ by Argent, and both ‘My Life Is Right’ and ‘Try Again’ by Big Star.  

This was also the period of musicals such as Jesus Christ Superstar, Godspell and, from the Jesus Movement, Lonesome Stone and Yesterday, Today, Forever. Among the most interesting, but then relatively obscure, examples of albums connecting faith and music were Electric Prunes’ Mass in F Minor (written by David Axelrod), C.O.B.’s Moyshe McStiff and the Tartan Lancers of the Sacred Heart and Bill Fay’s Time of the Last Persecution. Gram Parsons drew heavily on the Gospel music tradition in Country Music, also taking The Byrds in the same direction, while many of the songs of Judee Sill dealt specifically with Christian spirituality.  

It was that spirit that was transposed into the feel and flow of rock and soul and it is this that gives rock and soul its affective nature.

With the majority of Soul stars having begun singing in church, many of the most effective integrations of faith and music were also found there, with Marvin Gaye’s What’s Going On and the Gospel-folk of the Staple Singers, such as Be What You Are, being among the best and most socially committed examples. Gospel featured directly with Preston, Edwin Hawkins Singers, Aretha Franklin’s gospel albums, and Green's albums from the Belle Album onwards.  

The biblical language and imagery of stars like Cave, Leonard Cohen, Dylan, Morrison and Bruce Springsteen began to be understood and appreciated. This was helped to varying degrees by explicitly ‘Christian’ periods in the work of Dylan, Van the Man and, more latterly, Cave. Dylan’s conversion came about through the Vineyard Church movement which also impacted musicians such as T Bone Burnett, Bryan MacLean, David Mansfield, Maria McKee, and Stephen Soles. 

Musicians such as After The Fire, The Alarm, The Alpha Band, Burnett, The Call, Peter Case, Bruce Cockburn, Deacon Blue, Extreme, Galactic Cowboys, Inner City, Innocence Mission, Kings X, Lone Justice, McKee, Buddy & Julie Miller, Moby, Over The Rhine, Phillips, Ricky Ross, 16 Horsepower, Mavis Staples, U2, Violent Femmes, Gillian Welch, Jim White, and Victoria Williams rather than singing about the light (of Christ) as CCM artists tended to do, instead sang about the world which they saw through the light (of Christ).  

As rock and pop fragmented into a myriad of genres, this latter approach to the expression of faith (which was first articulated by Burnett) continues in the music of Belle and Sebastian, Eric Bibb, Blessid Union of Souls, Creed, Fay, Brandon Flowers, Good Charlotte, Ben Harper, Held By Trees, The Killers, Michael Kiwanuka, Ed Kowalczyk, Lifehouse, Live, Low, Neal Morse, Mumford and Sons, Joy Oladokun, Revolutionary Army of the Infant Jesus, Robert Randolph and the Family Band, SAULT, Scott Stapp, Sufjan Stevens, Stormzy, The Welcome Wagon, and Woven Hand. 

With his latest album Wild God, Cave is using rock music to conjure sacred space. ‘Joy’ begins, “I woke up this morning with the blues all around my head” but its key moment of transition comes when he falls to his knees calling out “have mercy on me please” and “a voice came low and hollow” saying “we’ve all had too much sorrow, now is the time for joy”. In ‘Wild God’, the antidote to “feeling lonely” and “feeling blue” is to “Bring your spirit down” so that He moves “through your body like a prehistoric bird”. 

In his examination of the roots of rock and roll, James Cosby notes that the entire purpose of Pentecostalism was to play music that most let its adherents feel the Holy Spirit in their bodies. It was that spirit that was transposed into the feel and flow of rock and soul and it is this that gives rock and soul its affective nature. This is where “the heart, joy and sheer exhilaration of rock 'n' roll comes from” and it may also be “one of the best examples of America’s ability to draw from both the sacred and the secular”. 

 

Many of the artists mentioned above feature on the author's Closer to the Light playlist on Spotify.

 

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