Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

Saturday, June 14, 2008

Freundeskreiss (German hip hop)

For some reason, as I was folding laundry today, I remembered the German hip hop group, Freundeskreis. Is this ringing any bells out there?

Ohhhhh, how I loved their "Esperanto" album. It came out in 1999 (or "neun-neun" as they say auf album), and I remember listening to it in my brother's car and driving all over town just so we could keep listening to it (yeah... this was when gas was like $1.25 a gallon).

Looking back, I have to say the 90s were a remarkable time for hip hop. Ohmega Watts brought this up in Imago Dei's "Yes Yes Y'all" workshop. There was so much creativity and thought going into the genre in the 90s. It wasn't just the time of Snoop Dogg, but Digable Planets, the Fugees, Common and so much more.

This album was particularly creative. Musically, was full of tasty guitar bits and old-timey samples over mellow beats. Lyrically, what I understood of it was really fun and clever. It was multi-lingual above all-- German, French, English, Spanish, even Esperanto (the International Language, if you don't count Love like the girl in "Better off Dead" did). Only Freundeskreiss could bust three languages in one phrase and make it all rhyme.

All I have of it at this point are web samples and my brother's kasset tape. Does anyone still listen to these guys? Does anyone miss them as much as I do?

Saturday, June 7, 2008

Jesus, Kanye and me

This week I was lucky enough to get free tickets to see Kanye West's over-the-top, pyromaniacal concert in Portland. I'm big a fan of a lot of Kanye's music (fun beats and hyper-clever rhymes), but I'm not a fan of his ego trips. This show was definitely confirmation of that.

But we were still lucky to go because it was such a huge spectacle. The show had a spaceship theme (which looked SO cool!) and a story that concluded when Kanye realized he was the biggest star in the universe and that he alone had the power to send his broken spaceship back home... by rapping his most recent radio hit. Umm... yeah.

But in the midst of all the flashing lights, naughty lyrics and ego-mania, Jesus was with me. Yeah, it was kind of a surprise, but it was really cool.

Kanye has one remotely religious song that's called "Jesus Walks." Musically, it was the best-sounding song of the show, which was interesting because it was also the one where God spoke to me. Hopefully it spoke to other people too. The song starts with these lyrics (try to get past the hip hop lingo!):

"Yo, we at war
We at war with terrorism, racism,
And most of all we at war with ourselves

(Jesus Walks)
God show me the way because the Devil trying to break me down
(Jesus Walks with me)
The only thing that I pray is that my feet don't fail me now."

What clicked with me was the phrase "at war with ourselves." Suddenly I realized that I'm not much better than Kanye. I don't show my faults and my pride to the world as extravagantly as he does, but they are there. God knows they are there, I know they are there, and they are wearing me out.

A lot of times I feel like I'm at war with myself, just like good ole Kanye. Because of some weird past experiences, I usually cringe when people talk about spiritual warfare. But as I was boppin' along to the "Jesus Walks" song, I realized that it's good to see some of my own struggles as a war-- they are not to be taken lightly. In many ways, as I work to overcome the weakest parts of my humanity, I am in a spiritual war, and Jesus is with me on it. It's something I've been told my whole life, but it finally sunk in. If Jesus is with me, what can be against me? Nothing, unless I try to face it myself, which is usually pretty ineffective and exhausting.

Kanye kept going:

"To the hustlers, killers, murderers, drug dealers even the strippers
(Jesus walks with them)...
Now hear me, hear me, want to see Thee more clearly
I know he hear me when my feet get weary...
I ain't here to argue about his facial features
Or here to convert atheists into believers
I'm just trying to say the way school need teachers
The way Kathie Lee needed Regis that's the way I need Jesus."

OK, permission to laugh is granted here. I really love those last lines. They're hilarious because they're true. And I'm really grateful that they are.

Charity blogs at caridadthompson.blogspot.com.

Thursday, April 3, 2008

Livin' In The Future


Taken from a review of Bruce Springsteen & The E Street Band live at the Rose Garden, March 28th, 2008.

Pausing on the first few bars of Livin' In The Future, Bruce silences the gathered masses. A reverent hush falls over the Rose Garden, it feels like Sunday morning, crouching on the edge of a charismatic revival. Springsteen the evangelist steps up to the mic and delivers his thought for the evening. Living in Portland, you find yourself subject to any number of political rants delivered from the wrong end of an electric guitar. Most of the sermonizing you hear in the local bars and clubs falls into the cynical and ashamed to be American category, every opportunity for critique is hungrily lit upon while optimism and genuine advice for the future are often sadly lacking. Tonight you find more positivity, hope and dare you say it, patriotism in the three sentence introduction to Livin' In The Future than anything you've heard in the last year.

Bruce Springsteen is openly proud to be an American in a way which most of us are incredibly uncomfortable with. His national pride is not a blinkered, unrealistic view of all the shortcomings inherent in modern American culture, but rather a strongly held belief in the constitution and what it once meant to be an American and hold true to the American values of freedom, independence and equality. During the forty five seconds Springsteen devotes to sermonizing this evening you find yourself incredibly convicted not of American cynicism, but rather of a deeply ingrained cynicism to all things Church-related. As Springsteen says he is proud to be associated with what it really means to be an American and call us to stop complaining and disassociating and step up to embody these ideals, you hear a similar call to abandon cynicism and step up to a fuller embodiment of what God intended the Church to actually be. "Good grief," you think, almost tearing up as he sings Livin' In The Future, "Why does God always get me with Bruce?" and it is weird because afterwards, on the long walk home, you talk to Nate and he has heard exactly the same thing. Maybe, just maybe, this is the best church service you'll attend this year.

Jan Carson blogs at http://specialfriends7.blogspot.com

Wednesday, February 27, 2008

Dangerous Art


The following is an article from David Taylor, the Austin-based playwright and pastor who is speaking at our Artists' Retreat in April. He is doing some research for a symposium on the theme of art and danger and would love to get some feedback from you guys so all his information isn't coming from the South. You can reply by commenting directly on his blog at http://artspastor.blogspot.com/2008/02/nasty-ghastly-dark-disturbing-dangers.html or by commenting here and beginning a conversation with our readers and contributors. We're really looking forward to getting to know David and his wife in April.

I am beginning my research for my talk at the symposium. My given title is: What are the dangers of artistic activity? and I would covet your opinions and perspectives. Here are a few areas for exploration.

1. Think of your personal experience. What experiences of art for you have been negative or destructive or debilitating or stifling or confusing?

2. Think of your church setting. What are dangers in high church settings and in the low church settings? High art practices and pop art practices?

3. Think of sins of commission and omission. In what ways are dangers things done or things left undone? In what ways is a danger a "too much" or a "too little"?

4. Think of cultural and societal patterns. In the advance and proliferation of media technologies, how are the arts being enlisted to serve ends that do not contribute to the well-being of humans or communities or cities?

5. Think of the artist and the audience. What are dangers peculiar to the artist, separate from the work? What are dangers peculiar to an audience--from a mass audience to a select audience?

Think whatever you want. All I care is to hear what you think are dangers--past dangers, present dangers, future dangers, actual dangers, potential dangers, fantasy dangers, small and big, yours and theirs.

Lastly, for fun, in addition to any of your observed dangers, tell me a way in which you might become the one to produce something dangerous; and by dangerous I don't mean daring, prophetic, "people just aren't ready for me yet" kind of dangerous art, I mean good old fashioned, "produced by a fallen creature" dangerous art.

David Taylor blogs at http://artspastor.blogspot.com

Sunday, February 24, 2008

The Cobalt Season comes to Portland


So I sat down to write this review because one of my favorite music groups is coming to town this week, and I wanted to pimp the show. How’s that for shameless? Here goes: San Francisco-based Indie Art Folksters, The Cobalt Season will be playing at Enterbeing Thursday night, February 28.
Who is The Cobalt Season
, you might ask. I figured someone wouldn’t be in the know, so when I started considering how I would go about prostituting their music ("pimping"? "prostituting"? alright, this motif has to end), I thought I would just throw out some links to other online reviews and call it a post. In my review-writing laziness, I came across something interesting; I discovered it’s impossible to describe an artist without comparing them to someone else. Have you ever noticed that? Brian McLaren, compared TCS to the Weepies and Sigur Ros, among others. Mark Van Steenwyk likens them to the Arcade Fire and Copy (I don’t see that connection myself, but, to each his own). Had I to do it, my instincts call to Iron and Wine, a dash of Sufjan Stevens, and perhaps a less ambiguously enunciated Thom Yorke. But you can hop on iTunes and draw your own conclusions.
The musical styling isn’t the only reason you should check out The Cobalt Season; their live performance is compelling and provocative (ok, that’s a third racy-descriptor, but this one is not gratuitous). The front man, Ryan Sharp delves into critical issues of faith and living, and doesn’t settle for the cliché-ed, quick answers. As many of the live performances I have seen have been in small faith communities, often connected with Emergent Village, prepare to sit on a pillow and engage in some story-telling and culture prodding.

I’m not familiar with Enterbeing myself (the venue/community hosting the event), but the show is at 7pm and you can find out more about The Cobalt Season at www.thecobaltseason.com.

Glenn Krake writes sporadically for the ImagoDeiArts blog when he's not browsing iTunes for artists that sound like Martin Sexton.

Tuesday, February 19, 2008

Sting's "Message in a Bottle"

I heard Sting’s classic song “Message in a Bottle” on 94.7 driving into work recently and was struck by his brilliant metaphor for contemporary isolation and fragmentation. The castaway, alone and isolated on an island, throws a bottle out into the ocean hoping for rescue, but instead of a 747 coming to rescue him, or a passing cruiseliner that caught his note, he instead receives a hundred million responses from others who are likewise castaways alone and isolated on islands out at sea. The line that really struck me was “Woke up this morning, can’t believe what I saw, hundred million bottles washed up on the shore.” We reach out for connection and community thinking we're alone in feeling isolated and others out there must have the connection we long for: if only we could be drawn in. Instead we awake to the realization that most out there feel as lonely and isolated as we do. What's keeping us apart?

It was a real “Lost in Translation” moment, how we’re so often walking through cities filled with people yet emotionally feeling the disconnect of castaways on islands out at sea. When we reach out to find connection, hoping for rescue, we find instead the realization both comforting and disturbing all at the same time: that everyone else is in the same boat (no pun intended), similarly lost on islands out at sea. Sting takes on the classic "no man is an island" with the critique that we may not have a choice.

I love Sting’s brilliant and honest observation, “Seems I’m not alone at being alone, hundred million castaways longing for a home.” Its got me thankful for the family of Christ: that Christ is drawing us castaways out of our islands-at-sea, into a depth of communion (rich united life together) with the very life of God (filled with his Spirit, united to Christ, adopted into the Father’s family) and each other (the diverse body of Christ: across race, class, across history and around the globe) in the hope of God’s restored communion with creation (heaven come to earth in fulfillment of his kingdom). I'm grateful that the gospel is drawing us out of our islands of isolation into communion with God, humanity and creation. We’re clumsy and awkward trying to figure it out, and we experience it imperfectly now in anticipation of what’s coming, but we’re growing in knowing & being known by God together—a bunch of castaways drawn together into an awkward, clumsy, and beautiful family.

Why I love country music

country+music
1. Because country music reminds me of open roads, mountains, rural areas, places where you glance out the window and can see for miles and miles. In short, country music reminds me that I am very, very small. When I’m at my wits end worrying about [insert issue here] it’s comforting to recall that there is there is an enormous, all-knowing, all-powerful God who controls everything. We miss out on that feeling when we live in cities, a mere bowling ball’s throw away from our neighbors. Country music reminds me how big God is.

2. Because, as my friend Las Frijoles once said, San Antonio in country songs is always just San Antone. I've always loved that.

Saturday, February 16, 2008

Music and Place Photography Project



Hello All,
This is going to be a somewhat short and business like blog. I just wanted to call in favors and hook ups outstanding with all of you. My good friend Melanie Brown and I are embarking on an exciting art project to explore the relationship between place and the music which comes from that place. We're beginning the project with a ten piece exhibition of five photos and short interviews with Portland musicians and five similar pieces from Nashville musicians who we'll be interviewing in Nashville at the beginning of next month.

If the initial exhibition goes well we're keen to expand the project and interview/photograph musicians from other music rich cities (eg New York, Dublin, London, Seattle, LA etc.) Unsurprisingly we don''t have a huge budget for travelling all over the world so we'd love to shoot people as they pass through Portland on tour. We're looking for anyone who has contacts or knows people who know people who know people we could take pictures of. In the next few months we'd really like to shoot Bell X1, David Bazan, Rosie Thomas, Mark Kozelek, a Crib or several Cribs and anyone in the greater Portland/Nashville/Seattle area. If you might be able to help us or pass us on to someone who could we'd love to hear from you. We have lovely professional resumes and you can check out mel's photography at www.melanibrown.com. she's an excellent photographer.

the whole project hangs around the idea that community affects music and so we'd love this to be a community effort getting the shoots set up. all help will be rewarded with wide smiles, mix cds and hot mugs of stumptown, much love,

mel and jan (jan@imagodeicommunity.com)

Jan Carson blogs at http://specialfriends7.blogspot.com

Wednesday, February 13, 2008

Discover music, authors, movies: Gnod.net

COOLEST WEB SITE EVER: http://www.gnod.net/

Gnod is the "global network of dreams" and somehow it is VERY capable of telling you which musicians, authors and movies you will like based on stuff you're already enjoying.

For example, I entered "Jack Johnson" on the Music Map page and got a comprehensive map of a bunch of artists I'm already listening to (like Ben Harper, Paolo Nutini, Ray LaMontagne, Norah Jones, Sublime and The Shins), which tells me I'm going to like the artists on the list that I haven't heard yet (like Donovan Frankenreiter). It even includes odd stuff-- indy folkster Elliott Smith was on the map when I entered rapper Mos Def. It's weird that I listen to both of those artists, but I do and somehow Gnod knew that.

There's also the option to enter three of your favorite musicians to lead to to new music that's sort of a combo of the three. Now that I think about it, this tool might be where they get data to make the music map work. Or maybe they just do it by magic.

The movie and book map sections are great too. And there's something on there called Flork that lets people discover other people around the world or something. If anyone tries it, let me know how it goes.

Props to Jessica for tipping me off to this.

Praise God for Gnod! (Sorry, I couldn't resist.)

Charity Thompson
Charity blogs at caridadthompson.blogspot.com.

Grammys: 3 Most Awkward Lyrics

I’m a fan of pop-music, but some lyrics just make me uncomfortable. In honor of the Grammys this week, these have my vote for the 3 most awkward recent pop-lyric lines (congrat's fergie, yours takes the cake):

#3) “you’re on my heart just like a tattoo”: I keep having a mental image of the actual surgical operation making this happen: just TOO painful! [Jordin Sparks "Tattoo"]

#2) “you can stand under my umbrella”: I really love this song--so catchy, so “get stuck in your head”, all the way up until this point. Not sure why but I get an image of Mary Poppins in my head and just feels kind of weird cuddlin’ up to her at my age. [Rihanna's "Umbrella"]

#1 most awkward) “i'm going to miss you like a child misses its blanket”: I heard it was nominated for a Grammy for best song so its probably just me, but every time I hear this line I get an image of Linus in my head totin' around a dirty ol' blanket and I can’t help and either chuckle or cringe. Though I find this line really awkward, all said my wife and a few friends jokingly text each other this line as code that we miss them. [Fergie's "Big Girls Don't Cry"]

Its weird that it’s the “object” (tattoo, blanket, umbrella) reference that’s the point of the song that gets awkward for me. I’m sure it’s the very utilization of common imagery as metaphor for human experience that makes these such popular songs w/ broad-based appeal, but nonetheless it makes me feel like a kid in his underwear on the schoolbus (that’s pop-code for: awkward).

--

Favorite Performance
On another note, my favorite performance for the evening would definitely have to go to Alicia Keys for "No One". I only saw about 1/2 the Grammys and was half paying attention on alot of them, and I heard Kanye's (which I missed) was awesome, but Keys' definitely caught my attention: strong, classy, right-on. I already love the song, i'd have to say i find it about the catchiest recent pop-song out there in recent months, and the lyrics strike on that classic unbreakable love that nothing can come between or tear-apart (in an ethos that really gets me thinking about Romans 8:38-39 everytime I hear it ["neither hardship or famine or death, nothing can separate us..."]).
--

Wednesday, January 16, 2008

Thoughts on Loveless



How do I hear music? It’s an interesting question. I’m four hundred pages into Christopher Rick’s epic synopsis of Bob Dylan’s vision of sin and virtue. With painstaking attention to detail he attempts to analyze dozens and dozens of Dylan’s songs paying special attention to meter, rhyme patterns, lyricality and use of literary technique. Ninety percent of the book leaves me dry and distanced from the actual songs: acutely aware that the divine mystery of listening pleasure cannot be explained away by the songwriter’s artful use of iambic pentameter or a particularly devastating onomatopoeia. The other ten percent of the book drives deep into the heart of Dylan’s music, harnessing something of the lyricality, the heavy handed wordery, social commentary and wit which has elevated his music to mythical levels. There is something about the music I love most, the kind of music which feels like it is permanently anchored to the interior of my thoughts, which refuses to succumb to analysis. It is a constantly changing beauty, a difficult truth, a fluid sound which shifts with context, maturity, mood and even company.

Last night we spent a good hour in the company of My Bloody Valentine’s early 90’s masterpiece, Loveless. This record has been languishing at the bottom of my conscious for the better part of a decade. During my college years there was always a copy of Loveless propping up the pot plants and coffee mugs in some student dive or other. The record sleeve, (a terrible nineties blur of menstrual pinks and reds,) always takes me back to the days when color photocopying was still a wild luxury and had terrified me into drawing unfair assumptions about the sounds contained beneath. When Lost In Translation came out and allegiance to fuzzy guitars and static drone seemed to be a prerequisite for everyone under thirty five, I opted to get my kicks with The Jesus and Mary Chain. By the time I was ready to give My Bloody Valentine a fair listen I was twenty five years old, trapped in a gloomy basement, existing on a diet of second hand novels and mould. Occasionally I would slip in my earphones, sandwich them to my head with a huge pair of bright red industrial ear protectors and listen to Loveless until I began to blur the lines of conscious. It was the best of times and also not so great.


Three years later with a handful of friends, half of us MBV devotees, half of us recent converts, the record sounds like an entirely different slice of music. We sit back and listen to a few songs, some of the more “radio friendly” tunes plus a fair spattering of songs which might be better described as visual art. “Well what do you think?” says Nate who has been elected to steer the conversation tonight. We say the obvious things using words like experimental, difficult and even visionary. We start to swap facts. Did you know that MBV single-handedly destroyed Creation? Did you know that the flurries of sound are made by employing the following technique on an electric guitar? Did you know that MBV went through twenty odd producers before they finally got Loveless in the can? This kind of fact swapping fun could keep me up all night because it comes so easy to me. It comes from the same place as modern record reviews which seem to say less about the songs themselves and more about the reviewer’s impressive and somewhat pithy knowledge of obscure bands and records. I realize five minutes into the discussion that most of us, like Christopher Ricks, are much more comfortable with the concrete when it comes to assessing the worth of a piece of music or art. Facts are fine, guitars, amps and synthesizers perfect, rhythm, meter and rhyme schemes just dandy; after all aren’t they the mathematics of rock music? You can always prove yourself right or wrong picking out which make of guitar is being butchered or what the lyrics refer to. The abstract edge of music is a little more difficult to love.

After we pushed through the preliminaries we began to wrestle with the real dark heart of Loveless. We said things like, “doesn’t it feel like contractions?” and “I feel like I’m underwater in a bad, industrial way,” and “I forgot that I was listening to music. It feels exactly like dreaming.” We used the word feel enough times to wonder if this record doesn’t go beyond simple music to a kind of music/visual mixed media where sound can actually be shaped, felt and visualized. We did not analyze the lyrics. It is impossible to analyze the lyrics of MBV unless you have their songs on some kind of bizarro David Lynch does karaoke sing-along cd. MBV do not print lyrics on their sleeve notes. They go out of their way to create beautiful lyrics and hide them under dense, fuzzy waves of see-sawing guitars. Perhaps they want their listeners to wrestle with the abstract beauty of the whole rather than the smaller, funneled beauties of each individual part.

Later in the evening, "Only Shallow", still crunching in our ears, Nate and I retired to the Hutch for further synopsis and beer. This question of abstract beauty has dominated every one of our last three conversations and My Bloody Valentine had given us a fresh vehicle for debate. Nate takes photographs. I write stories. Both Nate and I become obsessed with these huger visions of beauty; abstract glimpses of God which come peeking through the trees when you’re content and marching in your Winter boots, the way condensation collects on a coffee mug, the inside of your head first thing in the morning. All these thoughts are abstract in the extreme. They concern God, love, beauty, truth, fear and all those other overplayed themes. They are each and every one a great concept to spend your life wrestling into art. The problem being both Nate and myself are constantly bogged down in the concrete. We take these airy, ephemeral beauties and trap them inside clumpy plot lines or fuzzy shots. Instead of distilling the bigness into something neat, fit and intense, we end up diluting the enormity of the abstract as it gets funneled through a very concrete and somewhat limiting means. Despite our every effort we find ourselves frustrated by thee end product of thin stories and distant photos. In short we are nowhere near Loveless and oftentimes crippled by fear of falling short.

Today I listened to Loveless again, walking round Portland on an uncharacteristically fine January day. Alone and moving it was a completely different record. I stopped under a tree and my head felt like a sleeping machine, lungs contracting and expanding from deep underwater. I saw the tree branches spindly armed and grasping, etched into the blue, blue sky and in a second knew the bigness of an unquantifiable beauty. This is the same kind of abstract wonder that wraps itself around God himself. The entire Bible is full of writers lost for words in pursuit of God’s beauty. Again and again the Old Testament writers fall back on simile and comparison, God is like this or God is like that. No one seems comfortable with describing God in concrete terms: no one is capable but this does not deter them from trying to capture even the smallest hem of his garment. Perhaps there is a desire in all of us to wrestle with the enormities of abstract beauty and truth, to keep funneling these truths through the art we make, art which will always fail and fall short of our intentions.

Jan Carson
(Jan blogs at http://specialfriends7.blogspot.com/)

Tuesday, January 15, 2008

::Mourning Doves In Nicaragua::

mourning+dove
Two weeks ago I sat in the Houston airport waiting for a connecting flight to Nicaragua. I accepted my fate begrudgingly, found a roosting spot and pulled out from my bag a novel my friend Anna gave me. A book she listed on her Myspace favorites called Desert Solitaire by Edward Abbey. The language I found was epic, every word a carefully hand picked berry that Abbey dutifully polished on his shirt close to his heart and carefully placed in his bucket. Berries that he’d later make into the juiciest, sweetest pie for his five closest friends. There’s a line in the book that brings me to this present moment. Late morning, sipping a cane sugar cola from a glass bottle and listening to the mourning doves from the courtyard of my hostel in Nicaragua. The sound these birds create is something nostalgic for me. As a kid I would listen to the forlorn D minor bellow of this bird outside my bedroom window like a nature’s lullaby.

In Abbey’s book he writes: “Also invisible but invariably present at some indefinable distance are the mourning doves whose plaintive call suggest irresistibly a kind of seeking out, the attempt by separated souls to restore a lost communion: Hello…they seem to cry, who…are..you? and the reply from a different quarter. Hello…(pause) where…are…you?

I’m not sure how it happened but I’m happily surrounded by friends who are great writers. I mean really great. Had they been born in an earlier century they would have been in social circles with Fitzgerald and Gertrude Stein. In fact they would’ve been Fitzgerald and Stein, hopefully without the hang up of alcohol abuse. But for me, writing does not come naturally, nor do I foresee ever rightfully owning the title of a writer. My emails are lazy, I’m a horrible typist, and my hand tires quickly when I write. My journals teeter between psychotic and pathetic. The one script I’ve been known to write well are break-up letters: passionate and from the heart. A genre of writing that, hopefully, I won’t write much more of in my lifetime.

I’ve grown to respect great writing, so Thank You Edward Abbey for describing something I’ve always felt on a molecular level, but never knew how to find the words like in the dialogue that the mourning doves share.

When I first contemplated getting a ticket to Central America to visit my friend Lisa I was a little uncertain if I wanted to go. I knew some sort of get-away was imperative for me but I have never been drawn to Spanish speaking cultures, Nicaragua wasn’t top on my list. I suspect my aversion to the Spanish language came from my youth. I grew up in a small town where the neighborhood kids who came to jump on our trampoline had names like Juan, Jesus, Hector and Lupe. They would ask me, ” Jew wanna come to my ouse for deener?”

Words like; Hola, Dinero, Que pasa and the ever-displeasing mental image of Gracias pronounced “Grassy-ass” were imbued into our everyday speech. Later in life living in New Mexico an ex boyfriend would entertain himself with the cartoon voice of Speedy Gozales, “Hey Ese, Que Pasa your Sombrero is too Beeg.”

Relaxed, in the warm morning air of Nicaragua I’m happy to declare that I am kickin it in a Spanish speaking country and I’m even growing fond of the language. Who knew. Nicaragua is the second poorest nation in the western hemisphere next to Haiti, yet somehow this country encapsulates the most kind hearted people I’ve ever met; my safety has never once felt threatened.

I theorize that the Nicaraguans serene nature is somehow woven into their infinite helix. Music plays a large factor into their chilaxed disposition a spiraling staircase of DNA comprised of musical instruments. The blend of the accordion, guitar and trumpets are like an airborne tranquilizer. To demonstrate the tender heart of these people, on several occasions I have, overpaid; sometimes the equivalent of fifty US dollars or more; the street market people, the ardent sales man, the taxi drivers and to my good luck a sympathetic smile to coddle my ignorant gringo ways come to their lips as they hand me back my money. Mind you, I have traveled a fair amount in my lifetime and this does NOT happen anywhere else in the world, especially a country as poor as Nicaragua. One evening strolling through the street markets to get a late night snack I was discussing with my friend Jonathan from Connecticut how strangely big hearted Nicaraguans were, and just then I looked over and saw a police officer with a hand gun strapped to his side kneeling down to tie the shoe of a homeless guy.

There is a Dutch woman named Dorien who heads an organization called MPOWERING PEOPLE. My friend Lisa has been working with her to orchestrate hundreds of street kids in a 45-minute play with handmade, but functional props to depict the history of Nicaragua with a message of empowerment to females and children who are often victimized by family. I saw the play last night. The kids took the stage in one of the poorest villages outside the town of Leon. I didn’t understand a lick of the language but when the Spanish Conquistadors came out of the shadows and shouted “Christiano, Christano!” and then beheaded the loin clothe clad indigenous people the walls of my heart collapsed and my eyes welled with tears. The play was captivating, something Dorien and a group of people have been working on for almost a year; writing the script, costume designing, rehearsing, and promoting. This was a huge task to organize and they managed to pull it off with flying colors.

Dorien is strong in stature with long red hair, which is often disheveled and wadded back in a messy ponytail. She looks at you with nurturing blue eyes; benevolent, and exhausted from trying to save the world. I don’t know what her religious orientation is or if she even has one, but regardless, to me she is like a Twenty-first century Jesus. When I think of what Christ looked like when He hung out with the people I think of that ubiquitous Sunday school image of Christ surrounded by and walking with the children. His comforting hand on the shoulder of one of the boys, a baby resting on his chest and all of them looking up at Him smiling, while a cotton puff cloud-like lamb rests in the foreground. That image is Dorien; replace the cloud like sheep with a mangy, emaciated, diseased and dirt-ridden dog. She sits with the sick and the poor and tries her damnedest to help anyone in need. She’s known for miles, people yell her name as she walks down the street, running after her to be near her. Dorien! Dorien!…

One day, in the same village where the play took place we went to a little corrugated tin shack of a house. An old woman a foot shorter then me with one tooth in the center of her upper gums greeted us with rib crushing hugs. She first embraced Dorien and then around the circle of people; Lisa, Dorien’s visiting parents and myself. When she came to me, she held my face with her small hands and then with one hand gestured emanating rays of light around my head. Dorien translated what she said, “You are like an Angel from heaven.”

I felt my face light up in the aura of acceptance, that sort of special feeling of confirmation that you get when babies and dogs take an instant liking to you. This “supernatural divine occurrence” happened a few times on my journey; situations where I felt singled out from the crowd as if someone from a higher place was trying to send me messages of love. On the beaches of Bonita, four of us travelers sat facing the sun, reading, listening to the oceans roar when a little boy came by and with long strands of grass he wrapped and twisted little flowers for each one of us. We gave him in exchange a little money and then carried on reading our books. Continuing to stand over me and blocking my much enjoyed sunlight he started folding another piece of grass skillfully creasing it in half and then into the shape of a cross, he handed it to me, and In Spanish he said, “This is for you.”

“O’ no, no gracias. Yo no dinero.” I said, which was actually true because Lisa was spotting me until I could get to the next ATM. He insisted and said, “It’s a gift for you”.

Now, its possible that this is all coincidence, maybe he thought I needed a cross to ward off evil werewolves under the night’s full moon, but the thought did enter my mind that maybe these are little messages from God, communicating like the mourning dove.

Hello…I Love you,..(pause)… Hello….I’m right… here….

The diminutive old women, after she pointed out my golden rays of light, started to cry and told us her daughter who is only thirty was in her corrugated tin home dying of cancer. The irony of this scenario momentarily stopped my heart. I currently struggle to make sense of my duties and place with a terminally ill stepfather who too is dying of cancer.

I felt helpless. This poor women who obviously loved her daughter greatly had no hope so I asked Dorien to please translate that if it was possible, I’d like to pray for them. It was the least I could do. In the darkness of their shack I sat on the daughter’s bed while she cried, holding her hand and her mother’s. The three of us. The room was pitch black with only a bed and an oscillating fan. I saw only the incandescent glow of their eyes and stumbled awkwardly through a prayer asking the Lord to please comfort this family and help the daughter endure any pain that may be inflicted on her body by the cancer. When I said Amen, they followed by saying, ” En nombre de Jesus Christo Amen.”

As I was leaving, the daughter cried in fear and gripped my hand piercing my wrist with her nails. After we left, Dorien quickly got on her cell phone and in Spanish arranged for a doctor to travel to the village and get the girl pain medication. The following day, Dorien went to the Nicaraguan hospital and donated her blood to the girl.

There are many questions I battle with being a Christ follower and in a way I have learned through my friend Don’s writing that it’s ok to ask these questions, like “Why are most Christians, jerks?” You see, Dorien overwhelmed me with her kindness. Her heart is the embodiment of true compassion. This kind of compassion was the opposite of my experiences in Managua at the orphanage. A missionary lady who worked as a coordinator to bring down teams from the states to help build new housing and schools for the locals and another affluent woman in her fifties visiting from the states to adopt three babies were my company for the week in Managua. It was one of those situations where immediately I knew; they were not interested in getting to know me.

Not once did I experience sincerity from them. I wondered how they could do what they did with such little structure of compassion. I suppose some people are just good people and others think all they have to do is call themselves Christians and leave it at that. Not only did they treat me poorly, but they also treated the locals poorly as if they were somehow better then everyone else. I thought of confronting them, but I don’t think they could grasp just how insensitive they were. I tried like a bullied school kid to engage in their conversations but my words would only fall out of my mouth flat in the dust. They’d turn their attention away from me and start talking to one another not even hearing me, like my words lacked breath, like I was invisible, like they were deaf, except to each other. Other times I’d try to act perky and pretend their coldness went unnoticed I’d say something like, “What time do we head to the orphanage today?” They’d talk among themselves, giggle share an inside joke, pause, look out the widow for a while to contemplate the change of weather and then lethargically say, “Oh did you say something Melanie?”

…What happened to my emanating rays of light? Did they not see them too? My failed humor was constantly taken the wrong way and instead of explaining what I meant, I took their looks of annoyance like a cockroach in my half eaten sandwich…Gulp…

When we went out to eat we’d pray before and then because something wasn’t right with the meal they’d throw a fit and demand money back. I was embarrassed to be white and embarrassed to be Christian. Even more fatal I started developing a complex, asking myself if anyone anywhere had ever liked me. I desperately needed to get back to Lisa.

Day six into the trip I started to regret ever leaving Lisa until I arrived at the orphanage. At the orphanage all my frustrations were forgotten. This is where I fell in love with Alexandria, a one-year-old baby girl. The moment I saw her the universe shifted, like the great ease of ancient tectonic plates falling into place for a temporary slumber. Somehow, I refrained myself from immediately running to her side and lifting her to the great baby gods in jubilee. Instead, mentally half present I held and comforted other children to sleep, all the while watching Alexandria in my peripheral to see if she equally noticed me. I can tell by watching her, she feels and hears everything intensely. Immediately, when she caught my eye and lifted her hands to me I felt deeply protective of her. For five days, I spent time getting to know her, and in the wake of my inability to ever remember the correct lyrics of any song; I think there’s a name for this disorder, something like, Lyrical-Popcornheaditis. I sang to her Christmas tunes, “O holy night, the stars are brightly shining…” and Paul Simons “Slip Sliding Away” and “Me and Julio down by the Schoolyard” as she fell asleep on my shoulder I softly sang… ” He said Dolores I live in fear, my love for you is so appalling I’m afraid I will disappear…slip sliding away..” not a typical infant lullaby, but I tried to exercise a constant voice around her. I noticed as the hours and the days went by the more she recognized my presence as a person of solace.

I’ve tried to pinpoint this love. I’ve been in love before, and to this day I am often weighted down by him, the “Impossible” love. I drag him with me in my mind and heart everywhere, even here to Nicaragua. This kind of love is written about in Latin countries where a man or women will love each other for fifty years and may have never even kissed one another. This impossible love of mine has warranted volumes of break up letters.

But this is not the same kind of love that I felt when I saw Alexandria. I have only been hit by Cupid’s arrow twice in my life. The knowing, when upon first sight you can actually feel the piercing of cardio flesh that aches in the voice of fate. Crossing paths with Alexandria felt more like an arrow from cupid. Through research I have learned that the adoption process doesn’t look promising; too much difficulty with the Nicaraguan government. They’re disorganized and inconsistent with the law. But, I plan to do what I can, even if I have to learn Spanish and if I can never help her find her way out of the orphanage she now inhabits part of my spirit and I will always pray for her. I hardly saw this coming when I first contemplated buying a ticket to Nicaragua. But, soaking in the sun and surrounded by the events that took place; the good and the bad, I’m happy I did.

Melanie Brown

Melanie's work can be viewed at www.melanibrown.com

Thursday, January 10, 2008

A Mortgage-paying Nation in Exile



I’ll admit I’m from lime shag carpet between my toes and biting holes in the center of processed pre-sliced cheese. And to be honest, Sergeant Slaughter supplied the bulk of my childhood moral education with his fist-pumping affirmation, “…and knowing is half the battle.” But despite my western domestication, there’s something about the dust-ridden transient life that generations of Israelis endured that resonates with me—that resonates with US. We also live in a nation in exile.
Don’t get me wrong; I’m not trying to pull a far-fetched parallel trivializing what the Israelites in exile endured. How trite and insignificant does my eight-year-old dilemma deciding between the cheese-infused hot dog and the tater-tot chili boat sound now? How can I, with my Richie Cunningham existence even begin to fathom what it would be like to spend my pre-teen years carrying family heirlooms in a knapsack perpetually following God knows what.
While I haven’t come close to experiencing anything in the same region of intensity, for some reason, I feel like something within me has that same sense of longing and of displacement.
Despite our globally-relative affluence, and sense of rooted king-of-the-mountain mentality, the United States of America finds itself in a state of exile because the United States of America is made up of a bunch of humans singing along with Bryan Adams, wishing the summer of ’69 really would last forever.
Is it just a primal obsession in me and the top 40 charts with American flags, blue jeans, and car washes, or is Bruce Springsteen really on to something when he growls out his anthemic declaration that, “Baby, I’m born to run”? It’s not just a blue-collar battle cry. We crave for something we realize we don’t have.
I know I’m not alone in this craving, because every television network has picked up on it, and has begun to feed off this nation’s obsession with celebreality (do I need to put an ® there so VH1 doesn’t come after me?). We elevate these pseudo famers and fantasize about putting them in a mansion and having them fight over a jar of peanut butter. It’s as if we aren’t comfortable or satisfied with our own realities. We’re a nation of firmly planted mortgage payers, obsessing over the green grass on the other side.
It’s why we use credit cards to try and rise above our standard of living, and why “The Price is Right” is still on day-time television: we all want something more.
In mulling all this over this past week, I think somewhere between an episode of “The Hills” and my re-reading of John Steinbeck’s Of Mice and Men, I had an epiphany. I’m not sure if it was the petty whining of the high-brows or the desperation in George & Lenny, but I realized that we weren’t meant to live migrant lives of want. Some epiphany, eh?


Glenn Krake teaches English Literature to high schoolers, and continues to lament the loss of his fourth grade pet tree lizards, Milli and Vanilli.

Life According to Kenny Chesney



My man Kenny Chesney (who even three months ago I would have derided but who I'm now comfortable calling my man) sings this song "Beer in Mexico" that's been fairly constant in my head over the past couple months. The idea is that Chesney is at this crossroads of his life (he even says as much...actually those are his exact same words) and is trying to figure out where to go next. He's too old to be wild and free but too young to be over the hill. He's asking all these questions before feeling overwhelmed (my interpretation) and saying "screw it, I'm going to sit on the beach, have a beer and worry about this tomorrow."

Anyway, the song builds to a point where Chesney asks "Should I settle down and get married or stay single and stay free?" I'm not sure if I'd ever admit it, but I've totally felt these lyrics before. Marriage = social death. No more friends, no more staying up late. Buying houses, having to spend like $200 on things like blinds and shower curtains. Dinner parties. Pot luck. Shopping. Talking about my day. Was it a good day today or a bad day today? Well what kind of day was it?

Staying single = freedom. Doing what I want. Spending money on me. Eating foods I like, never devoting more than 11 minutes to preparing a meal. Coming home and watching four straight episodes of Prison Break not because I think it's a great show, but just because I can. Emailing for hours. Reading blogs. Occasional loneliness but it's certainly offset by the freedom.

Um...what has become very obvious to me (and which is even more obvious on e-paper) is that "freedom" isn't so much being free as it is being self-centered. Me me me. I can't get outside of myself. Yikes.

This is not to say that marriage is the answer to avoiding self-centeredness. As I learned (or at least heard a sermon about) long ago, marriage is not the answer to all of life's ills. Instead, I need to focus on drawing closer to God. True freedom lies in giving my life to Him, not in being able to play video games whenever I want. What I'm doing is not good enough.

Mike Pacchione
(Mike blogs at http://sevenminusfour.blogspot.com/)

" Please don't let anything happen to her:" Jennifer Nettles



Talk to me for long enough and you're sure to hear about my toeing-the-line-between-healthy-and-unhealthy crush on Sugarland's Jennifer Nettles. Beautiful voice (and face), perfect dressy/thrift storey style combination, always seems like she's both sincere and having fun, wonderful stage presence...She even plays the tambourine (how cool is that?). She had me the first time she said "ah" (I). I'm like a PG version of those early 90s black and white Denis Leary commercials on MTV where he would obsess about Cindy Crawford. And you know what? I'm fine with that.

What I'm not fine with is where I fear her career is headed. This girl is about to be wicked famous (not always a good thing). First there was the duet with Bon Jovi. Then the tour with Kenny Chesney. Suddenly they're receiving a standing ovation at this year's Country Music Awards, culminating in the CMA for Best Duet (an award Brooks and Dunn had won six years in a row). Now JN is being picked up in the non-country world, where publications like the Boston Globe are lauding her as being "poised for breakout stardom."

In short, we're only about six months away from google searches where half the results for her name bring back sites called "Jennifer Nettles is hottttttttttt!!!!!!!!!!!!" Sigh.

Have you ever loved someone you've never met? Where there's just something about him or her that speaks to you, that makes you think you could be friends? But the problem is that we're not friends. There's no advice I can give her, nothing I can do to keep her away from the lures of stardom and power. All I can do is sit here and hope that nothing happens to her.

It strikes me that this has to be similar to how parents must feel about children --
Please don't let anything happen to them.
Please let them stay innocent.

On a deeper level, it must be how God feels about us, at least to some degree. We're His children, people He loves, people for whom He desires the very best. He doesn't want anything to happen to us.

Somewhere along the way, we screw it up. We stop believing in His plans for us, we try to go our own way, we squander our lives on things we can't take with us to the grave. Yet in spite of our selfishness, He extends us the offer: simply accept Jesus as our savior, and all will be forgiven. When I think of passages like the parable of the Prodigal Son, it warms my heart, makes me eternally grateful and filled with hope for others. Even when something does "happen" to us, we can find salvation in the Lord. We are saved.

I know it's cliche to write words like this but that doesn't make them any less true. It is so freaking awesome to feel that love. That's the most important thing of all. If God is for us, who can be against us?

Mike Pacchione
(Mike blogs at http://sevenminusfour.blogspot.com/)

Tuesday, December 18, 2007

“This Is How You Sing Amazing Grace:” Low, Doug Fir Lounge, 22nd September 2007



Lately a veteran of the live Low experience, (having chocked up three gigs in the last two years.) I know one thing and one thing only: words do not become the Low experience well. Forget the pithy vernacular usually associated with rock journalism, the witty asides, comparisons to early Smiths records, use of the term, "classic pop rock sensibilities." Low are incomparable to any other band on the planet. You can't fit them into a 250 word review at the back of the NME. Hell you couldn't fit their sound into the Columbia River Gorge so there's no point trying to catch them in a clever sentence. I imagine that if the Almighty cried, as I'm sure He does from time to time, it would sound exactly like Low.

It is impossible to describe Low's music in words. One would need to create an entire language of swirls and stomach clenches, heartbreaking crashes and guttural whines to even come close to capturing this noise. Low do something to my head, a sad wistful, ugly, beautiful something and they don't stop there. They go grabbing at my spine, my lungs, my teeth, the soft part where each of my ears folds into my skull, the palms of both hands, my very soul, (and damn it, I hate using the word soul, but sometimes no other word will suffice.) It feels wrong, excruciatingly unbearably wrong, like staring straight at the sun through magnifying glasses and refusing to blink and it's not a car crash but I can’t bare to look away. I unplug my ears and I breathe in the music and it's so sparse, so frail and fragile and slip thin that one moron with a loud, loud voice could crack the whole egg shell in two. But no one ever does. The talking people leave when Mimi Parker sings. The true disciples will glare them out of the building. They fade away or fall silent or die. No one cares. Only those whose lungs are large, who understand the need for sounds bigger than words, who sometimes feel like undiscovered caves and empty skyscrapers can fully appreciate this music. You cannot be cluttered and worship here.

And worship we do: heads bowed, eyes closed, hands clasped, minds flying through dark tunnels and black holes. We run faster than the speed of light, faster than the speed of sound, slower than time itself. We feel ancient in our ugly skins. We do not differentiate between songs. The first explosion of enormous static, clouds and clouds of nuclear rage breaking across our faces, burning the places which resist, daring us deeper into the Godless loss, and the urgent waiting for a fallout. We learn silence in the earthquake, and rebel screams in the still, small voice. We scratch into the sound looking for a comfortable place to rest, hooking our fingers around the voices, the pure, winged voices, the harmonies which roll like anesthetic over the entire room. No one drops a note. No one seems necessary. The drums, the guns, the guitars and open mouths are mere vehicles for a sound which will always be bigger than the building which contains it. Everything flows like the best kind of dream: a swimming dream with summer pianos tinkling in the shallow end. We forget everything, even our feet and the half centimeter space between our heels and the dance floor. Tiny breath sounds cushion our steps.

They sing Amazing Grace like God intended. Peeling the love from the loss, holding up the razor blades at the center of everything. The entire room is falling, dropping through dark space with no knowledge of an end. The drums are stars and constellations, sin-drenched magnets dragging everything ever downwards. Sirens stop, conversations pause, people are trees and traffic lights, full stop going nowhere. The beer freezes in the tap, holding its breath for seven straight minutes. In the bathroom both faucets drip a last anxious drip and turn to clever ice. The sound goes swirling round our ankles and we are pillars of salt and falling sadness, each limb loosed and free of joints and necessity, of anything aside from the need to pulse along with the blackness. We are lonely little children, stripped of our clever words; our hymn books and holy shoes, worshipping a bigger God even when we cannot see his face. We sing amazing grace like a brand new song, every syllable catching on the roof of our mouths. We make choirs and orchestras with our tiny voices, rising to build Heavenly towers and tunnels beneath the ocean. We leave shining faced and sleep for hours, undreaming in our separate beds.

Jan Carson
(Jan blogs at http://specialfriends7.blogspot.com/)

Thursday, December 13, 2007

The National @ Crystal Ballroom

THE NATIONAL @ THE CRYSTAL BALLROOM
By Vandoren Wheeler

It takes a couple tries to get the band’s name into someone else’s head.
“The National.”
“The Nationale?” (they add an extra letter, thinking French might give it more meaning).
“No, just The National.” The funny look means they are still waiting for you to finish your sentence.
“The national what?”
“Nevermind.”
How can you describe an adjective floating around without a noun to land on? Yet there is a form of genius in this vagueness. It gets the mind moving, but doesn’t let it settle. It could be the beginning of a familiar phrase: The national anthem, or the start of a sentence: The national trend toward less light pollution…in any case, the band’s music emerges from the mystery of its name with a clarity that captivates me.
On the advice of a trusted friend with a band-suggestion-success-rate of approximately 88%, I bought their CD Boxer the old-fashioned way about two weeks before the show. I don’t think I listened to another album until their performance. Normally, a worry of wearing off the sheen of initial sonic joy keeps me from listening to a new album obsessively. But an urgency to more fully prepare myself for the spectacle compelled me to let these songs soak in as deeply as possible before I heard them rendered live.
When a good friend told me she can’t get into the band yet because “his voice sounds like the guy from Crash Test Dummies,” I prickled at the notion that that’s the extent of her baritone associations. If you yourself want a baritone primer, start with Leonard Cohen; when ready, move onto Stuart Staples (of the Tindersticks), and then add some Barry White for diversity, or if you need what an acquaintance of mine once called White’s music: “panty solvent.” I don’t know—maybe it’s a guy thing: the thrumming of a deep voice we can approach, but not quite reach with our own.
Matt Berringer, the lead singer of The National, has a voice with a richness that makes truffles taste like cheap Hershey’s. He sings with a casual ease that tricks me into thinking I can sing along with him. The sound of it (his voice, not mine) is both calming and exhilarating. And his voice creates so much weight, it requires a good amount of instrumentation to keep it from sinking down below the surface of the song’s river.
Lead, rhythm, and bass guitar, and percussion, are supported by violins, trombone, keyboards, an occasional cello…the list goes on. Berringer’s voice sways low in its range while the music filigrees around and above it. The balance the two elements find is always weighted with melancholy, yet manages to float forward in an earned beauty. The thoughtful, clever lyrics, though decidedly sad, give me hope, since even though we are “half-awake in a fake empire,” recognizing it means we are at least on our way to waking up (“Fake Empire” from Boxer).

Minutes into The National’s set, I was transfixed. The first song built up to an astounding crescendo that turned out to simply be the foundation for the true climax. These guys don’t just play music; they are musicians. What I mean is, they approach what they do as a both a craft and an art. I adore Wolf Parade and bands of that ilk, but I’d say they care more for the verve and slosh of making music than the discipline of honing sound toward perfection. The National has not only found a unique sound, but has crafted it into an elegant and articulate precision. Another reason to admire The National’s obvious talent is that it superceded the acoustical limitations of the Crystal Ballroom, which isn’t always easy.
I don’t remember which song lifted up in my mind an image of heaven, something like a scaffolding of light. Imagine one of those models they make for urban planning: the delicate, balsa-wood buildings and tiny trees. Now imagine one for heaven, made of translucent water, or crystallized sugar, or braided joy-- whatever does it for you. For just a moment, that’s what this band did: lifted up above the crowd a sculpture of heaven.
No, I doubt the band sees it this way. But God’s glory rarely asks our permission to express itself.
The beauty of the music-- which comes from attentive listening and responding, listening and responding-- unearths a fragment of Eden’s perfection. Their sound is an approximation of praise, or the sound we will hear (become?) as we take the sadness of our lives and turn it into praise for our creator, when we are no longer limited by our feeble music educations, by our own doubts that we have the talent, time, or discipline to make music.
The sound they made that night was just so large. What I heard felt bigger than the mouths and instruments I saw in front of me; what they came up with was greater than the sum of its parts. Now, I realize what is so beautiful about a band is that it requires many people. No one person can create this, and when listening to the most moving moments of their songs, I needed to be more people to take it in; this is why what’s inside sometimes swells beyond the borders of my body. I could hear the sound myself, through the friends I went to the concert with, and through the joy in the faces of strangers singing something I’ve been needing to hear: “…so worry not, all things are well, we’ll be alright…” If you were there, I hope you remember it well. If not, come along next time.

--Vandoren Wheeler