Why it matters that many journalists struggle to grasp religion's role in 'Alienated America'

In the spring of 2016, Wall Street Journal reporters went hunting for the heart of Make America Great Again territory and ended up in Buchanan County, Va., near the borders of Kentucky and West Virginia.

Based on a variety of political and economic factors, the Journal called this corner of coal country, "The Place That Wants Donald Trump Most."

But there was a crucial fact about this Appalachian county that didn't fit into this political parable, noted Timothy P. Carney of The Washington Examiner, in his book "Alienated America: Why Some Places Thrive While Others Collapse."

"Out of 3,143 counties in America, Buchanan County ranks 3,028th in religious adherence," he wrote. "Economic woe, social dysfunction, family collapse and community erosion all characterized the places where Trump was strongest. … So did empty pews."

But what about the statistic that became a mantra for journalists explaining the New York billionaire's rise -- that 81 percent of white evangelicals voted for Trump?

"There has been a strong drive in the mainstream press to establish that white evangelicals don't actually have any greatly held morality," noted Carney, in a recent telephone interview. "The idea is that these evangelicals use religion as a cudgel to beat on other people. Their support for Trump is supposed to show that their beliefs are political -- not religious."

The most revealing faith-based numbers in this White House race came during the primaries, not in the "general election (when religious voters had only two choices, and the specter of Hillary Clinton hung over their heads)," wrote Carney. The question reporters need to keep asking is this: "Who gravitated immediately to Trump, and who turned to him only when the alternative was Hillary?"

Research into primary voting, he noted, revealed that the "more frequently a Republican reported going to church, the less likely he was to vote for Trump." In fact, Trump was weakest among believers who went to church the most and did twice as well among those who never went to church. "Each step DOWN in church attendance brought a step UP in Trump support," noted Carney.

Reporters could have seen this principle at work early on in Sioux County, Iowa, where half of the citizens claim Dutch ancestry.

There was a time when the faithful in the heavily Dutch corners of the Midwest would not have been able to sing along if the organist played the gospel classic, "Precious Lord, Take My Hand." True, some may have recognized the hymn that Mahalia Jackson sang at the 1968 funeral of the Rev. Martin Luther King, Jr., since this was the civil rights leader's favorite: "Precious Lord, take my hand, lead me on, let me stand. I am tired, I am weak, I am worn. Through the storm, through the night, lead me on to the light. Take my hand, precious Lord, lead me home."

But, by 1987 this beloved African-American spiritual had been added to the Christian Reformed Church hymnal. A generation later, it has achieved the kind of stature that puts it in the core of the "In Death and Dying" pages of the church's new "Lift Up Your Hearts" hymnal.

"When you're creating a new hymnal, you know that you have to retain all those heart songs that just can't go away," said the Rev. Joyce Borger, editor of the 1,104-page volume, produced in collaboration with the Reformed Church in America. "We're talking about the hymns that you cannot imagine living without, and 'Precious Lord, Take My Hand' certainly falls into that category now. It has become one of our songs."

Research indicates the average church may have "a repertoire" of 150-plus hymns -- not counting Christmas carols and seasonal songs -- that worship leaders can list in the Sunday bulletin and know that most people will sing them with confidence.

The challenge facing teams that create hymnals is that "core songs" will vary radically from flock to flock, depending on where they are located, the dominant age groups in the pews and the cultural backgrounds of the worship leaders. The favorite-hymn list of a World War II generation pianist from rural Michigan will overlap some, but not much, with that of a Generation X guitarist in urban Detroit.

Also, while it's impossible to ignore classics from the Dutch Reformed tradition, Borger said "Lift Up Your Hearts" also needed to acknowledge the growing diversity found in today's churches, in North America and worldwide. In the age of increased contact between believers around the world -- not to mention YouTube -- it's common for suburban American teens to return from church trips to Africa or South America with notebooks full of new hymns they now cherish.

Then there is the surging popularity of pop-rock "praise choruses," which rise and fall in popularity from year to year, if not month to month. Also, the larger the modern church sanctuary, the more likely it is to feature video screens on which lyrics are constantly streamed into view. Why would digital worshippers want to tie up their hands with analog hymnals?

The pace of musical change is one reason hymnals are being now being recreated every generation, as opposed to remaining intact for a half a century or so as in the past, said historian John Witvliet, another member of the "Lift Up Your Hearts" team who leads the Calvin Institute of Christian Worship at Calvin College in Grand Rapids, Mich.

Recent decades have seen a number of other factors that have caused musical earthquakes, he said, including a multimedia revolution in worship facilities, the global surge of Pentecostalism, the rise of seeker-friendly "megachurch" congregations that value relevance over tradition and increased ecumenical contacts between Catholic, evangelical and liberal Protestant churches

Thus, the 965 numbered selections in this new hymnal include 137 selections from its 1957 counterpart and 302 from a 1987 volume. However, it also includes at least 100 contemporary "praise choruses" and 50-plus hymns from around the world, with texts translated from 30 different languages. Every hymn in the book is annotated with guitar chords.

"There is no period of time in church history -- ever -- in which there have been this many waves of change shaping Christian worship at the same time," said Witvliet. "A generation ago, we assumed that the hymnal in the pew WAS a church's musical repertoire. No one assumes that now."

But no matter how rapid the changes, he added, hymnals are symbols that the "church needs a common body of music to help keep it united. There must be some ties that bind."