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Climate
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6 min read

When creation and justice converge

In a world of climate catastrophe, what does the message of Easter have to offer? N.T. Wright contemplates the hope of a new heaven and a new earth.

N.T. Wright is one of the world's best-known theologians and currently a senior research fellow at Wycliffe Hall at the University of Oxford.

On a misty beach, people comb the tide line to remove rubbish.
A beach clean in progress.
Brian Yurasits on Unsplash.

What on earth might the Easter story have to say about our climate catastrophe? What does this ancient story mean to us today, who know that the universe is fourteen billion years old and that, according to the best predictions, one day entropy will have its way with our world, leading to the universe either cooling down as it expands or rushing back together as gravity reasserts itself: the big chill or the big crunch? And what more urgently, might it mean in a world where we have woken up not only to man-made climate change but also to frightening levels of toxic pollution, in our seas, in the atmosphere? 

John’s gospel is one of the sources of that ancient story. And the way the author tells it, gives us an answer.   

A new story reflects an old story 

Like Shakespeare, John does nothing by accident. The way the author introduces the story of Easter reaches far beyond the central fact of Jesus rising again from the dead. John’s point is that with that extraordinary event a new creation is launched. And that means hope – not just for individual humans, but for all creation.  

On the first day of the week, very early, while it was still dark. That’s how John begins the story. Twenty chapters earlier, at the start of his book, he deliberately echoed the start of the book of Genesis: ‘In the beginning was the Word’. He has told his story in a great sequence of seven ‘signs’, representing as it were the ‘week’ of creation itself. Now, with Jesus’ resurrection, a new week is beginning: the eighth day of creation, if you like.  

It takes everyone by surprise. At the time, many Jewish people had longed and prayed for God’s new day to dawn, but nobody had imagined it would look like this – a young Jewish prophet announcing that it was time for God to become king at last, being brutally executed by the ruling authorities, and then rising again from the dead. The hope of ‘resurrection’, cherished by many Jews at the time, was the hope for all God’s people to be given new bodies to share in God’s new world, the world in which heaven and earth would at last become one. Nobody imagined that this might happen, in advance as it were, to one person ahead of time. But by the time John writes his gospel he has reflected long and hard on what it all means. When he says ‘On the first day of the week’ – which he repeats a little later, in case we missed it – he is pointing to the truth that Paul expressed when he wrote that ‘if anyone belongs to the Messiah, there is a new creation.’ With Jesus, and then with his followers, we see in microcosm that the new creation has been launched. 

Back on earth 

This truth, central to the early Christians, has long been obscured by the influx of Greek philosophy into Christian thinking. For Plato, and those Christians who looked to him to help explain their faith, the point of it all was not to renew the present creation but to leave it behind. They supposed, as many Christians do to this day, that the aim of the their faith was to go to ‘heaven’ after they died, where they would at last see God. But the central story of the Bible, stretching back into Israel’s scriptures but focused now on the story of Jesus, is that ‘heaven’ was supposed to come to earth. That, after all, is what Jesus himself taught his followers to pray. The point was not that we – or our ‘souls’ – would go and live with God. The point was that God would come and live with us.  The ‘God’ in question is the creator God. His aim, emphasized repeatedly in the Bible, is to renew his good creation, flooding it with his presence ‘as the waters cover the sea’. That is the biblical hope, quite different from that of Plato and his followers.  

St Paul insists, at the climax of his greatest letter, that this will happen through a powerful, convulsive, fresh action of God. All creation, he says, is groaning like a woman going into labour, awaiting the new world which is to be born. And he sees Jesus’ followers as themselves ‘groaning’ in their present suffering; a majority of Christians in Paul’s world, just like a significant number in our own day, were being persecuted for their faith, and Paul encourages them to see that suffering as part of the larger cosmic labour-pains. But then, he says, God’s own spirit is also groaning within us, so that the new world which is to be born will come by the same divine agency that raised Jesus from the dead. In fact, Paul’s claim could be summarized that way: God will do for the whole creation, at the last, what he did for Jesus at Easter. The message of the resurrection isn’t just about God rewarding Jesus for his own terrible suffering. Nor is it simply about there being hope beyond death for his followers. It is about new creation – a new world in which we are all invited to share, not just eventually but already in the present.  

Looking at the evidence, at the present state of the world, it might indeed seem that the promise of new creation is just a fantasy. But the message of Jesus’ resurrection was never designed to fit into the expectations people already had. Everybody knew perfectly well that dead people don’t rise. The Jews believed that one day all God’s people would be raised because they believed in two things about God: first, that he had made creation and made it good; second, that he was committed to putting right everything that had gone wrong. Creation and justice converge at this point: resurrection and new creation.  

But Jesus’ resurrection, bursting into the world unexpectedly, like an important guest arriving several hours early when the family is all still asleep, adds another dimension to this. In Jesus, God himself has come forward in time to meet his tired and groaning world halfway. When the early Christians tell the story, they indicate that this is above all else an act of love: of rescuing, re-creating love. And that love invites an answering love, which takes the form both of faith itself and of allegiance, personal commitment. It takes basically the same faith to believe that God will one day renew the whole creation, flooding it with his glorious presence, as it takes to believe that Jesus rose from the dead. And that faith is awakened, again and again, as people hear the news about Jesus and realise that it is a message of love, the love of the creator God for his wounded and weary world. 

A community of care 

With that faith, and that love, there comes as well a new vocation. If Jesus represents the long-term hope of God’s people arriving unexpectedly in advance, in the present time, then part of the point is to equip people who follow him with his own spirit so that they can be agents of new creation even in the present time. That means a vocation to be small working models of new creation: to engage in advance in the tasks of creation care and renewal, and to encourage those working to address the major challenges of global warming and pollution. We are meant to bring into the world such a measure of justice and beauty as we can, to model in communal and personal life what the creator God always intended and what will come to pass in the ultimate new creation. We are meant to be people of hope: not just people who are motivated by the personal hope of sharing God’s new world, but people through whom that hope comes true in the present time in a thousand living ways, all of them anticipations of, and hence signposts towards, that final new creation. 

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Music
6 min read

A fan’s eye view of the fall of Sean Combs

We believed he was a good guy because we wanted to believe someone was

Giles Gough is a writer and creative who hosts the God in Film podcast.

Sean Combs sits on a golden couch.
Sean Combs, 2019.
Justiceonthebeat, CC BY-SA 4.0, via Wikimedia Commons.

As the weeks-long trial of Sean ‘Diddy’ Combs draws to an end, the world at large has seen an insight into his life that we wish we hadn’t. Combs has just been convicted of transportation to engage in prostitution. Combs had pleaded not guilty and vehemently denied all allegations against him. 

Podcasters and influencers have kept us up to date with every twist and turn of the prosecution’s case, along with a jury member being dismissed and a bizarre visit from Kanye West. Trials of powerful, successful men (and it invariably is men) have become a semi-regular occurrence in the last few years. The #MeToo movement brought justice for victims of abusers like R. Kelly and Harvey Weinstein. But something about the Diddy trial feels different. For hip hop fans of a certain age, the accusations against Diddy were both shocking and hard to accept. Let’s take a deep dive into why that might be.  

For fans who are forty or older, one night looms large in the history of hip hop; the 1995 Source Awards, which distilled the entirety of the East/West coast beef into one evening. West coast rap music was in the ascendence, and New York, the birthplace of rap music and hip hop culture, was not coping with it very well.  

The atmosphere was further exacerbated when a red-shirted man, as big as a house and twice as broad, took to the stage. Marion ‘Suge’ Knight was the head of Death Row Records, a West coast label that had been hoovering up talent like Snoop Dogg, 2pac and Dr. Dre. Suge was an intimidating presence to say the least. His red shirt was a sign of his affiliation with the ‘Bloods’, the notorious L.A. street gang. It was an image of notoriety that Suge leaned into and it was well-earned. In his award acceptance speech, Suge said the most infamous lines he was ever to utter:  

“Any artist out there wanna be a’ artist, and wanna stay a star, and don't wanna – and won't have to worry about the executive producer try’na be all in the videos, all on the records, dancin’ – come to Death Row!” 

This was widely perceived as an attack against Sean Combs, ‘Puffy’ or ‘Puff Daddy’ as he was known back then. As the head of Bad Boy Records, Puffy was not content to simply be behind the scenes; he constantly interposed himself into the songs and videos of the musicians on his label. Whilst these interventions might seem annoying to some, the success that Bad Boy’s artists had achieved couldn’t be argued with, and as a New York native, the audience at the Source Awards saw Suge’s words as an attack on one of their own. So, when Puffy took to the stage later, a response to Suge’s barbs was hotly anticipated. 

But on that occasion, Puffy took a different approach. He acknowledged that he was the executive producer in question, and added: “contrary to what other people may feel, I would like to say that I'm very proud of Dr. Dre, of Death Row and Suge Knight for their accomplishments... and all this East and West [conflict], that needs to stop. So give it up for everybody from the East and the West that won tonight. One love.” 

In this interaction, we saw the aggressive antagonist Suge be met with nothing but love and respect from Puffy. It seemed like a refreshing antidote to the perception of rap music being only violent and misogynistic. Without wishing to overstate the point, Puffy showed that hip hop could be measured, mature and positive. This was an image that, until recently, had held for decades. Yes, there was a fair amount of hedonism thrown in to his public image, but that is priced-in to the cost of being a fan of famous rappers –the excess comes with the territory. For decades we have been dealing with this false dichotomy that Suge Knight was the ‘villain’, and Puffy was the ‘hero.’  

This image of Puffy as, at the very least, a decent man, was further underscored following the deaths of Tupac ‘2pac’ Shakur and The Notorious B.I.G. aka Christopher Wallace. The murders of those two impossibly talented, painfully young men, less than a year apart, represent the point from which all other historical events are judged as ‘before’ or ‘after’. One of the things that came after was Puffy’s release of I’ll Be Missing You, a song in honour of B.I.G, his most popular artist and friend. Sampling The Police’s Every Breath You Take and featuring Biggie’s widow, Faith Evans, on the chorus, Puffy evoked explicitly biblical language with lines like:   

“It's kind of hard with you not around, / know you in heaven, smiling down / watching us while we pray for you / every day we pray for you.” 

These combined with the images in the video, hands in prayer, candles, children dressed in white all served as a fitting tribute. It could have been mawkish, but it met the moment and consolidated Puffy’s good guy image in our heads. We believed he was a good guy because we wanted to believe someone was. Other hits followed, with videos filled with shiny suits and relentless dancing; it was fun, and served as a counterbalance to the grit and grime of gangsta rap. For over two decades, Puffy, now going by ‘Diddy’, had an image that fans still associated with lightness and positivity. Critics like Murs from HipHop DX led conversations painting Diddy as the Superman to Dr. Dre’s Batman. Rumours about Diddy would occasionally surface, but without the mainstream media devoting much time to them, they were easily dismissed. That was until Cassie Ventura, Diddy’s ex-girlfriend, filed a civil lawsuit. 

If there are any lessons to be learned by his fans, they’re lessons that have sadly already been learned by fans of countless other powerful and successful men.

In late 2023, Cassie’s lawsuit accused Diddy of rape and sex trafficking. These allegations were explosive, but just one day later, both parties reached a settlement. The fire of Ventura’s accusations was dampened down by the release of the joint statement a day later. It seemed as if the whole thing was over and done with before many hip hop fans could even hear the news, let alone process it. Fans of Diddy clung to shreds of denial, whilst noticing that no-one else from the hip hop community seemed to be springing to his defence. Almost as if the people who knew him in person had a very different image from that of the persona he cultivated. 

But Cassie’s lawsuit was the first crack in the dam. Law enforcement agencies began investigating, Diddy’s property was raided and by the time CNN got their hands on the surveillance video of Diddy attacking Cassie, the dam had well and truly burst. The video from a Los Angeles hotel dated March 2016, shows Miss Ventura attempting to leave one of Diddy’s freak offs 'parties'. Only to have Diddy chase her down the corridor, grab her and violently assault her. Each kick, drag and object thrown at her slammed another nail into Diddy’s reputation. The ensuing apology he posted on his Instagram was completely invalidated by his earlier statement that his accusers were making false claims in search of a “quick pay day.”  

For those that loved Combs’ music and what it meant to us, it felt like something repellent had crawled into it and died, forever tainting those songs by association. If there are any lessons to be learned by his fans, they’re lessons that have sadly already been learned by fans of countless other powerful and successful men. Firstly, the more powerful a person is, the more they can hone and control their public image, and that they must be taken with a grain of salt. Secondly, always be ready to question a dichotomy. Is this really a hero versus a villain? Or in this case, an example of two demonstrably evil men, one with substantially better public relations.  

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