Article
Change
Community
Development
7 min read

To a house on the hill

Why did a New York lawyer move to a Brazilian slum? Jane Cacouris talks to Luke Simone about his extraordinary story.

Jane Cacouris is a writer and consultant working in international development on environment, poverty and livelihood issues.

an aerial view of a shantytown on a steep hill side in Rio, Sugerloaf Mountain is visible in the distance
Morro da Providencia, Rio de Janeiro.

It was a hot and humid evening in 2015 and Luke had just moved into a tiny house in Morro da Providencia, Rio de Janeiro’s oldest favela, a shantytown located in the heart of the city. His new home was near the top of the hill, sandwiched between two loud and rampant drug dens. He could hear the parties and orgies happening above and below him twenty-four hours a day; his neighbours regularly firing bullets out of the windows. The noise was draining and constant. It was dark outside, and Luke sat frozen in fear, staring at a blank laptop screen by his window facing the street… waiting and praying. He had just been informed that the bandidos (drug traffickers from the main drug gang in the favela) were on their way to pay him a visit. Gossip on the street had spread that he was an undercover police officer. Why else would a white British gringo in his thirties choose to buy a house in one of Rio’s poorest and most dangerous communities?  

“After about five minutes I saw a glint out of the corner of my eye… I looked around and a number of drug dealers were arriving on the porch.” 

Faced with ten heavily armed gang members, they asked who he was and what he was doing in their community. Luke took a breath and explained that God had called him to Brazil from New York, and that he was choosing to live in Providencia because he loved the neighbourhood, and wanted to serve the community and build something for them; for their children and their young people. The gang listened. Then remarkably they lowered their guns, said “ok then”, and walked away. Luke was stunned.  

“I know what happens to people… It was a very violent time. I thought I was going to die and it was terrifying. But God turned it around...” 

The relief that he was alive quickly turned into disappointment; a realisation that despite all the sacrifices he had made to be there, he wasn’t wanted by the people he had given up everything to serve. 

Armed police patrol the favela.

Armed police stand on steep steps between shantytown dwellings

Five years previously Luke was living in New York working as a finance lawyer with a corporate law firm. He was single, his firm paid for his Manhattan apartment, and he had so much disposable income that he saved half his pay each month. Originally from the UK, he grew up going to a local church in Surrey with his family, but he’d fallen far away from God.  

“I was in a favourable position to go off the rails. And I did go off the rails.” he says. 

In 2009, the financial crash hit and having spent five years living and working in New York, Luke began to question the premise and direction of his life. Through a family member, he was put in touch with a Christian association working with street children in São Paulo in Brazil, providing living accommodation to homeless children, who were disenfranchised from their families and/or victims of abuse and neglect. The aim was to reintegrate the children where possible with their families. During a weekend visit to São Paulo, within fifteen minutes of being shown around one of the shelters, Luke had a deep conviction that this was where he was meant to be.  

 “It was not this Damascus Road moment,” he says.  “It was a familiar voice. Not someone who was needing to twist my arm or convince me. I felt I was in good hands. Even though change was going to mean going from a six-figure bonus to zero salary…. I was suddenly ready to risk everything knowing I was in these safe hands.” 

A few months later Luke moved from New York to Brazil and went on to live and work in one of the shelters for street children for several years. He talks about a particularly bleak time when one of the boys in the shelter took a dislike to him, the relationship becoming so acrimonious that Luke even began fearing for his life. Emotionally and mentally drained, feeling rejected by the children he was trying to care for, he went away for a couple of days to regroup and called his sister. He recalls, 

“She said to me, ‘Just come home Luke. Just come home.’” 

Her words made him realise that he had life choices the street kids simply didn’t have. He could choose to leave them and “go home” at any moment; home to people who loved and cared for him. The children he was working with were born without options or choices. So, Luke decided to stay, and by making that decision, hoped to model a love and commitment to those who perhaps had never experienced it. A love that doesn’t diminish or disappear, even when we turn our backs. 

Luke Simone.

A man sits on a concrete path with one leg splayed out in front.

What is intriguing about Luke’s story is not the desire to “re-purpose” his life. So many of us feel at times in our lives that we are drifting without purpose or meaning but when we look for more purpose, it tends to be either seeking fulfilment in our work - towards more wealth or influence or social legacy - or through our relationships. What is intriguing is that Luke chose to follow God’s purpose, rather than his own.  

Luke’s story is one of sacrificing comfort, wealth and status to simply do life alongside the people that society in general has given up on, and, at times, in return getting hostility and death threats from the very people he is walking with. The story is a little reminiscent of the gospel story of Jesus Christ. Although, of course, Luke will be the first to say that he’s certainly not Jesus - “unqualified”, “unprepared” and “broken” are words he uses to describe himself – but perhaps this self-awareness of his own flaws has given him the ability to rely entirely on God rather than himself, in a place where he simply has to. 

Missionaries, like Luke, are perceived by many to be the outworking of a colonial interpretation of the “Great Commission.” This refers to a number of passages in the gospel of Matthew where Jesus tells his apostles to “make disciples of all nations.” People assume this means going to far flung places and preaching about Jesus. But when I asked Luke about his work in Providencia, for him, mission is far more integral and encompassing than “straight evangelism.”  

As theologian Christopher Wright points out, Jesus was concerned with responding to the needs of people - both materially and spiritually - in the power of the Holy Spirit. The two go together and are integrated. The Book of Acts and letters of the apostle Paul in the Bible show a commitment of the followers of Jesus to preach the good news and bring others to faith, but also to live with compassion as a loving community seeking to address the social and material needs of those around them. In fact, Paul’s first of many missionary journeys was to provide famine relief to prevent starvation of the people in Judea.  

So where is Luke now thirteen years after he first left New York? He still lives in Providencia and together with his team of volunteers and a local church in Rio, he has built and runs a community house, Casa Cruzeiro (House of the Cross) and adjoining educational annex at the highest point of the favela.  

Casa Cruzeiro.

A group of buildings jostle together at the summit of a hill in a city.

On entering Casa Cruzeiro during my visit to Rio a few months ago, I was struck by the sense of peace. The community around the house is far from calm. It’s poverty at its crudest and, as Luke will say, at times depicting humanity at its darkest. Murder, rape, incest, drugs, extortion, prostitution, abuse, neglect… the list goes on. Life at the margins doesn’t get more marginalised than this. Casa Cruzeiro is a light in the darkness, a stillness in the chaos. It operates an open-door policy where anyone is welcome, drug traffickers included (as long as they behave), for a meal, to hang out, to talk, even to stay if someone needs a roof over their head. About 200 children, adolescents and adults pass through their doors each week, and some of the activities include an afterschool programme, adult literacy support, a communal vegetable garden, career counselling, guitar lessons, bible studies and prayer groups. Material and spiritual needs met seamlessly and uncomplicatedly together as part of a whole.  

A  Providencia family.

A mother sits with a toddler standing in front of her. The father appears from the side lying on his back reaching an arm out.
A family play in a Rio favela.

If you could rewind the clock by thirteen years, and make a different choice, would you? I ask Luke. He pauses, and says no, but is clear that it hasn’t always felt like an easy choice. He’s often pondered over the comfort and wealth that he left behind. But at the moment he has no plans to leave.  

And what has he learnt about God over these years in Brazil?   

When he relies on God he feels a deep sense of peace, and a conviction of God’s love in a way he hadn’t known before.  

“When God called me to Brazil, he was saying, ‘You need to know me again. I want to reintroduce myself to you. This is who I am. And this is how much I love you.”

Jesus said to His father, “Let thy Kingdom come, on Earth as it is in Heaven.” And as I walk around the safe, clean space of Casa Cruzeiro… chat with Iam over lunch, who became a Christian five years ago when reading a passage of scripture with Luke… hear about Monique, who with the team’s help, has been accepted onto a youth apprenticeship programme… look out from the roof top past the carefully nurtured community vegetable garden to the dark winding alleys and mish mash of favela shacks sprawling down the hill and into the city beyond….and watch Luke’s eyes lighten as he tells me about the young people that he and his team look after and walk through life with…  

I realise this is what Jesus meant.  

Review
Culture
Music
Race
6 min read

Beyoncé’s breaking barriers

Cowboy Carter sees the star crack her whip in the temple of the music industry.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Side by side, two rodeo riders on horses trot toward the camera. One is Beyonce, the other a cowboy
Beyoncé at the Houston Rodeo.
Beyoncé.com

I sometimes wake up in a cold sweat with flashbacks of one terrible swimming lesson at school. I had accidentally forgotten to forget my kit, so was forced to face not only the freezing water, but the spouting of ignorant prejudice from my teacher.  

“Kandiah, you’re useless,” he said, as I heaved myself out of the pool at the end of the lesson. “Although I guess it’s not your fault you can’t float like the white children. Your bones are heavier. Look at the Olympics – you never see black and Asian swimmers, do you?” 

I opened and closed my mouth a few times, like the fish out of water I suppose I was, but inside I was seething.  

Being told I couldn’t do something made me all the more determined to do it. Back in I jumped.  

Last week, in another splash aimed at proving people wrong, Beyoncé’s magnificent album “Cowboy Carter” became the first album by a black woman to top the country charts. 

On her Instagram feed she said: “the criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me.” 

It was a brave move. Back in 2016, she had received heated and hate-filled reactions when she performed her song Daddy Issues at the 50th Country Music Association Awards with the country music group Chicks, formerly known as the Dixie Chicks. Many country music fans were outraged, calling it an act of cultural appropriation. One response on social media put it starkly: “SHE DOES NOT BELONG!!”.  

But as a Texan who had been brought up around country music, Beyoncé disagreed. She would spend the next five years planning her response. Cowboy Carter proves her country credentials beyond all doubt. It’s not only about the music. It also does three important things that show the world what can be done when faced with barriers of prejudice and ignorance. 

She honours the past

The album is clearly an act of tribute to trailblazing country artists before her. Beyoncé included notable guest appearances and feature tracks and took the unusual step of sending flowers to all who had inspired her.  

Beyoncé sent flowers to Mickey Guyton, the first black female artist to be nominated for a Grammy Award in the Country category. She also sent flowers to K. Michelle and featured Tanner Adell, Brittney Spencer and Reyna Roberts on the Cowboy Carter track Blackbird, a song that Paul McCartney wrote as a response to the case of the Little Rock Nine, a group of African-American schoolchildren initially barred from attending a previously racially segregated school in Arkansas. It took the direct intervention of then President Dwight Eisenhower in 1957 to make it possible for these children to attend their school. She also included guest appearances from country music royalty Dolly Parton and Linda Martell, who both introduce songs on the album. Dolly’s introduction to Beyoncé’s reworking of Jolene is particularly poignant: “Hey Queen B it’s Dolly P”.  

The song Jolene sticks faithfully to the guitar riff from the original, but the words and the tone of this song are completely different. Dolly’s original Jolene was begging another woman not to take her man from her. But Beyoncé will have none of that. She is full of threat and menace:

“I’m warnin’ you, don’t come for my man… don’t take the chance because you think you can.”  

As Beyoncé pays her dues to the greats that have gone before, she also offers a very different picture. She can recognise the past, and yet not be imprisoned by it. She can appreciate those who have laid the foundations for a new era, unbound by cruel stereotypes.  

She challenges the present 

We don’t have to look far to see the way that western society is splintering. It is becoming harder to find common ground, harder to move from one tribe to another.  Beyoncé’s album is political in that it is deliberately breaking down a wall and smashing a division. She refuses to accept that there are no-go areas for people of colour. The album feels like Beyoncé’s famous baseball bat from Lemonade, but this time it isn’t smashing cars, but preconceptions and prejudices instead. 

There’s anger in this record. The first song is “American Requiem” and includes the line:  

“They used to say I spoke ‘too country’./ And the reaction came,/ said I wasn’t country ’nough / If that ain’t country / I don’t know what is?” 

Full of confidence and rage she asks over a bed of country music guitar chords:  

“Can you hear me? / Can you stand me?”  

Beyoncé does not disguise the ironies. The fresh anger and challenge weaves into classic forms and tropes of country music. The artist that some wanted to exclude from the genre tops the charts. The pop icon becomes an iconoclast.  The smashing of divisions makes way for the building of something new.   

She opens a door for the future

It is within living memory of many that black people were prohibited from sitting at the front of a public bus or drinking from the same water fountain as white people. Beyoncé’s Cowboy Carter is not just a smash hit it is a smash down of the boundaries of genre that had excluded her and others. With this boundary smashed the opportunity is opened for others too.  

For example, there was a recent stand-out performance at the Grammy awards watched by millions around the world – the duet between the country star Luke Combs and Tracy Chapman. Luke, a young white man, is part of a new generation of country singers with a huge following. The legendary black artist Tracy Chapman recently turned 60. The joyful performance was particularly touching as the two of them looked genuinely delighted to be singing together. The video went viral and lead to a huge uplift in Chapman’s sales. The song Fast Car rocketed to the top of the charts some 36 years after it was first released.  
 
Cowboy Carter is Beyoncé using her voice and talent to push back against prejudice and push forward to a new era. She is cracking her whip in the temple of the music industry. She is driving out those who have commandeered the space that rightly belongs to those from any and all backgrounds.  She is righteously angry at the injustice. She is declaring that country music be reclaimed as a meeting place for all nations to enjoy.  

When Jesus unleashed the whip against the tables of the moneychangers in the temple who were excluding the non-Jews the space rightly belonged to, he fiercely declared: “My father’s house is to be a house of prayer for all the nations.” He was not only breaking the barriers of the past but ushering in a new future, a future where everyone could gather together before God on equal footing. Jesus would eventually die on a cross to ensure this free access to God was available to everyone - wherever they were from, whatever they had done and whatever they looked like.  

I welcome this album by Beyoncé in that spirit of challenging prejudices, breaking down barriers, and clearing the decks for a new future equally available to all.  

If only I could have whipped myself into shape, I believe I could have been the Cowboy Carter of the swimming world forty years ago.  

 

Beyoncé in her own words

“Ain’t got time to waste, I got art to make/ I got love to create on this holy night/ They won’t dim my light, all these years I fight.”  

16 Carriages 

“Say a prayer for what has been / We'll be the ones that purify our father's sins / American Requiem / Them old ideas (yeah) / Are buried here (yeah) / Amen (amen) 

 Amen