Wednesday, December 17, 2008
Tuesday, December 2, 2008
Our God reigns. Stand in awe of the work of his hands.
Tuesday, November 4, 2008
Today we're six weeks and five days pregnant. We got the ultrasound done yesterday. The picture above is a baby in the sixth week of development. I didn't have the ability to scan our actual ultrasound picture, so I ripped this one off google images, but it's almost identical to the picture we have on the fridge of our own little less-than-one-centimeter baby. The amazing thing is that even at this early stage, we could clearly see (with the doctor's pointing finger) the little guy's heartbeat (or, maybe girl's heartbeat).
The miracle we want to point to at the end of these seasons of drought isn't a breakthrough in medicine, it's the One who gives and takes away. If our lives, our getting pregnant or not getting pregnant, can somehow point to the real Miracle Maker, then we'll stand in awe of Him and be satisfied.
Medicine's great... but... this is a true miracle.
Sunday, October 12, 2008
And faith is really what evolution boils down to. A scientific "theory" by definition is something that makes a grand prediction based on evidence that has been tested, repeated, and observed. Despite what evolutionists want you to believe (again, a key word), their own "scientific theory" is far from meeting these most basic scientific requirements. Furthermore, when evolution is used to explain not just the biological world but the big three questions of life (How did I get here? Why am I here? Where am I going?)- particularly these last two- then it is no longer operating in the realm of science but of philosophy. And that's a problem for a lot of really significant reasons.
First of all, that's not what science was ever meant to do. That science is now casting predictions and theories beyond the realm of nature will have dire consequences in the near future (did I just use the word "dire"?). Observing the chemical makeup of a star is one thing; telling us that because the star is 10 billion light years away, we see it, therefore the universe is at least 10 billion years old, therefore the Bible is false, therefore there is no God, therefore... well that's quite a different system from science altogether.
Second, the idea that evolution should explain belief is a contradiction in terms. You don't explain beliefs; that's what makes them beliefs. I can give you astounding evidence for the Creator God of the Bible, but I don't expect that will make you believe (as telling as the evidence is). Belief is not a realm of understanding; it's a matter of faith.
While there's a lot more to say, as I've been trying to sort through this issue lately, the bottom line seems to be this: evolution is not a theory, it's an alternate faith- a faith in a world without God. The faith of evolution gives naturalists (again, a philosophy) a "way out" from the God problem ("God delusion," as leading atheist/evolutionist Richard Dawkins called it). Dawkins is famously quoted saying, "Darwin made it possible to be an intellectually fulfilled atheist." In other words, science has found a way to explain- intellectually- all the things that centuries of brilliant men (i.e. Newton, Pascal) understood to be acts of a Divine Intellect in a great, foreseeing Creator. In his book, The Blind Watchmaker, he says, "Nearly all peoples have developed their own creation myth, and the Genesis story is just the one that happened to have been adopted by one particular tribe of Middle Eastern herders... Modern theologians of any sophistication have given up believing in instantaneous creation... The one thing that makes evolution such a neat theory is that it explains how organized complexity can arise out of primeval simplicity." (Dawkins, 450-451)
Evolution is evolving from a scientific theory to an all-encompassing worldview that requires faith in evidences unseen... that sounds a lot like a religion to me, and considering the repercussions of that are a little bit scary.
Thursday, October 2, 2008
Tuesday, September 23, 2008
Sunday, August 31, 2008
The word "peculiar" here probably means, "set apart" or "particular" people- those who are God's own. But I find that our contemporary meaning rings true as well: God's people are peculiar; as in, "strange" and "unusual" people- especially when they're praising Him.
This is a topic close to my heart, and something I've wanted to write about for a while but haven't made the time. As a worship leader, I know perhaps better than many how "peculiar" God's Church can be when they "show forth [His] praises."
Every evangelical church that I've led worship in, no matter how big or small, how charismatic or traditional, how old or young- every church seems to have the same un-usual suspects:
- There's the stoic gentleman who usually sits off to one side (rarely in the center section, unless it's on the extreme aisle). His job is to examine everything that's done in the service through a theological or philosophical lens and ask "why" questions after the service.
- There's the pact of senior citizens who, bless their hearts, just want to see and hear something familiar. They sit together in the back (so the music won't hurt their ears) and center (so they can see the pastor).
- There's the high school student who was dragged out of bed five minutes before the service started. He and his family sit in the back and off to one side because they're usually late.
- There's the charismatic hand-raiser and somewhere behind him/her is the reluctant hand-raiser. The first chord hits and the charismatic's hands are in the air ready to praise God while the reluctant hand-raiser begins to break out into a cold sweat as he prepares to overcome his fear and raise his hands- a warm-up process that will take 2-3 songs.
- The girl who dreams of being a pop star and styles everything she sings with Mariah Carey trills and slides.
- The compulsive harmony-singer. Usually this is a girl, but I've known some guys too. They love harmonies so much they'll add them even when they don't belong.
- There's the defiant man or woman who disproves of "contemporary" music and so makes that known by crossing his/her arms, stares daggers at the leader, and refuses to sing. For some reason (to make a statement?), nine times out of ten this person sits front and center.
- There are the sing-loud-and-proud-even-though-I'm-tone-deaf people who are distributed equally throughout the room (and we love them for it).
- The weepy worshiper. This person wears his/her heart on their sleeve and sings through tears each and every Sunday, blotting his/her eyes during instrumental breaks.
- The opera-trained worshiper. They come in both male and female, but they could be a block away and still out-sing everyone else in the room (including the people on microphones). When there are hymnals involved, their eyes are glued to the page as they perfectly execute the four-part harmony written for them.
- There's the sincerely broken and hurting person who's just lost a loved one, has had a hard run in life, or is otherwise downcast. They cry in worship not because they're a weepy person, but because it's the first feeling of comfort, safety, and hope they've felt all week.
- There's the family with young kids who struggle to make it to church on time because of the mile-long "kid checklist" they had to accomplish on their way out the door (everyone's brushed, fed, wearing all items of clothing in the appropriate places, etc). Their singing is faint and tired because they feel like shipwreck survivors before church even begins.
- The junior high love birds, holding hands during church. They don't hear a thing all day... but they're there and sometimes their lips are moving to the lyrics.
- The sign language lady. This is sometimes a man, and almost always a charismatic congregation, but this non-deaf person worships with their hands, signing every word as they sing, much to the fascination of everyone within eye-shot.
- There's the gigging musician in the congregation who thinks about issues related to showmanship, sound engineering, and production during worship. He's the guy who sits halfway back and worships while he watches like a hawk every chord the leader plays on the guitar.
- There's the lovable but strange guy who is so awkward in worship that he often makes a scene during the music portion of the service (but those who know him don't even notice after a while). He has a deep love for the Lord and a big heart, just no self-awareness.
- There's the comatose worshiper (who is easily confused with the meditative worshiper, below) who looks like he's about 3 seconds away from death. He either doesn't sleep on Saturday nights or he has the personality of a wall. Tip for worship leaders: nothing you can say or do will shake this guy up, so it's best just to leave him alone.
- The meditative worshiper is the guy (or girl) who stands perfectly still with his eyes and mouth shut; he looks like he's asleep but you know his heart is meditating on the Lord by the occasional eyebrow furrow (he's thinking, not sleeping).
- The worship leaders in the room are basically a conglomeration of all of the above. Ironically, we're probably the worst people to have to lead in worship because we're aware of all of these things going on around us (which you can imagine makes it a little hard to focus).
I've tried to quit worship ministry twice in my life (the grass is greener; pride; tired of confrontation and other reasons typical to ministers). Both times the Lord gently broke my pride and called me back, but do you know what He used both times to bring me to that place of breaking?
Take a look:
That's 1,000 voices singing to God Almighty, in all of their peculiar ways, with all their quirks and craziness- brokenness and all- opera singers, harmony singers, tone deaf singers, and all the rest. God used that very sound- the sound of his children worshiping- to break me and affirm my calling to this ministry. It's beautiful. There's no other sound like it, and I pray I live and die with its echo in my ears.
Tuesday, August 19, 2008
A new (at least to me) underground/indie artist caught my ear this morning. His name is Bon Iver. If you're a fan of mello acoustic guitar, raw, imperfect but soulful indie artists (perhaps in the Glen Hansard vein), Bon Iver might be your man. Check out the two songs on his myspace page: http://www.myspace.com/boniver
and see if you agree.
Tuesday, August 12, 2008
The ever-so proper Lawrence Jamieson (Caine), is a master of con artistry. He has no time for chasing smaller victims; his eyes are roaming for extremely wealthy and wounded prey. When he finds such a woman, he plays on her compassions, telling her that he is a prince from an impoverished country and only- say $50,000- will save his people. In tears of sympathy, the woman gladly serves the greater good and helps his cause. Now $50,000 richer, Lawrence simply picks up and moves on to the next town.
Freddy Benson is in the same line of work, but is far less suave. He's more a hustler than an "artist." He's satisfied, for a while, with smaller game- a free dinner here, $20 there; but when chance leads him to the same wealthy town as Lawrence Jamieson and he sees the British con-artist making 10's of thousands of dollars, his appetite changes.
Knowing that Lawrence is the far superior con, Freddy asks him to be his mentor. Lawrence, unhappy with the new competition for his turf, decides to take Freddy under his wing with the secret ploy to drive Freddy away to greener pastures. "Perhaps," Lawrence thinks, "the best way to rid myself of this nuisance is to bring him closer." And so the training begins. Freddy learns to slick his hair back; to glide in his walk; to suavely tuck one hand in his coat pocket while the other hand raises a glass of champagne to the sapphire moon... And again, comedy ensues....
But sooner than later, it becomes clear to Freddy that Lawrence is taking advantage and not treating him with fairness. When working a "victim" together, Lawrence schmoozes the lady while Freddy is forced to play the mental monkey-brother, Ruprecht (see youtube clip on sidebar).
So, their feud will be resolved, the two decide, by a not-so-friendly competition: after agreeing on a woman, both will go to work trying to win her affections (and her wallet) while pretending not to know each other. Whoever gets her will be declared the winner. Freddy approaches their target as a paraplegic war vet who's grandmother is on her death bed and in need of surgery money. Lawrence, playing along, becomes the renowned German psychiatrist who alone can cure Freddy of his disorder, emphatically stating that Freddy's is a psychosomatic, not neurological, paralysis. So a battle of wits begins as the two cons try to out-con each other in order to win the prize.
(Warning: the next paragraph will spoil the movie for you if you haven't seen it and plan to)
After continually upping the stakes and nearly destroying each other, the two cons arrive separately at the same airport where the woman has fled. Both come with a different story about why the woman they've been chasing is now getting on a plane and about to take off. By the time the two cons realize that the woman they were chasing had been playing them from minute one, the plane was already in the air. She had spun them around to dizziness and proved to be the better con.
It's a great comedy with a surprising twist (well, now that I spoiled it, maybe not so much). But it's definitely a classic 80's movie in my book- well worth owning on DVD.
Tuesday, July 29, 2008
Ted: "Strange things are afoot at the Circle K."
I watched this movie religiously as a kid. It became the first movie of my young life that I could quote from beginning to end without missing a beat. In fact, I even learned how to play most of the soundtrack on the guitar. That's how much I loved this movie.
In 1988, Bill S. Preston "Esquire" and Ted Theodore Logan are dim-witted students at San Dimas High School whose only dream is to have a most triumphant rock band ("Wild Stallions"). But the band is going nowhere because, while they practice a lot, neither of them actually know how to play an instrument. And as for their high school career, they are destined to "flunk most heinously" unless they get an A+ on their oral History report. If they flunk out of school, Ted's father will send him to Alaska for military school, which would be the end of the band- and, as it turns out, the end of world civilization as we know it today in 2688.
While Bill and Ted are still contemplating the most "non-triumphant" possibility of flunking out of school and losing their band, Rufus (2688/present day) is getting into a time-traveling phone booth to begin his journey back to 1988. There he will help Bill and Ted get an A+ on their report and thus save the world as he knows it. If the band falls apart, the basis of their whole culture in 2688 will be lost (perhaps similar to America without the historical influence of Greece).
Only hours before their report, Bill and Ted travel back in time to capture "personages of historical significance," including Abraham Lincoln, Beethoven, Genghis Khan, Napoleon, Joan of Arc, Sigmund Freud, Billy the Kid, and Socrates (pronounced "Soh-craytes"). Each of these figures from history speak in Bill and Ted's oral report, earning them an A+ and a second chance to make their own history through the music of Wild Stallions.
It's a ridiculous movie even in its day, but it's good fun nonetheless.
Next up: Dirty Rotten Scoundrels
Party on, dudes...
Wednesday, July 23, 2008
It's about a guy and his girlfriend trying to settle down into a new house, but the house they buy has problem after problem (thus the house is called a "money pit"). I thought the plot was promising, especially being a relatively new home owner myself and understanding the woes of home maintenance. And it was mildly entertaining and somewhat funny in parts... But in the end, it's just a dumb movie.
It's really not worth much more discussion...
Next up: Bill & Ted's Excellent Adventure
Tuesday, July 22, 2008
David (Broderick) is an underachiever in school but brilliant with computers. He hacks his high school database to change his F's to A's; he hot wires phone booths to bypass the need for quarters; David does not wait until next spring to play the newest games, he hacks into the game programmer's computers and plays them before they're publicly released.
The trouble begins when David is scanning (hacking) random computers in search of new games and stumbles upon one system with a whole list of password-protected tactical war games. After some research, he finally cracks into the system and chooses to play one of the games on the list: "Global Thermonuclear War." David and his girlfriend Jennifer (Sheedy) laugh innocently as they play, launching missiles from the Soviet Union to the U.S. and moving submarines and jet fighters into attack formation around Los Angeles and Seattle.
But as it turns out, the game they hacked was not a game; it is a sophisticated war simulation program of NORAD's supercomputer/defense system. Meanwhile (in real life), believing the nation to be under heavy nuclear attack, the U.S. Department of Defense prepares its nuclear arsenal to respond in kind.
Soon realizing the Pandora's box he's opened, David attempts to shut the game down but to no avail. The "game" simulation he started is designed to play out war strategies, learn from its tactical mistakes, and play until it wins. In this case, winning means the annihilation of the U.S.
And so a battle of wits and a race against the clock begins: David must escape FBI custody long enough to stop the computer and convince the General not to return missile fire on Russia and begin WWIII.
My synopsis has massive holes, but it really is a clever movie- sure to keep you on the edge of your seat. Well worth the price of admission when it comes back to theaters in August for a 25-year anniversary showing.
Next up: "The Money Pit"
Monday, July 21, 2008
Suddenly, 13-year old Josh (David Moscow) is transplanted into a 30-year old body (Tom Hanks). Now living life as an adult, Josh must get a job, pay for an apartment, and make new friends- most of all in the arms of corporate-ladder-climbing Susan, an unhappy middle-aged woman who finds her own “inner child,” so to speak, in a relationship with him. Josh finds success as a toy designer (naturally) and finds equal success as a lover. But ultimately, with the help of childhood best friend Billy, Josh remembers that the adult life and the ladder he's climbed is just a convenient lie and that his real place is home, playing stick ball, riding bikes and singing “shimmy shimmy coco puff” with his buddies. Once again at the Zoltar machine, his wish is granted: “I want to be a kid again.” The transformation takes place as he walks down the street toward home- all to the swelling accompaniment of strings. A touching ending to this fantastic story.
Tom Hanks is brilliant, the writing is fantastic, the music will make you want to cry, the message is profound... Remembering my disclaimer, I must say this is one of the GREAT movies of our generation. If it's been a while, you really should watch it again.
Next up: Wargames.
Sunday, July 20, 2008
Part 1 is the coming-of-age story of Daniel Larusso, a Jersey teen who moves to the suburbs of California and meets the elderly Mr. Miyagi, his apartment’s maintenance man and, as it turns out, karate master. The story is about how Daniel overcomes the hateful rage of his bullying classmates with a defense of honor (which requires a swift kick to his opponent’s face called the “crane” technique). Elizabeth Shue plays Daniel’s “flame” as it were, but “Johnny,” Cobra Kai Dojo’s top student and Shue’s x-boyfriend, stands between them. The drama climaxes at a karate tournament where honor overcomes revenge (Daniel son lands a peaceful front kick to Johnny’s nose and is thus crowned champion).
In Part 2, Mr. Miyagi receives a letter informing him that his father is gravely ill. Daniel, being Miyagi’s closest friend, goes with him to Okinawa to lend support in his time of mourning. While in Okinawa, Miyagi faces his past: a woman whom he had loved and those who had stood between them decades ago. Meanwhile, Daniel falls in love with a girl and spends the better part of the movie defending her honor. In the final fight-to-the-death scene, Daniel defends her, defeating the vengeful foe with a honk of the nose (as Miyagi modeled at the beginning of the film). In my opinion, Karate Kid’s Part 2 is typical of most part 2’s: a waste of time except as a bridge between outstanding parts 1 and 3.
Part 3 was always my favorite as a kid. Daniel and Miyagi return from Okinawa only to find their apartment complex has been sold, leaving Miyagi without a job and both without a place to live. As the two are getting started on a new life selling bonsai trees, John Creasy (the bad guy from part 1) wants revenge and calls in a favor from friend and fellow karate superstar, Mr. Silver of the Cobra Kai Dojo, to destroy Miyagi and his naive student. Mr. Silver comes as a wolf in sheep’s clothing, deceiving the appetative Daniel into leaving the more passive method of Mr. Miyagi (who refused to train him for a tournament) for his own more aggressive fighting method. Of course a new girl is introduced, one who knows better of Daniel, even when he loses his way. Together, she and Miyagi try to remind Daniel of who he is, but he's caught hook line and sinker by what his new pal has empowered him to be. At a turning point, Daniel realizes his mistake and tries to leave Silver’s dojo but finds himself in the middle of a fight against three Cobra Kai masters. But don’t worry: the 180-year old Miyagi comes and beats them all into submission and then agrees to train Daniel son for the tournament. In the end, Daniel wins by a take-down/punch combo and the crowd goes wild (after having his rear handed to him for 12 rounds).
The perfect start to the Summer of 80’s Movies, I must say.
I leave you with a quote from Mr. Miyagi: “For person with no forgiveness in heart, living even worse punishment than death.” Think on that, friends... Think on that...
Next up: Tom Hanks in "Big."
Friday, July 18, 2008
That's why I'm declaring this the "Summer of 80's Movies." The goal is simple: pop some popcorn, watch as many 80's movies as possible in the next month, blog about them, and hear your comments. And of course movies are more fun with friends, so you are more than welcome to pull up a chair and watch them with me if you're so inclined.
I was born in 1982, so I only vaguely remember a handful of 80's movies from my childhood. That means that I need your help in choosing a movie list. I will do my best to get through them all this summer, but I'm sure there will always be more movies than time. They don't all have to be "classics" either, just reminiscent of that era.
Here's the list so far:
1. Back to the Future (trilogy)
3. Summer School
4. Stand by Me
5. The Karate Kid (trilogy)
6. Ferris Bueller's Day Off
7. Ghostbusters, Part I
9. The Money Pit
10. Wargames (which I saw is making a 25-year anniversary appearance in theaters soon, parenthetically)
Just post your suggestions and I'll get started this weekend.
First up: Karate Kid, parts 1, 2, & 3.
Sunday, July 13, 2008
There have been times as a songwriter when I have inadvertently "written" a song that's already been written. It may be a song I heard months ago, one time, forgot about, and then watched it subconsciously re-surface through my own pen. I innocently call the song my own, but really it's someone else's idea regurgitated.
But there have been other occasions when I've purposefully modeled my writing after a song I admire, or even written a creative "response" to that song. This is common practice among contemporary poets- reflecting and reacting to each others work in writing, and to a lesser extent this is true of music as well, but the majority of mainstream musicians are too self-centered to notice other artists' words, much less learn from them or pose an intelligent response.
In both cases above, I take a great song, chew on it, and spit it back out with my own pen. In one case accidentally; in the other, on purpose.
I have a theory that I need your help testing. In order to do so, you'll need to download "I Am Still Running" by Jon Foreman (it's well worth it, I give you my personal money-back guarantee). You'll also need "Running to Stand Still" from U2's Joshua Tree, but I assume you already have at least one copy of that on your shelf.
Whether accidentally or purposefully, subconsciously or artistically, Jon Foreman has re-written U2's classic "Running to Stand Still." The idea first struck me on the way to lunch this afternoon, listening to Jon Foreman's song from his new "Winter" EP. Testing my hypothesis, I repeatedly swapped CD's from Jon Foreman to Joshua Tree; Joshua Tree to Jon Foreman, back and forth and back and forth. What caught my ear? Well, below are the reasons why I believe Jon Foreman has purposefully (not accidentally) written a contrapuntal response to U2's "Running to Stand Still."
Beginning with the surface issues, then digging deeper as we go:
1. The title. "Running to Stand Still" and "I Am Still Running." A play on words? Still (motion)/still (time)? There's a striking similarity in the title, and even more striking counterpoint; to me, the titles suggest the same truth in harmonic perspectives: sinful addiction raging for escape on a "steam train" of deliverance (running from sin, but standing still), and addiction still hoping in a deliverer (still running from sin, or perhaps, standing still in "open arms"). Remember that musical term "counterpoint" (two or more melodies harmonically intended to be played at the same time)- it will be important again later...
2. Jon Foreman, as you know, is the lead singer and principle songwriter for Switchfoot. Bono has already been popularly referenced in their song "Gone" ("Hey Bono, I'm glad you asked- life is still worth living...") and Jon names U2 as one of his top two influences (second only to Elliot Smith). We know that Jon Foreman has been influenced by the Joshua Tree album, so it's not hard to believe that he may have admired and modeled his song after "Running to Stand Still."
(Digging deeper into musical analysis):
3. Both are in the key of D major.
4. Both employ a slow, driving train feel.
5. Not only are both in the key of D, both follow an almost identical chord pattern: I - IV in the verse and chorus; I - IV - bVII in the bridge (which is not common in pop music). U2 adds a V chord, which is mysteriously missing from "I Am Still Running" until the end of the bridge. Also, Jon Foreman adds a ii chord, which is not found anywhere in "Running to Stand Still." Nonetheless, the principle chords are identical.
6. Both are track 5 on their respective albums. Coincidence? I remember reading an article a long time ago about artists who purposefully place important (or favorite) songs on a certain track number with every CD they release. I'm not suggesting importance in this case as much as the intentionality and care artists and producers take in selecting a track order. While I'm willing to consider that the Jon Foreman/U2/track 5 case is a coincidence, it's not possible that these songs just landed in this order accidentally. It's a carefully considered process. Oh, and by the way, Jon Foreman was also the producer of his album (which means he got the final say on track order).
7. Both use a Dobro (a kind of steel guitar played with a slide). Not significant proof at first consideration, but when you listen you'll understand how they're played in a similar way. Melancholy, longing, cold, rain... these are images evoked by the Dobro. Lots of songs out there have slide guitars in the mix, but in this case the technique was so similar to Joshua Tree that it was the first trigger of this whole theory (the first thing that made me pause the CD and say, "hey, I've heard that before...").
(Digging deeper: this is where it gets a little scary, honestly):
8. Conducting both songs in a slow 4/4 pattern, you'll notice something fascinating in measures 7 and 8:
"Maybe run from the darkness in the night" (U2)
"I am still running" (Jon Foreman)
What this means: if you were able to play these songs at the same tempo simultaneously, they would match textually (remembering, of course, that they would also match in key and chord structure). In other words, if I were to run these two songs through ProTools, equalize their tempos and play them together, they would (in theory, and as their titles further suggest) be contrapuntal (two songs in perfect "counterpoint" designed to be played together).
There are other less reliable observations related to the EP as a whole that make me believe it has a strong Joshua Tree influence, but I'll let you decide based on the evidence above. Am I hyper-analyzing this? Or is it possible that Jon Foreman wanted to make a subtle but profound statement: In 1987, Bono said we are running to stand still; I remember how I was running then, at "17 years young," and "I am still running" today.
Amazingly, I have an opportunity to meet (and possibly sit down and chat with) Jon Foreman in a few weeks at my annual songwriter's conference in Colorado. If I can work up the gall, I want to ask him for the truth on this. To me, the design is just too intelligent to have been an accident.
"I Am Still Running"
You remember me before I learned to run
At the kissing tree before I learned my guns
We were 17, 17 years young
I am still running, I am still running
I had no idea the pain would be this strong
I had no idea the fight would last this long
In my darkest fears the rights become the wrongs
I am still running, I am still running
I am still running I am still running
Build me a home inside your scars
Build me a home inside your song
Build me a home inside your open arms
The only place I ever will belong
I am still running, I am still running
I am still running, I am still running
"Running to Stand Still"
And so she woke up, woke up from where she was lying still
Said I got to do something about where we're goin'
Step on a steam train, step out of the driving rain
Maybe run from the darkness in the night
Singing ha la la la de day
Singing ha la la la de day
Sweet the sin, But the bitter taste in my mouth
I see seven towers but I only see one way out
You got to cry without weeping, talk without speaking
Scream without raising your voice,
You know I took the poison, from the poison stream
Then I floated out of here
Singing ha la la la de day
Singing ha la la la de day
She runs through the streets with eyes painted red
Under a black belly of cloud in the rain
In through a doorway she brings me
White gold and pearls stolen from the sea
She is raging
She is raging and a storm blows up in her eyes
She will suffer the needle chill
She's running to stand still
Saturday, July 12, 2008
We spent the whole day Wednesday at Epcot and never once felt tired. In fact, after the fireworks we were disappointed to leave. Normally standing in 100 degrees with 4 million other people is enough to knock us out cold after only 5 hours; in the past, we've always left after lunch and come back later for the fireworks. So it's sort of amazing that this is the first year when we were there from 9:00am to 9:30pm, riding all the rides, seeing all the countries, shopping in all the stores, eating like pigs (I speak for myself)... and still wanted more when the day was over.
Epcot wasn't all we did in Orlando; one of our favorite hang-outs is Downtown Disney. It's a way we can get more Disney "magic" (as Julie would put it) without the price tag of park admission. If you've never been, you should check it out next time you're in Orlando. There's a huge Virgin Records store I look forward to visiting every summer. Most years I'm lucky to escape with less than $80 in new music, but this time I only bought Jon Foreman's Fall and WinterEP's and a gift for my brother's birthday (P.S. You must get Jon Foreman's EP's... more on that another time). There's also an AMC movie theater, which we visited three times during our short trip: Wall-E (Excellent), Hancock (Very Fun), and Wanted (not suitable for you kids, but adults who liked the twists of Fight Club and the special effects of The Matrix will probably enjoy this one too).
Another of our favorite haunts is Jellyrolls on the Boardwalk at Disney's Beach & Yacht Club Resort. Jellyrolls is a dueling pianos hall that has become a hot spot of annual tradition. Mellencamp's "Jack & Diane" is always our one and only request. (See video clip here)
(We weren't allowed to use video cameras, so I was only able to sneak a few seconds, but you kinda' get the idea)
I could go on and on (there was also pool-side tanning, movies in bed, lots of sleeping in,
shopping, eating out, fireworks every night, the hotel arcade, and other sites and attractions like City Walk and Celebration).
I had to at least give a brief report of the trip and upload a couple pictures before I felt like I could sleep tonight. If you happen to be interested in more photos from our trip, I've added a new album on facebook titled "Disney Vacation 2008."
See you real soon,
Wednesday, July 2, 2008
The smell of something burning under the hood...
Follow this logic with me:
Convertible overheats and smokes like Vesuvius
Ryan has a nightmare that the car burst into flames Clark Griswald-style
Ryan returns convertible to in-laws driveway, pouring water into the radiator every 2 miles
And now... we wait...
Thursday, June 26, 2008
Don't worry, I learned a sweet odometer trick from Ferris Bueller... they'll never know.
So I boosted the car on Wednesday night and have been driving it everywhere since. Already I've observed much that is new and different about the convertible life. And the first of those observations was just that- that driving a convertible is a lifestyle, not just a car. It doesn't matter if it's an old man Sebring or a chick-magnet Corvette; what matters is the top is down and the scope of the world around you is suddenly larger than life. With that, I give you my observations of what life is like behind the wheel of a convertible:
1. I am suddenly self-conscious about everything from the volume of my music to how long I linger when I examine my nose in the rear-view. I'm like a fish in a fishbowl.
2. I am, accordingly, growing a sizable ego as I irrationally imagine myself to be on everyone's mind at all times.
3. It's louder than a rock concert when you're driving 70 mph next to a semi-truck hauling metal trusses on I-95.
4. Consequently, the max volume of your radio must be capable of shattering the windows of nearby buildings.
5. South Florida is hotter than it looked from the air conditioned cab of my Saturn.
6. "The wind in your hair" really is a credible expression of elation. I find myself frequently laying my head back on the headrest and taking deep, contented sighs.
7. When taking said deep, contented sighs, breathe through your mouth. The smell of exhaust will eventually make you throw up.
8. In my typical closed-in, selfish hurry, I forget that there's a sky with massive and glorious clouds above me that remind me how small I am and how big God is. It's no longer stressful sitting at a red light; it's devotional time with the Lord. Makes me wish I had looked up from the red lights more often in life, but that's another (more brooding) blog topic for another time...
9. Those little pebbles of rock that big trucks kick up hurt when they miss the windshield and hit you in the side of the face.
10. Somehow the open air makes me want to drive even faster than I normally do. It's probably because 40 mph feels like 70. 70 feels like 100...
11. 100 feels like 130. 130 feels like 150. 150 feels like...
12. Now you can kill two birds with one stone: commute to work, work on your tan.
13. You can listen in on everyone else's order at the Starbuck's drive thru (which doesn't sound all that amusing, but trust me, it is).
14. To reach the little transport tube at the bank drive thru, I've found it's far easier to lean over the door of a convertible than to squeeze through the window of an ordinary car. Some say pull up closer; I say get a convertible.
15. When the top is down, you can't talk to a friend on your cell phone but you can talk with every bum, newspaper guy, and flower salesman who approaches your car. You have no choice in this matter.
11 more days until I have to return the car... See you on the road.
Thursday, June 12, 2008
The CD opens with "Life in Technicolor," beginning with an ethereal sample reminiscent of U2's opening track of Joshua Tree, "Where the Streets Have No Name": Fade in, organ, electric guitar with delay effects, and then gradually layering other instruments and sounds. This first track acts as an epic instrumental introduction to the second track, "Cemeteries of London." This same sample will be repeated at the end of the final track, so if you happen to have the CD on repeat, it will play from end to beginning almost seamlessly.
Something else I found interesting: you may notice more U2 influence than ever before in Coldplay's new songs. There are at least a dozen moments in this CD that are patently U2. As it turns out, when Coldplay set out to make a new record with a new sound, the legendary producer Brian Eno answered the call. Rolling Stone reports that Eno, whom we know as the co-producer behind Joshua Tree, wouldn't allow Coldplay to revert back to their old tricks in the production of this record (tricks like singing in falsetto on every song, for example). His influence makes this the most unique Coldplay CD to-date.
The second track, "Cemeteries of London," lays a sort of Middle-Eastern/Jewish riff over an Irish rhythm for an interesting sound. Eclectic as it may seem, it's all tied together with Coldplay's signature guitar tone and Martin's vocals. You may also notice a heartbeat at the beginning of the track (perhaps to signify life and death, the grand theme of the album). I have yet to find its counterpoint later in the album, but I'm sure it's in there somewhere. I love the piano tag at the end.
Track 3, "Lost!" is reminiscent of X&Y, even using the same organ patch as heard in "Fix You." Nevertheless, it's catchy and easy to nod your head to. I applaud the producer, or writer or whoever said, "no, no, don't use that chord, use this one" in this song. They substitute less common chords for what would have otherwise been a very conventional vi-IV-I-V pattern. Instead of returning to I, they use a iii chord in its place, building tension through the verse which finally resolves to I in the chorus. Their choice of chords and leading tones is just outside the box enough to make a simple idea new and interesting.
Track 4, "42" begins as an eerie, drug-hazed, Beatles-reminiscent ballad only to break out in a wicked drum beat around 1:35 (4/4, accents on 2 and the & of 4), and then transition to a happy pop song around 2:45, only to return to the same, somber place in which it began. It may still grow on me, but for now I stand by my first impression: "weird" and "schizophrenic." I understand why they did it (to portray the dead/living message of the song), but it's my least favorite song on the album.
Track 5, on the other hand, is one of my favorites (second only to "Violet Hill"). In counterpoint to "Lost!", "Lovers in Japan" does employ the conventional vi-IV-I-V pattern in the chorus, but it's worked for millions of hits before- why not now? A hammered dulcimer and pulsing kick drum provide the rhythmic backbone for the more fluid ambiance typical of Coldplay (and Brian Eno, for that matter). At 3:57 a whole new idea begins, which to me adds to the duel nature of the album. They really have fifteen tracks on this CD not ten because several tracks introduce multiple ideas that could have been stand-alone songs. I suppose this schizophrenia is meant to subconsciously present the listener with a choice between living the life (vida la vida) and "death and all his friends," as the title prompts.
Track 6, "Yes," is moody and driving. It was on this track when I first thought, "this CD might have been a little over-produced," but it's such a cool song I can hardly complain. The strings that had been lying low to this point on the album take a more central focus on this track, again employing some Middle-Eastern modes. "Yes" also breaks off to a whole new idea at 4:05, which again struck me as strange and unnecessary.
Track 7, "Viva la Vida" is the title track and first hit single. It's a great representation of the whole album, really; the strings are in full force, it's got the kick-drum drive (heartbeat) prominent throughout the record, and some "oo's and ahh's" over ethereal samples that is both typical Coldplay and representative of a reformed approach in production.
Track 8, "Violet Hill." I may get some flack for this from some of you avid Coldplay fans, but I have decided that "Violet Hill" is Coldplay's best song to-date. And that's all I have to say about that for now.
Track 9, "Strawberry Swing" is like its title suggests, lilting and fun. To me, it's like The Beatles meets Phil Collins somehow. Still, you can't help but wish you were in a convertible singing this song back to a sunny blue sky. I make a beach mix every couple years... Strawberry Swing will definitely be on the next one. The song ends with an Edge-esque guitar riff.
Track 10, "Death and All His Friends" can be broken down to three sections: 1. A quiet piano ballad, "so come over, just be patient and don't worry," 2. a borderline cheesy pop instrumental break followed by a great line, "I don't want a cycle of recycled revenge; I don't want to follow death and all of his friends," and 3. the repeated sample from track one, this time with the impressive addition of vocals. 3:30 to the end is what the whole CD seems to have been gesturing towards; it is the defining moment of the whole album. "In the end, we'll lie awake and we'll dream of making our escape."
Schizophrenic as it may seem, I am greatly impressed by the various colors and contrasts Coldplay employs to create a CD that's more than just a collection of songs, but one narration of an epic story. It starts and ends in the same minimalistic sample/cycle, revealing the circle of "recycled revenge" that is clearly at the heart of the record (the history of war and mistakes we are bound to repeat if we don't learn). Death's voice is in the sorrowful, tension-filled chords of songs like "42" and "Yes"; Life's voice is in the heartbeat-pulse of kickdrums like in "Lovers in Japan" and "Strawberry Swing." Somehow the clash of these two forces reverberates in the sympathetic strings of violins, cellos, and electric guitars.
The album is a goldmine of artistic expression with many layers yet to be discovered, I'm sure. I give it an A-, counting only the cheesy drum beat from 1:50-2:15 of track 10 and the album's generally-meandering ideas against it.
P.S. I love the album cover, a French painting from the Romantic era by Eugene Delacroix.
Monday, June 2, 2008
titled Confronting the Cults by Gordon R. Lewis.
There are many "secular" definitions of what classifies a cult, unfortunately many are so broad that they would include (by definition) loyalists to political figures, fans of the Braves, followers of any philosophical thought, and Christians. Lewis defines the term "cult" as "a religious group which claims authorization by Christ and the Bible but neglects or distorts the gospel, the central message of the Savior and the Scripture."
In order to bring further clarity to the issue of classification, another publication of the Nicene Counsel, a DVD entitled "The Marks of a Cult," says to simply remember the four basic symbols of arithmetic: A group may be classified as a cult if it: (+ - x /)
- Subtracts from the deity or the Persons of the godhead.
x Multiplies works to the already-finished works of the Lord Jesus for salvation.
/ (couldn't find a division symbol) Divides the loyalty of their followers between God and their organization.
The cults specifically addressed in the book are theological cults (as opposed to mind-control cults): Jehovah's Witnesses, Mormonism (Latter-day Saints), Christian Science, Seventh-day Adventists, Students of Unity, and Spiritualists. Each of these have committed one or more of the above heresies and yet claim to be "Christian" (which is why Jehovah's Witnesses, for example, are not classified as a world religion but a cult of Christianity). The New Testament warns against false prophets and teachers rising up from within the church (Acts 20:28-30; Matthew 7:15-16; 2 Peter 2:1) who will "secretly bring in destructive heresies." Maintaining the appearance of godliness, these groups are successful in leading many people astray.
As much as I want to ignore the inevitable argument that stands knocking at my door (on my day off, usually), my responsibility is to "be ready" to share the love of Christ with "whoever demands a reason for the hope that is within [me]." Let's face it, they've come to tell me what to beleive, not to hear what I have to say. But still, I never know how the Holy Spirit may have prepared that person to hear the Gospel message before they were led to my doorstep. It's not my mission to judge who will hear and be saved, just to be a witness.
Tuesday, May 27, 2008
Okay, with exception to the ridiculous "tree of life" comment, you must at least admit the nostalgia that sweeps over you when your class song comes on the radio. According to teachers.net, 10 class songs stand out above the rest.
Here are the 10 songs that have been named (for better or for worse) "The Greatest Graduation Songs of All Time":
10. Where Everybody Knows Your Name - Theme from Cheers
9. Stand by Me - Ben E. King
8. Lean on Me - Al Green
7. The World's Greatest - R. Kelly
6. I Believe I Can Fly - R. Kelly
5. I Will Remember You - Sarah McLachlan
4. Graduation - Vitamin C
3. The Best of Times - Styx
2. A Moment Like This - Kelly Clarkson
1. Time of Your Life (Good Riddance) - Green Day
Are you satisfied or angry with these nominations? What would you add or subtract?
For what it's worth, teachers.net went on to include these titles as honorable mentions:
Here's to the Night - Eve 6
Times to Remember - Billy Joel
Closing Time - Semisonic
Sunscreen - Baz Luhrman
Never Say Goodbye - Bon Jovi
Graduate - Third Eye Blind
Wednesday, May 21, 2008
Any day we think to look up from our road rage to see the majesty of God's creation, praise and petition seem to roll off the tongue almost effortlessly.
Only days later, my grandfather passed away. Limited by words, I have to simply say, "we were very close." At his bedside, only 7 hours before he died, my wife and I, along with my dad, uncle, aunt, and grandmother, sang hymns of praise- through trembling voices, weak with sobbing: "When all around my soul gives way, He then is all my hope and stay. On Christ the Solid Rock I stand, all other ground is sinking sand." "All I have needed, Thy hand hath provided; great is Thy faithfulness Lord unto me." "And Lord, haste the day when my faith shall be sight, the clouds be rolled back as a scroll."
It wasn't an "ain't it the life" moment. There would be no "hand flying" out the window on the way home. It wasn't effortless praise... it cost something. And yet somehow through the sorrow, I heard my lips repeat, "God, Your ways are perfect and I trust in You."
It struck me that God is God through times of joy and sorrow. Other "gods" require us to sacrifice one or the other, and yet our Heavenly Father is faithful through them both. Pause and give Him praise today- not because things are necessarily "right," but because all other ground is sinking sand.
Monday, May 12, 2008
Wednesday, April 9, 2008
1. Bathroom break. Whether you actually have to "go" or not is beside the point. This is one of the most valuable cards in your deck, but you can only use it once, so plan wisely. If it's a dinner with the in-laws, I recommend saving the restroom break until the after-dinner conversation has begun. Until then, the food is enough to keep me stress-free.
2. Cell phone games and text messages. This is a good way to pull yourself out of a conversation, especially in a large group setting. Nothing says, "Yeah, I'm listening, oh but wait, something important just came up" like a sudden grasp of the cell phone followed by five minutes of furious typing (be sure to keep a furrowed brow and nod occasionally)... whether an invigorating game of Bejeweled or texting an SOS to a close friend, this trick is sure to buy you at least five minutes of emergency alone time.
3. More sugar. If a coffee meeting gets stressful, always be mindful of the condiment table located at the front of the coffee shop. That table could be your oasis when the conversation turns uncomfortably personal or awkwardly lame. Take a sip of your brew, make an irritated face, and simply excuse yourself with the statement, "Needs more sugar," and you're free! Just be sure to come back with a new conversation starter or else it's all for naught.
4. Messy shirt. This one's only for those rare but most desperate situations when, for example, you've already used your "coffee needs sugar" escape, your cell phone interruption, and your bathroom break... then there's only one thing left to do: you must sacrifice your shirt and "accidentally" drop your food (or your coffee) down your torso- be sure to make a small scene in the process (for effect). This will not only permit but oblige you to excuse yourself from the table and buy you at least ten minutes away. If you're really good, you'll remember when you emerge from the bathroom that you have an extra shirt in the car (this takes careful planning and forethought but can afford you another five minutes).
5. If all these tactics still leave you clawing at the walls... better find the wine and keep it close, my friend... I'm afraid you're in for the long-haul.
Wednesday, April 2, 2008
At the beginning of our weekly Sunday night meetings (before worship and a message), we would occasionally show "motivational" videos, usually promoting a retreat or group trip. The videos were homemade and, I might add, ridiculously funny. On the video banner to the right is one such video. It was created by my friend Brad Schmidt and features two of my other good friends, Ryan Todd and Dan Morris. If you know these guys, you'll find the video hilarious. If you don't know them... you'll more likely find it creepy...
Here are a couple others for your viewing pleasure, featuring such celebrities as Carter Brown, Rick Hunter, Brad Schmidt, Jeremy Schwab, Tony Cortiz, Ryan Todd, and of course, the one and only Scottish-accent-speaking Dan Morris. Enjoy.
Jesus Himself has told you to go on the fall beach trip:
Cupid and Friends:
Cupid and Friends, Part 2:
Saturday, March 15, 2008
Last night, my wife and I were watching TV and scoffed at a commercial that advertised a new quadruple-layered chocolate cake apparently available now at Publix. It's not that I'm the picture of health; my scoff was, rather, a response of disbelief at the blatant advertising- and America's shameless acceptance- of what was, perhaps, the most deadly-looking mass of gluttony I have ever seen. The commercial woos you in: the icing, thick and smooth, slowly caressed by the knife of a baker whose fiendish grin betrays his secret knowledge that this will most certainly kill whoever eats it. Everyone knows that Americans have horribly unhealthy eating habits, but are we even trying to hide it anymore?
With that said, allow me to be a complete hypocrite: I love Five Guys Burgers and Fries and will glady stare death in the face if only I can taste one of their fresh, juicy, double-stacked burgers with a side of cajun fries. As a matter of fact, I would eat there every day if it weren't for the nagging aches I get in my chest when I'm finished.
If you haven't been to Five Guys Burgers and Fries... seriously, go. Take a defibrillator, but go. Experience the best burger for your buck anywhere. For those of you in the Ft. Lauderdale area, there's one in the 17th Street shopping plaza (East of US1) near Moe's and another in the Publix shopping center on Atlantic Blvd. and Rock Island in Margate.
Indulge yourself. Try their double-stacked burger with all the free toppings you can fit in your mouth, a beverage, and their famous cajun-style fries (the regular fries are good too, but I promise you'll like the cajun better). Whatever you do, DON'T click this link before you go: http://www.fiveguys.com/Images/Nutrition%20Fact%20Spreadsheet.pdf
Monday, March 10, 2008
If you've seen the show recently, tell me if you feel the same sense of abandonment from father Bob, or if you disagree with me entirely. Maybe I'm being too hard on the guy, I don't know.
Tuesday, March 4, 2008
Below was my response. I hope it makes sense out of context. I invite your comments as well.
Not to over-simplify the problem, but for the sake of brevity, it seems to me (and playing off of many of the responses already given) that this “divided church” is the result of 1) misguided worship leadership, and 2) selfish worshippers. That’s not to say that all churches “divided” operate in those extremes, but I would argue that all churches gravitate toward these poles- some, by the grace of God, less or more than others. Leaders forget their followers for their own idea of what’s best and worshippers forget the body of which they are a part; that is, Worship Pastors can tend to view the quality or style of the music (for example) as more important than the people they are leading, and the worshippers can tend to forget that Sunday morning is not intended to be their own, personal “in-the-closet” time of worship. There’s a sense in which the corporate worship experience is a selflessly shared responsibility between the Worship Pastor and the worshipper, where each one sets aside his or her own “preferences” for the good of the body. I think this is what [Nancy] was getting at...
[Our unity in worship] is easier said than done because it really has very little to do with the content of our programs and everything to do with the Holy Spirit breaking pride and selfish motives in our hearts. Thus, the conversation continues- not as a quick fix, but as the Holy Spirit slowly works sanctification in each worshipper's heart.
With that said, I also wanted to weigh in on at least one of the other questions raised:
Saxophone? Drums? Electric Guitar? Saying nothing of preferences: “Yes, yes, and yes.” For every vile memory the Enemy has attached to those instruments of death (before knowing Christ), our Redeemer intends to use those same instruments now to cultivate life (since we know Christ). Isaiah 2:4 says, “He shall judge between the nations, and rebuke many people; they shall beat their swords into plowshares, and their spears into pruning hooks; nation shall not lift up sword against nation, neither shall they learn war anymore.” It’s a picture of God turning weapons of war into tools of the harvest (as opposed to simply throwing the sword away in an effort to forget that the war ever happened).
If the electric guitar was, in a sense, a sword of the Enemy when you were at war with God, then God’s desire is to turn that “weapon of war into a tool for the harvest”- to see many come to know Him. God has a heart for redemption; He loves to take the standards used by the enemy in our past and to raise them again to new purpose for His Name. So, with that in mind, it seems appropriate not to discard the music that came out of the 70’s, but rather to redeem it for God’ Name.
Thanks for including me in this discussion. I look forward to growing in my knowledge of Him through our conversation.
Sunday, February 10, 2008
"Yeah, I'll have the #2 please, with a Coke."
"Will that be all?"
"Yes, thank you."
"Would you like to donate a dollar to the Foundation for Starving, Crippled Orphans with Malaria Fund, sir?"
"Uhhhh..." (looking around nervously and hoping no one's listening): "no, thank you."
(with a sigh of disgust): "Your total comes to $5.71."
I mean, it is only a dollar, right? Would it kill me to throw in an extra buck? Maybe my distaste for the question is less about the money and more about the principle: I want to say, "Listen, man, I just came here to eat lunch- take it easy!" But now, because I came expecting food (and not to solve world hunger on my lunch break), I have to choke down every bite feeling like a complete jerk and utter degenerate.
With that said, it makes me wonder what Jesus would have done- in the serious way, not in the ridiculous "I have a neon WWJD bracelet" kind of way. I mean, if my lunch meeting that day had been with Jesus, and He had been standing behind me in line when the guy asked me to chip in a buck for orphans- or hurricane victims- or, whatever, would I still stand on my conviction that "I came here to eat, not to be a servant"?
I'm not saying I'm convicted to open my wallet for every donation box out there; I'm not even saying Jesus would have put a buck in that Arby's jar... all I'm saying is: "am I willing?"
Thursday, January 17, 2008
Dave Grohl had me at “Heart of gold…” But just when I was regulating my temperature to tolerate the new ceiling we had reached by the end of minute 2, he leaned into the microphone and ferociously screamed, above the roar of the amps and above the ecstatic fans, “WHY’D YOU HAVE TO GO AND LET IT DIIIIIIIIIIIIIIIIIIIE!!!!!!!!!”
Moment by musical moment; song by mind-blowing song the Fighters o’ Foo shattered the threshold of human-tolerable excellence repeatedly throughout their 2 hour 7 minute set. Each time I thought they'd reached the pinnacle, they effortlessly took us another step higher. This morning, 20,000 people in South Florida woke up and went back to life as usual but will themselves be never the same. There’s a new standard now- a new expectation going into every concert from here forward, and we are all better for it.
For those who couldn’t be there last night, I’m more than grateful for the opportunity to re-live the night for your reading pleasure. Since I know I have some ADD readers, I'll try to write along two tracks: for those of you who want every detail, read straight to the bottom of the page; for those of you who just want the highlights, read until you see * and skip to **.
I'll begin with the set lists for both Jimmy Eat World (the opening band) and the Foo Fighters:
Jimmy Eat World
Let it Happen
Let it Die
Times Like These
Long Road to Ruin
Learn to Fly
This is a Call
Skin and Bones
Cold Day in the Sun
All my Life
In Your Honor
For All the Cows
Best of You
I have so much to say about the Foo Fighters that I don't want to spend much time talking about how great Jimmy Eat World was. Overall they were suprisingly good; solid vocals, tight band, several great songs. I only wish they had tailored their performance a bit more for a live setting instead of playing their songs exactly how they're recorded.
Now on to the Foo...
Last night was the Foo Fighters' opening show of their new tour and was a perfect blend of their oldest, hardest-hitting rock songs and their more recent acoustic efforts. They pulled in all the auxiliary players from their Skin and Bones record: violin, keys, percussion, and guitar, filling out their already stellar sound. In summary, the show rocked relentlessly for a solid hour and then transitioned to an acoustic set on a secondary stage (forward in the arena, on the back 1/3 of the floor). After 5 acoustic songs, the band left Dave alone on the stage to play "Everlong" solo, only to have the band re-appear on the main stage at a blistering decibel level on the downbeat of the final chorus. Dave screamed his way to the end of Everlong, which led seamlessly into another 7-song set of rock-your-face-off hits (listed above). * (For the faint of heart, skip to **; for those interested in every detail, read on with a smile)
I've already described the opening of the concert above, so I'll pick it up from there. After the opening song "Let it Die", they rolled right into Pretender, followed immediately by Times Like These. When the final chord of Times Like These had rung out, Dave addressed the crowd for the first time: "Hey! How ya' doin'?! Listen uhhh, I guess we've been a band for a really long time now, sooooo... that means we've got a lot of [stinkin'] songs to play for you guys tonight." To which the crowd responded with a deafening scream. "So, this one's off our third record... it's called 'Breakout'" If you know the song, it needs no explanation for how it rocked; if you don't know the song, no explanation can do it justice. Let's just say it was one of the launch-pad, ceiling-raising moments I described earlier.
Breakout led seamlessly into the set: Long Road to Ruin, DOA, Learn to Fly, and This is a Call- all with hardly a breath for applause between. Then Dave walked 1/2 way out on the catwalk and engaged Chris Shifflet in a sort of guitar duel, each one echoing solos and improvising off the other. This went on for a matter of minutes, gradually accellerating in intensity until a crack of the snare drum propelled the whole band into the intro of "Stacked Actors." Incidentally, this was the moment when they finally lost their audience to cardiac arrest; if Dave had screamed any louder, if the drums had kicked in our chest cavities any harder, if the lights had burned any hotter or flashed any brighter, I'm pretty sure it would have been the end of the world as we know it. And to add insult to injury, they filled 10 minutes in the heart of the song with a blistering drum solo and a full-band spontaneous jam.
Dave, being the showman that he is, was sensitive to the cardiac needs of his audience and swaggered away from the heat of the main stage (where the lights now dimmed to black), down the catwalk (which cut straight through the middle of the room), directly to the secondary stage that had now begun to descend from the ceiling in a hue of red light (I took this picture with my phone). As he walked, and as the stage descended from (heaven?), the simple yet genius opening riff of "Skin and Bones" rang out in the first acoustic guitar tones of the night. Once the stage had made its landing, Dave and the band found their places (Dave still vamping on the intro to Skin and Bones) and played an acoustic set including Skin and Bones, Marigold, Hero, Cold Day in the Sun, and But Honestly. Between "Hero" and "Cold Day," there was time for band introductions, small talk and compliments to the number of Floridians "who actually like us," and even a triangle solo (a little somethin' for everyone).
As described above, Everlong led back to the main stage where the band would once again threaten the lifespan of those whose hearts had finally just recovered. Monkey Wrench hit immediately after Everlong, followed by Dave's inspiring message: "I just have one thing to say... ~BELLLLLLLCH~." Don't know if you've ever heard a gutteral belch through an arena rock sound system, but it easily rivaled my childhood babysitter's talent of burping the entire alphabet in one smelly breath. And of course the crowd cheered and loved him all the more for sharing his bodily dysfunctions with the masses. But the laughter was suddenly overpowered by the ultra-distorted intro of "All My Life," which would end with a huge drum fill and a thick, rolling chord- Dave screaming over it all "THANK YOUUUU!"
** When the band had left the stage following their final song, there was continuous applause and peircing screams for nearly two minutes in virtual blackout when suddenly something appeared on the jumbo screens in black and white: a live video feed zooming in on the night's set list, then a moment later on Dave Grohl backstage. Dave gestured silently to the crowd over the big screens "One more song???" The crowd roared in approval. Dave, apparently operating the camera himself, casually took a sip of a drink, paused, then held up two fingers to the crowd "Two more songs???" Deafening cheers. Taking his time to nurse a cigarette then panning the camera to the left, Dave got a shot of Taylor Hawkins (drummer) with a cigarette awkwardly sticking out his nose and a dazed look on his face. The crowd roared with laughter. Turning the camera back on himself, Dave now held up three fingers with an expression on his face that said "Are you sure?" At the climax of the loudest cheer of the night, the camera dropped and a sillouhette emerged from stage left, ran across the blue, backlit stage and picked up a guitar. And so the most memorable encore of my life began: the transcendent guitar jam beginning "In Your Honor" laid the foundation for what would be perhaps the most moving screams of the night when Dave pressed in to the microphone and shreiked "CAN YOU HEAR MEEEEEEEE?!!! HEAR ME SCREAMIIIIIING!!! BREAKING IN THE MUTED SKYYYYY!!! THIS THUNDER HEAAAAAART LIKE BOMBS BEATIIIIING, ECHOING A THOUSAND MIIIIIIIIIILES!!!" When "In Your Honor" was over, Dave turned to the crowd and confessed: "I don't know what to do next... any ideas? Oh and by the way, I know I said we'd do three songs, but we're gonna' do more than that- just so you know." "For All the Cows," the face-melting classic "Enough Space", "Big Me", and the more recent hit "Best of You" sealed the night in surrealism.
Finally, you should know that on the final song, "Best of You", some moron rushed the stage and made a big scene next to Dave Grohl (picture a drunk guy pumping rock signs with his fists 2 feet away from Dave on stage... now picture him getting tackled by two security guards (I laughed out loud) while Dave casually observes all the action without missing a beat (as if this happens all the time). So dummy managed to make it through 4 hours of concert only to lose self-control on the very last song of the night. (Oo! Soooo clooose, my man!) The band finished the song with an epic jam, Dave once again yelled his thanks above the noise, slammed the final cut off and went on his way with a wave. With a toss of the drumsticks and one final bow, Taylor and the band followed their leader to the exit and in that moment the night somehow skipped my short-term memory and burned itself directly into that surreal place reserved for the most rare moments in life- when you know an experience has marked the start of a new era and its value in your memory simply cannot be described or measured, only talked about as a fable of transcendence worthy of many, many "big fish" stories to come. Thanks for reading.
(The main stage, I think this was during "Stacked Actors")
(The acoustic stage during "Hero")