Cross Section: The View From Madrid Around 1540
I really enjoyed this chapter. During this time, the Holy Roman Emperor, Charles V, made Madrid his hometown. Barzun describes how it grew from a small village with bad air and bad water to a thriving metropolis of 30 000.
This chapter also describes the discovery of the New World and all the controversy surrounding its initial colonization.
Did you know that the French word for Turkey (the tasty fowl, not the country), Dinde originally had an apostrophe, like this: d'Inde, which means 'From India'?
And that the French, who are famous for their French Fries, were among the last European countries to import potatoes from the New World because they thought they were poisonous because they're in the same family as Nightshades.
Also, slavery was actually outlawed by the Holy Roman Emperor even before the discovery of the New World, but the Spanish colonists in Central America enslaved thousands of the natives anyways and got away with it because it was so difficult to enforce that law from three thousand miles away. Then the European colonists brought sugarcane to the New World and found that it grew taller and faster there than it did wherever it originally came from, so they started colonies based around plantations. And then, when they found that the native Americans weren't hardy enough (they couldn't cope with the rigours of slavery and vast numbers of them had the audacity to die before they could turn a profit) so the colonists started importing slaves from Africa. The English, who controlled the North Atlantic with their powerful navy, and huge sections of the coast of Africa, saw how lucrative the slave trade was and got into it with both feet and eventually dominated it for centuries.
After the Seven Years' War (also known as La Guerre de la Conquete in Quebec, The French and Indian War in the United States, The Third Carnatic War in India, The Third Silesian War in Austria and Prussia and the first World War by Winston Churchill (who was not alive at the time)) all of France's holdings in what is now Canada was traded to Britain for two sugarcane islands in the Caribbean. Sure puts Canada's worth in perspective, doesn't it?
I really enjoyed this chapter because it was descriptive instead of philosophical. It wasn't about themes, it was about history.
Not that I mind themes so much, I like reading about themes and studying them and writing about them, as you may have noticed, but it's also easy to get bored reading about themes because it's more philosophical and can get kind of heavy. So if I'm not engaged it can get kind of dull. You know?
Anyways, this chapter was not like that. It was great. The next chapter is The Eutopians and I'm looking forward to it. Look for my short comment sometime towards the end of August when I'm settled in at Thunder Bay... (yikes.) Because I know that you (all three of you) look forward to my deep and insightful comments on Barzun's incredibly hyped book. (Yes, that was sarcastic.) Now go read Janelle's blog.
Friday, July 30, 2010
Thursday, July 29, 2010
To Corinth with Love by Michael Green
Summary
Michael Green's To Corinth with Love is a thematic analysis of the first and second epistles of the Apostle Paul to the church at Corinth. The subtitle is: Paul's Message to the Troubled Church at Corinth--And Its Relevance to Christians Today.
The book is divided into three sections: Problems for the Church, Problems for the Members, and Problems of Authority. In the first section, Problems for the Church, it deals with issues such as Baptism, The Lord's Supper, Body Life, Love, and Worship. In the second section, Problems for the Members, it deals with issues such as Freedom, Sex, and Death. In the third section, Problems of Authority, it deals with the three issues of Leaders, Women, and Apostles.
It is not a comprehensive analysis of the two epistles, nor does it claim to be. It is an examination of a series of relevant issues for Churches today.
What I liked
Michael Green's perspective on many of the issues is unique. At least, it's one that I haven't encountered before. For example, he doesn't deal with issues of church culture but deals with what the Bible teaches to and about the Church regardless of its culture. He does not weigh in for or against speaking in tongues, for example, but says something like, 'If your church speaks in tongues, this is what the Bible says about it...' And I liked that. He takes a similar approach to the controversies surrounding Baptism. He doesn't argue for or against certain practices, but simply explains what the Bible teaches about baptism, thematically, explaining what it means, what it's for, etc..
One other thing I liked very much was one very short part that's unrelated to anything else and was probably not intended by the author. In his discussion about spiritual gifts, Green explains that the word 'Charismatic' comes from the Greek word Charismata. One of that word's translations is, 'gift.' But notice the root of the word charismata. It's charis, or love. In English we translate that word as 'charity.' I particularly liked that.
What I didn't like
Almost nothing. For the most part, this book is very well written, however, occasionally the writing gets a little bit sloppy. For example, I noticed several instances where he switched from addressing the third person (he, she, they) to the second person (you) in one sentence. Or where he switched from the third or second person to the first person (I, we) without a proper transition. Elsewhere, he shifted tenses without a proper transition. I can't believe his editors didn't pick up on these things. They should seriously be fired, or at least, have their marking hands cut off.
Conclusion
A good book with some good insight into many controversial issues concerning modern Christianity. 4/5 Christians gone wild.
Wednesday, July 28, 2010
Good Monsters by Jars of Clay
Good Monsters by Jars of Clay
Good Monsters is the eighth full length album by Jars of Clay. It was released by Essential Records on September 5, 2006. It features guest appearances by Kate York on Even Angels Cry, Leigh Nash (of Sixpence None the Richer) on Mirrors and Smoke, and The African Children's Choir on Light Gives Heat.
CCM Magazine called Good Monsters "the album Jars of Clay will be remembered for."
Personally, this is one of my favourite albums of all time.
Personality
To me, this album sounds nothing like Jars of Clay. It's aggressive, it's evocative, it's emotionally raw, it bleeds. This is a sorrowful, heartbreaking, heartbroken album.
Jars of Clay's front man, Dan Hasseltine explains the album like this: "This record is part confessional, part euphoric love poem, bitter separation and part benediction. It was born out of many experiences and conversations between addicts, failures, lovers, loners, believers, and beggars. And so the language of recovery and the honest discourse about our attempts to live apart from God and apart from each other is a theme. Engaging people who are doing the hard work of laying their lives open to others, and avoiding isolation, has allowed me to see that there is both immeasurable evil and unfathomable good mixing under my own skin and it is grace, mercy and freedom that allow me to not simply be a monster, but to be a good monster."
There's nothing more I can say about it. I think you really have to listen to the whole thing yourself and I really hope you do because it's worth it. 5/5.
Lyrics
There are many themes in this album that I can think of, but one eclipses them all and it is this: in all the brokenness, sorrow, and heartbreak of the world, God is acquainted with our grief and strongly desires for us know Him. Let me show you:
The first track on the album is titled Work, it describes the experience of a person who finds living to be cumbersome, can no longer find the will to continue being alive: "I don't have a line of prospects that can give some kind of peace/there is nothing left to cling to that can bring me sweet release/I have no fear of drowning, it's the breathing that's taking all this work//Do you know what I mean when I say, 'I don't want to be alone.'"
The next track, Dead Man is more of the same: "I try to lift a finger but I don't think I can make a call/so tell me if I move 'cause I don't feel anything at all ... there's something in my veins but I can't seem to make it work."
But the next track, a remake of Julie Miller's All My Tears, is something wholly different: "When I go don't cry for me/in my Father's arms I'll be/the wounds this world left on my soul/will all be healed and I'll be whole" and "So weep not for me, my friends/when my time below does end/for my life belongs to Him/who will raise the dead again."
After that, Even Angels Cry is infused with optimism, though at first glance it seems almost hopeless: "No proof that you're alive/Cold fingers find the curve below your tired eyes/no comfort in familiar places, not this time/you hold it deep inside." But the song describes Light penetrating through crumbling walls in the night and affirms: "The well will not run dry." Still, that's only a glimmer of hope compared to the darkness.
With There is a River the album really turns around: "There is a river that washes you clean/there is a tree that marks the places you've been/blood that was spilled, although not your own/for all of your tears are the wages for things you have done ... blood that was spilled, although not your own/for all of those tears love will atone ... for all of those things, love will atone." The song acknowledges sorrow and weakness, points to the cause: "things you have done," and to Jesus as the solution.
Oh My God is at the center of the album and totally encapsulates the theme. The song is heartbreaking and sorrowful. It makes me cry every time I listen to it. Here's the line that makes it all make sense to me: "Oh my God, can I complain?/you take away my firm belief and graft my soul upon your grief." This song, to me, is about how we often become bitter towards God when we encounter heartbreak and pain. It offers a solution for resolving sorrow: not simply believing in God or being a Christian, but intimacy with God for God is acquainted with our grief. He doesn't make our grief go away but he says, "Me too." Because what we need more than for Someone to take away our problems is to know that we are not alone in them.
But grafting in itself is a painful procedure.
Light Gives Heat, at the end of the album finishes with: "Will You teach us how to love?/to see the things You see/walk the road You walked/feel the pain that You feel/at Your feet I kneel/I want to see You shine/see Your light, not mine/'cause light gives heat."
The pain that we suffer, we often suffer in our war against God. This is why we become bitter against Him and angry at Him. If we refuse to be allied with the One who is the Enemy of our sin, we will find Him to be a formidable opponent and He will cause us pain. But it is against our sin that He fights because He wants us so dearly. Which is why we must endure and trust Him while He grafts us to Himself.
Elsewhere, Surprise takes a unique perspective on drug abuse that I appreciate very much: "Shoot a dream in your arm and sleep away/it's not the stuff that kills you that keeps your life at bay/every crash pulls you in reach/of a watershed of signal flares that cover your beach//these are just placebos to make us feel alright/illusions in our pockets make our feathers float us high."
I hope I haven't made this too preachy or made these lyrics say something that wasn't intended.
I can't imagine Jars of Clay being able to make this album without experiencing the profound grief that they describe here. 5/5.
Sound
Like I said before, this album sounds nothing like Jars of Clay. It has a rocky aggressive sound. Some songs, like Oh My God, start soft and acousticky but get louder as they get angrier and more sorrowful. The music fits the lyrics perfectly in every case. And Leigh Nash's voice is achingly beautiful on Mirrors and Smoke. I also like the African Children's Choir on Light Gives Heat, very well done. 5/5.
Conclusion
A perfect album. And I love Jars of Clay for making it. 5/5 crestfallen monsters.
Good Monsters is the eighth full length album by Jars of Clay. It was released by Essential Records on September 5, 2006. It features guest appearances by Kate York on Even Angels Cry, Leigh Nash (of Sixpence None the Richer) on Mirrors and Smoke, and The African Children's Choir on Light Gives Heat.
CCM Magazine called Good Monsters "the album Jars of Clay will be remembered for."
Personally, this is one of my favourite albums of all time.
Personality
To me, this album sounds nothing like Jars of Clay. It's aggressive, it's evocative, it's emotionally raw, it bleeds. This is a sorrowful, heartbreaking, heartbroken album.
Jars of Clay's front man, Dan Hasseltine explains the album like this: "This record is part confessional, part euphoric love poem, bitter separation and part benediction. It was born out of many experiences and conversations between addicts, failures, lovers, loners, believers, and beggars. And so the language of recovery and the honest discourse about our attempts to live apart from God and apart from each other is a theme. Engaging people who are doing the hard work of laying their lives open to others, and avoiding isolation, has allowed me to see that there is both immeasurable evil and unfathomable good mixing under my own skin and it is grace, mercy and freedom that allow me to not simply be a monster, but to be a good monster."
There's nothing more I can say about it. I think you really have to listen to the whole thing yourself and I really hope you do because it's worth it. 5/5.
Lyrics
There are many themes in this album that I can think of, but one eclipses them all and it is this: in all the brokenness, sorrow, and heartbreak of the world, God is acquainted with our grief and strongly desires for us know Him. Let me show you:
The first track on the album is titled Work, it describes the experience of a person who finds living to be cumbersome, can no longer find the will to continue being alive: "I don't have a line of prospects that can give some kind of peace/there is nothing left to cling to that can bring me sweet release/I have no fear of drowning, it's the breathing that's taking all this work//Do you know what I mean when I say, 'I don't want to be alone.'"
The next track, Dead Man is more of the same: "I try to lift a finger but I don't think I can make a call/so tell me if I move 'cause I don't feel anything at all ... there's something in my veins but I can't seem to make it work."
But the next track, a remake of Julie Miller's All My Tears, is something wholly different: "When I go don't cry for me/in my Father's arms I'll be/the wounds this world left on my soul/will all be healed and I'll be whole" and "So weep not for me, my friends/when my time below does end/for my life belongs to Him/who will raise the dead again."
After that, Even Angels Cry is infused with optimism, though at first glance it seems almost hopeless: "No proof that you're alive/Cold fingers find the curve below your tired eyes/no comfort in familiar places, not this time/you hold it deep inside." But the song describes Light penetrating through crumbling walls in the night and affirms: "The well will not run dry." Still, that's only a glimmer of hope compared to the darkness.
With There is a River the album really turns around: "There is a river that washes you clean/there is a tree that marks the places you've been/blood that was spilled, although not your own/for all of your tears are the wages for things you have done ... blood that was spilled, although not your own/for all of those tears love will atone ... for all of those things, love will atone." The song acknowledges sorrow and weakness, points to the cause: "things you have done," and to Jesus as the solution.
Oh My God is at the center of the album and totally encapsulates the theme. The song is heartbreaking and sorrowful. It makes me cry every time I listen to it. Here's the line that makes it all make sense to me: "Oh my God, can I complain?/you take away my firm belief and graft my soul upon your grief." This song, to me, is about how we often become bitter towards God when we encounter heartbreak and pain. It offers a solution for resolving sorrow: not simply believing in God or being a Christian, but intimacy with God for God is acquainted with our grief. He doesn't make our grief go away but he says, "Me too." Because what we need more than for Someone to take away our problems is to know that we are not alone in them.
But grafting in itself is a painful procedure.
Light Gives Heat, at the end of the album finishes with: "Will You teach us how to love?/to see the things You see/walk the road You walked/feel the pain that You feel/at Your feet I kneel/I want to see You shine/see Your light, not mine/'cause light gives heat."
The pain that we suffer, we often suffer in our war against God. This is why we become bitter against Him and angry at Him. If we refuse to be allied with the One who is the Enemy of our sin, we will find Him to be a formidable opponent and He will cause us pain. But it is against our sin that He fights because He wants us so dearly. Which is why we must endure and trust Him while He grafts us to Himself.
Elsewhere, Surprise takes a unique perspective on drug abuse that I appreciate very much: "Shoot a dream in your arm and sleep away/it's not the stuff that kills you that keeps your life at bay/every crash pulls you in reach/of a watershed of signal flares that cover your beach//these are just placebos to make us feel alright/illusions in our pockets make our feathers float us high."
I hope I haven't made this too preachy or made these lyrics say something that wasn't intended.
I can't imagine Jars of Clay being able to make this album without experiencing the profound grief that they describe here. 5/5.
Sound
Like I said before, this album sounds nothing like Jars of Clay. It has a rocky aggressive sound. Some songs, like Oh My God, start soft and acousticky but get louder as they get angrier and more sorrowful. The music fits the lyrics perfectly in every case. And Leigh Nash's voice is achingly beautiful on Mirrors and Smoke. I also like the African Children's Choir on Light Gives Heat, very well done. 5/5.
Conclusion
A perfect album. And I love Jars of Clay for making it. 5/5 crestfallen monsters.
Tuesday, July 27, 2010
The Seven Albums of Switchfoot (Part 4: Hello Hurricane)
Hello Hurricane
This seventh and latest studio album was released on November 10, 2009 by lowercase people records and distributed by Atlantic Records.
Said the band's front man, Jon Foreman, "We tracked the whole record completely on our own dime and basically just our own opinions what the record should be."
Personality
This album has a completely different personality from anything else Switchfoot has previously done. "We wanted to start with a clean slate," said Jon Foreman. Relevant Magazine said this was "one of the best albums of Switchfoot's career" and Nigel Britto of the Times of India wrote, "Hello Hurricane presents a renewed optimism and vigour and a lot more musical experimentation."
So, with this album comes a new direction for Switchfoot. After the grit of Nothing is Sound and Oh! Gravity and the seriousness of The Beautiful Letdown comes an album that is not dark or broody or serious but neither is it overtly goofy or quirky. It's a straight up recording, that may be a little self-conscious but doesn't take itself too seriously. The record feels effortless, like an easy overflowing of creativity. And I like that. It's a very mature album.
The tone is more reflective. Even though it's a little heavy, a little rocky, it feels like sitting on a front porch with a pitcher of lemonade on a hot, hot day and just thinking about life.
Lyrics
The themes here, I think, go deeper than anything else Switchfoot has ever done. It shows progression, thematically. It has moved from anguish over the state of the world and victory and loss to a more transcendent place. It says, in essence, 'Yes, there is sorrow in the world, but this is where I've found joy, and this is what I am making of it.' So there is definitely a sense of heaviness about this album but it is definitely the most upbeat album to date.
The album opens with Needle and Haystack Life, presenting a realistic outlook on life but an optimistic perspective: "You breathe it in/the highs and lows/we call it living/in this needle and haystack life/I found miracles there in your eyes/It's no accident we're here tonight/we are once in a lifetime."
From there, perhaps the darkest song on the record comes next, Mess of Me: "I've made a mess of me/I want to get back the rest of me/I've made a mess of me/I want to spend the rest of my life alive."
But then comes the most uplifting track on the album, Your Love is a Song rejoices in the love of God, "Your love is a symphony/all around me/running through me/oh, your love is a melody/underneath me/running to me/your love is a song ... I've got my eyes wide open/I've been keeping my hopes unbroken/yeah/your love is a symphony ... your love is my remedy."
The next song is The Sound, and it's a little rough and heavy, the tone a little dim, but with irrepressible optimism: "This is the sound/from the discontented mouths/of a haunted nation/we are the voice of breaking/down." The song concludes with, "love is the final fight/oh, oh/let it rise above/there is no song/louder than love ... Let it rise above/up from the ground/can't drown it out."
And this kind of up and down action goes on for the rest of the record. There is darkness and there is light. It works well.
My least favourite song is Hello Hurricane. It feels a little contrived and flat. Also, I was disappointed, when I heard it because, to me, a Hurricane would be a good thing and I was expecting that but in the song, the Hurricane is a bad thing. But that's just me. 4/5.
Sound
This is Switchfoot's most mature sounding album to date. It has a new kind of sound, but it is still uniquely Switchfoot. It's an alternative rock album, it's a little heavy but well balanced. It works. Again, 4/5.
Conclusion
A good record. I like the ups and downs. I like the sound. If there's anything I don't like about this record it's how normal it is. It's an even, balanced album. In a way, I miss the extremism of the earlier albums, and the goofiness, and all the weird quirks. But I think Switchfoot may be past that now. I'm looking forward to Vice Verses. 4.5/5 devastating Hurricanes.
This seventh and latest studio album was released on November 10, 2009 by lowercase people records and distributed by Atlantic Records.
Said the band's front man, Jon Foreman, "We tracked the whole record completely on our own dime and basically just our own opinions what the record should be."
Personality
This album has a completely different personality from anything else Switchfoot has previously done. "We wanted to start with a clean slate," said Jon Foreman. Relevant Magazine said this was "one of the best albums of Switchfoot's career" and Nigel Britto of the Times of India wrote, "Hello Hurricane presents a renewed optimism and vigour and a lot more musical experimentation."
So, with this album comes a new direction for Switchfoot. After the grit of Nothing is Sound and Oh! Gravity and the seriousness of The Beautiful Letdown comes an album that is not dark or broody or serious but neither is it overtly goofy or quirky. It's a straight up recording, that may be a little self-conscious but doesn't take itself too seriously. The record feels effortless, like an easy overflowing of creativity. And I like that. It's a very mature album.
The tone is more reflective. Even though it's a little heavy, a little rocky, it feels like sitting on a front porch with a pitcher of lemonade on a hot, hot day and just thinking about life.
Lyrics
The themes here, I think, go deeper than anything else Switchfoot has ever done. It shows progression, thematically. It has moved from anguish over the state of the world and victory and loss to a more transcendent place. It says, in essence, 'Yes, there is sorrow in the world, but this is where I've found joy, and this is what I am making of it.' So there is definitely a sense of heaviness about this album but it is definitely the most upbeat album to date.
The album opens with Needle and Haystack Life, presenting a realistic outlook on life but an optimistic perspective: "You breathe it in/the highs and lows/we call it living/in this needle and haystack life/I found miracles there in your eyes/It's no accident we're here tonight/we are once in a lifetime."
From there, perhaps the darkest song on the record comes next, Mess of Me: "I've made a mess of me/I want to get back the rest of me/I've made a mess of me/I want to spend the rest of my life alive."
But then comes the most uplifting track on the album, Your Love is a Song rejoices in the love of God, "Your love is a symphony/all around me/running through me/oh, your love is a melody/underneath me/running to me/your love is a song ... I've got my eyes wide open/I've been keeping my hopes unbroken/yeah/your love is a symphony ... your love is my remedy."
The next song is The Sound, and it's a little rough and heavy, the tone a little dim, but with irrepressible optimism: "This is the sound/from the discontented mouths/of a haunted nation/we are the voice of breaking/down." The song concludes with, "love is the final fight/oh, oh/let it rise above/there is no song/louder than love ... Let it rise above/up from the ground/can't drown it out."
And this kind of up and down action goes on for the rest of the record. There is darkness and there is light. It works well.
My least favourite song is Hello Hurricane. It feels a little contrived and flat. Also, I was disappointed, when I heard it because, to me, a Hurricane would be a good thing and I was expecting that but in the song, the Hurricane is a bad thing. But that's just me. 4/5.
Sound
This is Switchfoot's most mature sounding album to date. It has a new kind of sound, but it is still uniquely Switchfoot. It's an alternative rock album, it's a little heavy but well balanced. It works. Again, 4/5.
Conclusion
A good record. I like the ups and downs. I like the sound. If there's anything I don't like about this record it's how normal it is. It's an even, balanced album. In a way, I miss the extremism of the earlier albums, and the goofiness, and all the weird quirks. But I think Switchfoot may be past that now. I'm looking forward to Vice Verses. 4.5/5 devastating Hurricanes.
The Seven Albums of Switchfoot (Part 3: Oh! Gravity)
Oh! Gravity
Switchfoot's sixth studio album was released on December 26, 2006. The album debuted on the Billboard 100 at #18 as the second highest debut of that week.
Personality
This album has a lot of its own personality. It's different from anything else Switchfoot has ever done. And yet, it's the same. This album is reminiscent of The Legend of Chin. It's a goofy, playful, lighthearted album. It's like cracking a bad joke after a long serious conversation and it breaks the pattern of The Beautiful Letdown and Nothing is Sound.
The Album deals with serious issues, thematically, but like The Legend of Chin it does so in a playful and lighthearted way. It's a loud, aggressive, and fun album. 5/5.
Lyrics
The themes in Oh! Gravity are the same as we've come to expect from Switchfoot. I think the focus here is about breaking materialism. The track American Dream says, "When success is equated with excess/our ambition for excess wrecks us" and "I want out of this machine/it doesn't feel like freedom//this ain't my American Dream/I want to live and die for bigger things." In Awakening, an ambitious person awakes to the reality of life beyond the physical: "Last week found me living for nothing but deadlines/with my deadbeat sky but this town doesn't look the same tonight/these dreams started singing to me out of nowhere/and in all my life I don't know if I've ever felt so alive" and "Maybe it's called ambition/but you've been talking in your sleep/about a dream, we're awakening." The track titled 4:12 continues the same theme with, "I'm so sorry I've been so down/I started doubting things could ever turn around/and I began to believe that all we are is material/it's nonsensical."
Elsewhere, Yesterday (one of my favourite songs on the album) deals with the loss of a loved one. Amateur Lovers is a clever rehash of the themes introduced by Easier than Love in Nothing is Sound.
The track, Faust, Midas, and Myself is an interesting and complex song that deals with the pursuit of materialism and concludes, "You have one life/one life left to lead" and "What was once routine/was now the perfect joy."
So, with the same kind of themes we've come to expect from Switchfoot, I give Oh! Gravity 5/5 for its lyrics.
Sound
The lyrics are kind of seriousish, mostly. But the sound of this album is lighthearted. Oh! Gravity is the most raw album since The Legend of Chin, all the polish of The Beautiful Letdown and Nothing is Sound is gone. The sound of this album doesn't take itself seriously. In the title track, there's a moment where the heavy guitar sound breaks down and there are a couple of aggressive off-key piano key strokes before the guitar-heavy sound resumes.
Overall, I found that the album has a kind of pop-punk sound, but there are softer, slower songs like Yesterdays and Awakening.
So it's not a great sounding record but that's not the point. The point is that it's fun and it has a lighthearted sound. And I appreciate that. So I'll give it a 4/5 for sound.
Conclusion
Until I gave this album a good listen, I really didn't like it. I thought it was a major break from Switchfoot's sound. Now that I've really listened to it and examined the lyrics I've found that it is exactly what I should have been expecting at this point. The lyrics pursue and develop the same themes that have become so familiar since The Legend of Chin and the sound goes back to the raw, unfinished sound of that first album. It goes back to the goofy, playful, quirkiness of that first album that has been missing from the last two albums.
It's not my favourite Switchfoot album, but it has its merits and it can stand on its own. I'll give it 5/5 punk rocking materialists.
Switchfoot's sixth studio album was released on December 26, 2006. The album debuted on the Billboard 100 at #18 as the second highest debut of that week.
Personality
This album has a lot of its own personality. It's different from anything else Switchfoot has ever done. And yet, it's the same. This album is reminiscent of The Legend of Chin. It's a goofy, playful, lighthearted album. It's like cracking a bad joke after a long serious conversation and it breaks the pattern of The Beautiful Letdown and Nothing is Sound.
The Album deals with serious issues, thematically, but like The Legend of Chin it does so in a playful and lighthearted way. It's a loud, aggressive, and fun album. 5/5.
Lyrics
The themes in Oh! Gravity are the same as we've come to expect from Switchfoot. I think the focus here is about breaking materialism. The track American Dream says, "When success is equated with excess/our ambition for excess wrecks us" and "I want out of this machine/it doesn't feel like freedom//this ain't my American Dream/I want to live and die for bigger things." In Awakening, an ambitious person awakes to the reality of life beyond the physical: "Last week found me living for nothing but deadlines/with my deadbeat sky but this town doesn't look the same tonight/these dreams started singing to me out of nowhere/and in all my life I don't know if I've ever felt so alive" and "Maybe it's called ambition/but you've been talking in your sleep/about a dream, we're awakening." The track titled 4:12 continues the same theme with, "I'm so sorry I've been so down/I started doubting things could ever turn around/and I began to believe that all we are is material/it's nonsensical."
Elsewhere, Yesterday (one of my favourite songs on the album) deals with the loss of a loved one. Amateur Lovers is a clever rehash of the themes introduced by Easier than Love in Nothing is Sound.
The track, Faust, Midas, and Myself is an interesting and complex song that deals with the pursuit of materialism and concludes, "You have one life/one life left to lead" and "What was once routine/was now the perfect joy."
So, with the same kind of themes we've come to expect from Switchfoot, I give Oh! Gravity 5/5 for its lyrics.
Sound
The lyrics are kind of seriousish, mostly. But the sound of this album is lighthearted. Oh! Gravity is the most raw album since The Legend of Chin, all the polish of The Beautiful Letdown and Nothing is Sound is gone. The sound of this album doesn't take itself seriously. In the title track, there's a moment where the heavy guitar sound breaks down and there are a couple of aggressive off-key piano key strokes before the guitar-heavy sound resumes.
Overall, I found that the album has a kind of pop-punk sound, but there are softer, slower songs like Yesterdays and Awakening.
So it's not a great sounding record but that's not the point. The point is that it's fun and it has a lighthearted sound. And I appreciate that. So I'll give it a 4/5 for sound.
Conclusion
Until I gave this album a good listen, I really didn't like it. I thought it was a major break from Switchfoot's sound. Now that I've really listened to it and examined the lyrics I've found that it is exactly what I should have been expecting at this point. The lyrics pursue and develop the same themes that have become so familiar since The Legend of Chin and the sound goes back to the raw, unfinished sound of that first album. It goes back to the goofy, playful, quirkiness of that first album that has been missing from the last two albums.
It's not my favourite Switchfoot album, but it has its merits and it can stand on its own. I'll give it 5/5 punk rocking materialists.
Monday, July 26, 2010
The Seven Albums of Switchfoot (Part 2: The Beautiful Letdown and Nothing is Sound)
The Beautiful Letdown
This fourth studio album was released on February 26, 2003 by the major record label, Columbia Records/Red Ink. Meant to Live and Dare You to Move became top 20 singles and the album stayed aboard Billboard's top 200 albums chart for a long while.
The album won Album of the Year at the San Diego Music Awards and it was ranked #195 on Billboard's Hot 200 Albums of the Decade.
The Beautiful Letdown launched Switchfoot into the mainstream.
Personality
While this album retains much of the personality that Switchfoot established in the first three albums, I miss the goofiness and quirkiness of those earlier releases. This is a much more serious album. It's not dark or gloomy or anything, it just seems to take itself much more seriously than any of the previous releases.
The Track titled Gone retains a hint of Switchfoot's trademark quirky goofiness: "Today will soon be ... /Gone like Frank Sinatra, like Elvis and his mom/like Al Pachino's cash" but it's missing from all the other tracks and I'm a little disappointed. The album gets a 3/5 for personality.
Lyrics
This album continues and builds on the lyrical themes introduced in earlier albums. Meant to Live pulls no punches with its message: "We were meant to live for so much more" and This is Your Life reinforces it: "This is your life/Are you who you want to be?" The rest of the album continues in the same direction.
Elsewhere, The Beautiful Letdown confesses: "In a world full of bitter pain and bitter doubt/I was trying so hard to fit in, fit in/until I found out/I don't belong here."
Gone is a bit of a goofy song but it has a serious message, opening with, "She told him she'd rather fix her makeup/than try to fix what's going on" and finishing with, "we are not infinite/we are not permanent ... /life is more than money, time was never money .../every moment that we borrow brings us closer to/the God who's not short of cash."
The album ends with "I want to see miracles/to see the world change ... /I'm singing Spirit, take me up in arms with you/and you're raising the dead in me."
So the tone of the album is more serious, but the themes are the same: faith, dependence, loss, living victoriously in a messed up world. I'll rate it at 4/5 because it's good but I miss the goofiness.
Sound
This album retains Switchfoot's unique sound, however, it's the most polished sounding album yet. The addition of Jerome Fontamillas to the lineup brings a layered guitar sound that works well with Switchfoot's sound. This album is more rocky and a little more aggressive sounding than previous albums but it has its share of quiet songs. What's noticeably absent is the lack of quirky goofiness, I know I sound like a broken record, but I really miss that! So, 4/5.
Conclusion
Not my favourite Switchfoot album, but a solid, cohesive release. It fits in well with the rest of Switchfoot's stuff. I'll give it a 4/5 RIAA certified platinum records.
Nothing is Sound
With this release, Switchfoot became, by far, my favourite band. Not just because of their fantastic music but because of the controversy they stirred up in the world of recording. (I love controversy.)
Nothing is Sound, the fifth studio album, was released September 13, 2005 and debuted as #3 on Billboard's top 200 chart.
About that controversy, I will shamelessly quote straight from the Wikipedia.org article: "The album was marred by major controversy over the inclusion of XCP copy protection distributed on all copies of the disc. This led to bassist Tim Foreman posting a detailed work-around on the band's website (which was promptly removed by Columbia Records). Nothing is Sound was at the forefront of the Sony BMG CD copy prevention scandal, which eventually led to the recall of all CD's that contained the protection." Jon Foreman later said that he felt the album was "tainted" by this scandal.
That's all I'll include here, but you can read all about it on Wikipedia, just search for "Sony BMG CD copy protection scandal".
Personality
This is probably Switchfoot's dimmest album yet. There's optimism and hope, but in Nothing is Sound, the world is a darker place. Surprisingly, though, this is a more lighthearted album than The Beautiful Letdown. I mean, there's plenty of serious stuff, but the overall tone is mostly optimistic. So, yes, there's the darkness and distressing depression of "everything is meaningless" but there's also optimism in songs like We Are One Tonight and Stars. The song The Shadow Proves the Sunshine insists on joy and hope even while the world is a broken place. So the darkness and depression here is not penetrating, it's only a reflection of the condition of the world. I'm giving it a 5/5.
Lyrics
I love the lyrics of The Shadow Proves the Sunshine: "Sunshine won't you be my mother" and "we are/crooked souls trying to stand up straight/dry eyes in the pouring rain when/the shadow proves the sunshine."
Like I said in the Personality section, there's a lot of darkness here, but the lyrics are mostly lighthearted and optimistic. One notable exception is the track, The Fatal Wound: "I am the crisis/I am the bitter end/I'm gonna gun this town/I am divided/I am the razor edge/there is no easing out//the sun of sorrow/staring down forever/with an aching view/disenchanted/let's go down together/with the fatal wound." I really don't know what to make of this song, but here's my theory: In this song, Jon Foreman sings about keeping on fighting even while there's no hope of victory or even of avoid a shattering defeat.
The themes here build mainly on those introduced in earlier albums, but deal with the darker sides. There is loneliness, social entropy, and the commercialization of sex. The song Easier than Love deals head on with the one issue that Switchfoot seems to have been dancing around ever since The Legend of Chin: the commercialization of sex. I'm glad they finally got that out, even though the song feels a little awkward.
Lyrically, this is my favourite album so far. 5/5.
Sound
This is Switchfoot's most intricately tailored album yet. It is densely layered, even more so than The Beautiful Letdown, thanks to the addition of touring guitarist Drew Shirley to the official lineup. It preserves Switchfoot's trademark sound and develops it. I really liked it. 5/5.
Conclusion
A complex recording, both by sound and lyrics. And my favourite to date. I don't quite like Stars and Easier than Love, they seem a little flat, but that doesn't take anything away from this hard-hitting album. I'll give it 5/5 fights to the death.
I'll be back tomorrow with Oh! Gravity.
This fourth studio album was released on February 26, 2003 by the major record label, Columbia Records/Red Ink. Meant to Live and Dare You to Move became top 20 singles and the album stayed aboard Billboard's top 200 albums chart for a long while.
The album won Album of the Year at the San Diego Music Awards and it was ranked #195 on Billboard's Hot 200 Albums of the Decade.
The Beautiful Letdown launched Switchfoot into the mainstream.
Personality
While this album retains much of the personality that Switchfoot established in the first three albums, I miss the goofiness and quirkiness of those earlier releases. This is a much more serious album. It's not dark or gloomy or anything, it just seems to take itself much more seriously than any of the previous releases.
The Track titled Gone retains a hint of Switchfoot's trademark quirky goofiness: "Today will soon be ... /Gone like Frank Sinatra, like Elvis and his mom/like Al Pachino's cash" but it's missing from all the other tracks and I'm a little disappointed. The album gets a 3/5 for personality.
Lyrics
This album continues and builds on the lyrical themes introduced in earlier albums. Meant to Live pulls no punches with its message: "We were meant to live for so much more" and This is Your Life reinforces it: "This is your life/Are you who you want to be?" The rest of the album continues in the same direction.
Elsewhere, The Beautiful Letdown confesses: "In a world full of bitter pain and bitter doubt/I was trying so hard to fit in, fit in/until I found out/I don't belong here."
Gone is a bit of a goofy song but it has a serious message, opening with, "She told him she'd rather fix her makeup/than try to fix what's going on" and finishing with, "we are not infinite/we are not permanent ... /life is more than money, time was never money .../every moment that we borrow brings us closer to/the God who's not short of cash."
The album ends with "I want to see miracles/to see the world change ... /I'm singing Spirit, take me up in arms with you/and you're raising the dead in me."
So the tone of the album is more serious, but the themes are the same: faith, dependence, loss, living victoriously in a messed up world. I'll rate it at 4/5 because it's good but I miss the goofiness.
Sound
This album retains Switchfoot's unique sound, however, it's the most polished sounding album yet. The addition of Jerome Fontamillas to the lineup brings a layered guitar sound that works well with Switchfoot's sound. This album is more rocky and a little more aggressive sounding than previous albums but it has its share of quiet songs. What's noticeably absent is the lack of quirky goofiness, I know I sound like a broken record, but I really miss that! So, 4/5.
Conclusion
Not my favourite Switchfoot album, but a solid, cohesive release. It fits in well with the rest of Switchfoot's stuff. I'll give it a 4/5 RIAA certified platinum records.
Nothing is Sound
With this release, Switchfoot became, by far, my favourite band. Not just because of their fantastic music but because of the controversy they stirred up in the world of recording. (I love controversy.)
Nothing is Sound, the fifth studio album, was released September 13, 2005 and debuted as #3 on Billboard's top 200 chart.
About that controversy, I will shamelessly quote straight from the Wikipedia.org article: "The album was marred by major controversy over the inclusion of XCP copy protection distributed on all copies of the disc. This led to bassist Tim Foreman posting a detailed work-around on the band's website (which was promptly removed by Columbia Records). Nothing is Sound was at the forefront of the Sony BMG CD copy prevention scandal, which eventually led to the recall of all CD's that contained the protection." Jon Foreman later said that he felt the album was "tainted" by this scandal.
That's all I'll include here, but you can read all about it on Wikipedia, just search for "Sony BMG CD copy protection scandal".
Personality
This is probably Switchfoot's dimmest album yet. There's optimism and hope, but in Nothing is Sound, the world is a darker place. Surprisingly, though, this is a more lighthearted album than The Beautiful Letdown. I mean, there's plenty of serious stuff, but the overall tone is mostly optimistic. So, yes, there's the darkness and distressing depression of "everything is meaningless" but there's also optimism in songs like We Are One Tonight and Stars. The song The Shadow Proves the Sunshine insists on joy and hope even while the world is a broken place. So the darkness and depression here is not penetrating, it's only a reflection of the condition of the world. I'm giving it a 5/5.
Lyrics
I love the lyrics of The Shadow Proves the Sunshine: "Sunshine won't you be my mother" and "we are/crooked souls trying to stand up straight/dry eyes in the pouring rain when/the shadow proves the sunshine."
Like I said in the Personality section, there's a lot of darkness here, but the lyrics are mostly lighthearted and optimistic. One notable exception is the track, The Fatal Wound: "I am the crisis/I am the bitter end/I'm gonna gun this town/I am divided/I am the razor edge/there is no easing out//the sun of sorrow/staring down forever/with an aching view/disenchanted/let's go down together/with the fatal wound." I really don't know what to make of this song, but here's my theory: In this song, Jon Foreman sings about keeping on fighting even while there's no hope of victory or even of avoid a shattering defeat.
The themes here build mainly on those introduced in earlier albums, but deal with the darker sides. There is loneliness, social entropy, and the commercialization of sex. The song Easier than Love deals head on with the one issue that Switchfoot seems to have been dancing around ever since The Legend of Chin: the commercialization of sex. I'm glad they finally got that out, even though the song feels a little awkward.
Lyrically, this is my favourite album so far. 5/5.
Sound
This is Switchfoot's most intricately tailored album yet. It is densely layered, even more so than The Beautiful Letdown, thanks to the addition of touring guitarist Drew Shirley to the official lineup. It preserves Switchfoot's trademark sound and develops it. I really liked it. 5/5.
Conclusion
A complex recording, both by sound and lyrics. And my favourite to date. I don't quite like Stars and Easier than Love, they seem a little flat, but that doesn't take anything away from this hard-hitting album. I'll give it 5/5 fights to the death.
I'll be back tomorrow with Oh! Gravity.
The Seven Albums of Switchfoot (Part 1: The Legend of Chin to Learning to Breathe)
So this is how this is going to work: I'm going to listen to an album or a bunch of albums and then I'm going to review them, write what I like or don't like about them and give them a rating out of five, just like how I do for books. I decided to do all seven of Switchfoot's albums first, so I listened to them all from first to last while I was at work today and I will review them all in this post. Unless I come up with a better method, I'm going to use the following categories to review each album: Personality, Lyrics, and Sound.
The Legend of Chin
This album was released on June 17, 1997 by re:think records, which was bought by Sparrow Records.
Billboard called it "an intriguing and surprisingly mature effort for a debut release." Here's my take:
Personality
This is a unique album. It's a little bit goofy at times, it has a goofy sound and some goofy lyrics. Nevertheless, it tackles some pretty heavy issues in a disarmingly lighthearted way. For example, the track Chem6A chides self-centered, aimless, and entertainment greedy youth with, "I don't know what love is/I don't know who I am/And if I ever want to find out/I'll watch the movie/'cause it's not me/I'm just like everybody else my age."
Other tracks, like Home and You, are little more mellow. Home seems a little mournful, with "I've been poison/I've been rain/I've been fooled again/I've seen ashes/shine like chrome/someday I'll see home."
Overall, it's a moody album. It gets a little aggressive, in Bomb and Ode to Chin and Underwater and broody in You, Don't Be There, and Concrete Girl but it keeps being lighthearted with enough goofiness to keep me thinking that it's a fun album. Well done. I'll give it a 5/5.
Lyrics
The writing in this album is great. I think it's clever, original, and unique. Chem6A is a particularly clever lyric, it remains lighthearted and a little silly where it might have or could have sounded either preachy (at one extreme) or mocking (at the other extreme). Jon Foreman, the lead singer, aims the song's criticism at himself but the message retains its poignancy.
Might Have Ben Hur, although weirdly titled, is a very sweet and original love song, I find its refrain: "'Cause I want someone to share my smile/to share the pain/to be there when the sea turns gray/to share the joy/for better or worse/and I thought that it might have been her" really evocative.
My favourite thing about these lyrics is that they're consistent. The whole album follows a few themes like purpose, love in human relationships, the meaning of life, and faith. This album is kind of like an exploration of life that's a little reminiscent of the best and worst parts of my High School experience.
The lyrics work, they do what they're supposed to do and they communicate emotions well. Overall, a well written album. Again a 5/5.
Sound
Of all of Switchfoot's albums this one is the most raw and unrefined. But that's not a bad thing. The music goes well with the lyrics. It delivers a kind of bumpy pop-rock sound. But it's also a sound that's unique to Switchfoot.
Conclusion
A good album. It tackles important themes, like love, purpose and meaningfulness, and remains lighthearted and optimistic. The optimism of this album is probably it's most winsome feature. Even when it gets a little broody, it never gets dark. It gets a 5/5 chin ups.
New Way To Be Human
New Way to be Human was released on March 23, 1999 under the label re:think Records, which was owned by Sparrow Records. The track titled Only Hope was featured in the movie A Walk to Remember and became an international favourite.
A book
with the same title was written by the band's producer, Charlie Peacock. Its introduction was written by Jon Foreman. I haven't read the book, but I plan to.
Personality
Another quirky album, New Way to be Human retains a little of The Legend of Chin's lighthearted optimism and goofiness. It's a little less broody, a little more upbeat, but also a little more detached. By 'detached' I mean that it doesn't connect emotionally like The Legend of Chin did. Instead, it's a more philosophical album. The result is that it's also a more forgettable album, for me, because I tend to remember things that make me feel.
The songs Sooner or Later and Something More are based on the writings of the philosophers, Soren Kierkegaard and Augustine of Hippo respectively.
Although I like many of the individual songs on this album a lot, overall the album isn't among my favourites. I give it a 3.8/5.
Lyrics
As with the last record, the lyrics are mostly very well written.
I have one complaint, though: Sooner or Later is, according to Jon Foreman, Soren Kierkegaard's thoughts "as best as he understands them," but they're awfully vague. Here's a sample: "Sooner or later they'll find out/there's a hole in the wall/sooner or later you'll find out/that you'll dream to be that small." From what I remember from Philosophy class, Kierkegaard was pretty deep. I mean, he was the founder of existentialism. The most I get from this song is that he was a Christian who wanted to shrink (and possibly go through a mouse hole ... but I'm grasping). I mean, I'm sure there's a giant metaphor here, but I don't see it. So that's my complaint. The lines "Oh God I believe/Please help me believe" along with the final line of Ode to Chin from The Legend of Chin: "Doubt your doubts and believe your beliefs" allude to Kierkegaard's thought that to have faith is to also have doubt, which is cool. I mean, I like the idea of lyrics being philosophical.
So, anyways, like The Legend of Chin the lyrics here are fairly consistent and follow a theme that can be seen developing through the album. The main theme I see in this album is introduced in the first and title track: New Way to Be Human: that there is a life beyond the physical.
Company Car at once illustrates Jesus' words: "What shall it profit a man if he shall gain the whole world and lose his own soul?" (Mark 8:36) and chides those who sell out their dreams and authenticity for success.
So the lyrics are solid, mostly. And I like the way the theme is developed through the album. All in all, a 4/5.
Sound
This album is a little heavier than The Legend of Chin, a little more aggressive, a little more rocky. Also, New Way to be Human has got to be one of the oddest sounding songs I know. Give it a listen and see what I mean. I like it a lot, but it'll never be one of my favourites. There are some quieter, softer songs like Only Hope and Under the Floor and they work well. I really like the sound on this one, so 5/5.
Conclusion
Another good album. More philosophical than emotional, but good nonetheless. And it retains all of the optimism and brightness that Switchfoot introduced in Legend of Chin. 3.5/5 bearded philosophers.
Learning to Breathe
This third studio album by Switchfoot was released on September 26, 2000. It was the last album released under the independent label re:think Records, which was owned by Sparrow Records. This album received a Grammy award nomination for Best Rock Gospel Album in 2001 (not because its music fits into the "Rock Gospel" genre but because it was distributed by Sparrow Records, a 'Christian' label.
Incidentally, Learning to Breathe is also the title of many unrelated books. I don't plan on reading any of them.
Personality
More of what we've come to expect from Switchfoot. A little bit goofy, a little bit broody, a little bit tackling heavy serious issues. Although this album is a little more mature, a little less goofy, and a little more aggressive than anything Swithfoot has done yet.
The song Poparazzi is a funny and goofy song that chides the world of pop culture (I say chide because it's more serious than "mocks" or "pokes fun at" but much less preachy or serious than any other kind of word I could think of) for creating idols and being ridiculous. It clumps Nirvana, Elvis, Marilyn Munroe, and 90210 into one category and calls them all ridiculous, and it does it pretty cleverly too.
Dare You to Move challenges a hesitant person to put pain and failure behind them and make a leap of faith. And it's pretty catchy. Learning to Breathe is kind of the same: picking it all up and beginning again after having your "head kicked in." So you see the tone of the album right there in the first two songs. Upbeat.
Again, an optimistic album, very bright. I like it a lot so it gets a 5/5.
Lyrics
Thematically, this album picks up where The Legend of Chin left off. It talks about faith, salvation, dumping stupid baggage, redemption, forgiveness, new beginnings.
I particularly like the words of Loser: "I've been the burnout kid/I've been the idiot head/I'll turn the other cheek to be hit/You can take what you want from me/Empty me 'til I'm depleted/I'll be around if I'm ever needed" compared to the opening words of that same track: "Only the losers win." It echoes the spiritual principle of humility.
Overall, another very consistent album, thematically. What I like best is seeing how the themes introduced in Legend of Chin get developed here. A solid 5/5.
Sound
Learning to Breathe is Switchfoot's most polished album yet. It still has a few goofy, weird sounding songs (not at all a bad thing) like Poparazzi but that helps make their sound as unique as it is. Not that it wouldn't be unique if those songs were excluded, mind you. Like Switchfoot's themes, its sound develops and matures from one album to the next. I like that. It's not a radical change, it's just the same as before only more so. 5/5.
Conclusion
A great album. Fun to listen to, enjoyable, and deep. Great stuff 5/5.
So that's it for the first three albums. I'll write again later to cover a few of the next ones. Thanks for reading!
The Legend of Chin
This album was released on June 17, 1997 by re:think records, which was bought by Sparrow Records.
Billboard called it "an intriguing and surprisingly mature effort for a debut release." Here's my take:
Personality
This is a unique album. It's a little bit goofy at times, it has a goofy sound and some goofy lyrics. Nevertheless, it tackles some pretty heavy issues in a disarmingly lighthearted way. For example, the track Chem6A chides self-centered, aimless, and entertainment greedy youth with, "I don't know what love is/I don't know who I am/And if I ever want to find out/I'll watch the movie/'cause it's not me/I'm just like everybody else my age."
Other tracks, like Home and You, are little more mellow. Home seems a little mournful, with "I've been poison/I've been rain/I've been fooled again/I've seen ashes/shine like chrome/someday I'll see home."
Overall, it's a moody album. It gets a little aggressive, in Bomb and Ode to Chin and Underwater and broody in You, Don't Be There, and Concrete Girl but it keeps being lighthearted with enough goofiness to keep me thinking that it's a fun album. Well done. I'll give it a 5/5.
Lyrics
The writing in this album is great. I think it's clever, original, and unique. Chem6A is a particularly clever lyric, it remains lighthearted and a little silly where it might have or could have sounded either preachy (at one extreme) or mocking (at the other extreme). Jon Foreman, the lead singer, aims the song's criticism at himself but the message retains its poignancy.
Might Have Ben Hur, although weirdly titled, is a very sweet and original love song, I find its refrain: "'Cause I want someone to share my smile/to share the pain/to be there when the sea turns gray/to share the joy/for better or worse/and I thought that it might have been her" really evocative.
My favourite thing about these lyrics is that they're consistent. The whole album follows a few themes like purpose, love in human relationships, the meaning of life, and faith. This album is kind of like an exploration of life that's a little reminiscent of the best and worst parts of my High School experience.
The lyrics work, they do what they're supposed to do and they communicate emotions well. Overall, a well written album. Again a 5/5.
Sound
Of all of Switchfoot's albums this one is the most raw and unrefined. But that's not a bad thing. The music goes well with the lyrics. It delivers a kind of bumpy pop-rock sound. But it's also a sound that's unique to Switchfoot.
Conclusion
A good album. It tackles important themes, like love, purpose and meaningfulness, and remains lighthearted and optimistic. The optimism of this album is probably it's most winsome feature. Even when it gets a little broody, it never gets dark. It gets a 5/5 chin ups.
New Way To Be Human
New Way to be Human was released on March 23, 1999 under the label re:think Records, which was owned by Sparrow Records. The track titled Only Hope was featured in the movie A Walk to Remember and became an international favourite.
A book
with the same title was written by the band's producer, Charlie Peacock. Its introduction was written by Jon Foreman. I haven't read the book, but I plan to.Personality
Another quirky album, New Way to be Human retains a little of The Legend of Chin's lighthearted optimism and goofiness. It's a little less broody, a little more upbeat, but also a little more detached. By 'detached' I mean that it doesn't connect emotionally like The Legend of Chin did. Instead, it's a more philosophical album. The result is that it's also a more forgettable album, for me, because I tend to remember things that make me feel.
The songs Sooner or Later and Something More are based on the writings of the philosophers, Soren Kierkegaard and Augustine of Hippo respectively.
Although I like many of the individual songs on this album a lot, overall the album isn't among my favourites. I give it a 3.8/5.
Lyrics
As with the last record, the lyrics are mostly very well written.
I have one complaint, though: Sooner or Later is, according to Jon Foreman, Soren Kierkegaard's thoughts "as best as he understands them," but they're awfully vague. Here's a sample: "Sooner or later they'll find out/there's a hole in the wall/sooner or later you'll find out/that you'll dream to be that small." From what I remember from Philosophy class, Kierkegaard was pretty deep. I mean, he was the founder of existentialism. The most I get from this song is that he was a Christian who wanted to shrink (and possibly go through a mouse hole ... but I'm grasping). I mean, I'm sure there's a giant metaphor here, but I don't see it. So that's my complaint. The lines "Oh God I believe/Please help me believe" along with the final line of Ode to Chin from The Legend of Chin: "Doubt your doubts and believe your beliefs" allude to Kierkegaard's thought that to have faith is to also have doubt, which is cool. I mean, I like the idea of lyrics being philosophical.
So, anyways, like The Legend of Chin the lyrics here are fairly consistent and follow a theme that can be seen developing through the album. The main theme I see in this album is introduced in the first and title track: New Way to Be Human: that there is a life beyond the physical.
Company Car at once illustrates Jesus' words: "What shall it profit a man if he shall gain the whole world and lose his own soul?" (Mark 8:36) and chides those who sell out their dreams and authenticity for success.
So the lyrics are solid, mostly. And I like the way the theme is developed through the album. All in all, a 4/5.
Sound
This album is a little heavier than The Legend of Chin, a little more aggressive, a little more rocky. Also, New Way to be Human has got to be one of the oddest sounding songs I know. Give it a listen and see what I mean. I like it a lot, but it'll never be one of my favourites. There are some quieter, softer songs like Only Hope and Under the Floor and they work well. I really like the sound on this one, so 5/5.
Conclusion
Another good album. More philosophical than emotional, but good nonetheless. And it retains all of the optimism and brightness that Switchfoot introduced in Legend of Chin. 3.5/5 bearded philosophers.
Learning to Breathe
This third studio album by Switchfoot was released on September 26, 2000. It was the last album released under the independent label re:think Records, which was owned by Sparrow Records. This album received a Grammy award nomination for Best Rock Gospel Album in 2001 (not because its music fits into the "Rock Gospel" genre but because it was distributed by Sparrow Records, a 'Christian' label.
Incidentally, Learning to Breathe is also the title of many unrelated books. I don't plan on reading any of them.
Personality
More of what we've come to expect from Switchfoot. A little bit goofy, a little bit broody, a little bit tackling heavy serious issues. Although this album is a little more mature, a little less goofy, and a little more aggressive than anything Swithfoot has done yet.
The song Poparazzi is a funny and goofy song that chides the world of pop culture (I say chide because it's more serious than "mocks" or "pokes fun at" but much less preachy or serious than any other kind of word I could think of) for creating idols and being ridiculous. It clumps Nirvana, Elvis, Marilyn Munroe, and 90210 into one category and calls them all ridiculous, and it does it pretty cleverly too.
Dare You to Move challenges a hesitant person to put pain and failure behind them and make a leap of faith. And it's pretty catchy. Learning to Breathe is kind of the same: picking it all up and beginning again after having your "head kicked in." So you see the tone of the album right there in the first two songs. Upbeat.
Again, an optimistic album, very bright. I like it a lot so it gets a 5/5.
Lyrics
Thematically, this album picks up where The Legend of Chin left off. It talks about faith, salvation, dumping stupid baggage, redemption, forgiveness, new beginnings.
I particularly like the words of Loser: "I've been the burnout kid/I've been the idiot head/I'll turn the other cheek to be hit/You can take what you want from me/Empty me 'til I'm depleted/I'll be around if I'm ever needed" compared to the opening words of that same track: "Only the losers win." It echoes the spiritual principle of humility.
Overall, another very consistent album, thematically. What I like best is seeing how the themes introduced in Legend of Chin get developed here. A solid 5/5.
Sound
Learning to Breathe is Switchfoot's most polished album yet. It still has a few goofy, weird sounding songs (not at all a bad thing) like Poparazzi but that helps make their sound as unique as it is. Not that it wouldn't be unique if those songs were excluded, mind you. Like Switchfoot's themes, its sound develops and matures from one album to the next. I like that. It's not a radical change, it's just the same as before only more so. 5/5.
Conclusion
A great album. Fun to listen to, enjoyable, and deep. Great stuff 5/5.
So that's it for the first three albums. I'll write again later to cover a few of the next ones. Thanks for reading!
Saturday, July 24, 2010
put a banana in your ear
my nieces were over for a sleepover tonight. we were eating pizza for a bedtime snack, when laurie started singing,
"put a banana in your ear ... put it right into your favorite ear."
eva said, "i don't have a favorite ear."
laurie said, "my favorite ear is the one that doesn't hurt."
"put a banana in your ear ... put it right into your favorite ear."
eva said, "i don't have a favorite ear."
laurie said, "my favorite ear is the one that doesn't hurt."
Sunday, July 18, 2010
The Screwtape Letters by C.S. Lewis
Summary
So, I finally got around to reading The Screwtape Letters.
In it, Screwtape, a senior devil, an administrator in the department of temptation writes letters to his nephew, Wormwood, a junior devil, giving advice on how to be a more effective tempter.
What I liked
In his letters, Screwtape explains God's plan for humans and how the devils try to disrupt it through temptation.
What I didn't like
Screwtape seems to think that people are saved by their works. I'm not sure if this reflects C.S. Lewis' thinking or if it's wishful thinking on Screwtape's part.
In the last part of the book, Screwtape makes a long winded speech. It wasn't so interesting.
Summary
A great book. 4.9/5 devils.
So, I finally got around to reading The Screwtape Letters.
In it, Screwtape, a senior devil, an administrator in the department of temptation writes letters to his nephew, Wormwood, a junior devil, giving advice on how to be a more effective tempter.
What I liked
In his letters, Screwtape explains God's plan for humans and how the devils try to disrupt it through temptation.
What I didn't like
Screwtape seems to think that people are saved by their works. I'm not sure if this reflects C.S. Lewis' thinking or if it's wishful thinking on Screwtape's part.
In the last part of the book, Screwtape makes a long winded speech. It wasn't so interesting.
Summary
A great book. 4.9/5 devils.
Tuesday, July 13, 2010
The Dragon Reborn by Robert Jordan
Summary
The third book of the Wheel of Time series picks up shortly after the last book left off.
Perrin is camped in the mountains with Loial, Lan, Moirainne, and their small group of Shienaran soldiers. Rand is there too, but he's kind of sullen and seems to be going a little crazy. And then he runs away. Perrin, Loial, Lan, and Moirainne go after him, chasing him back across the continent. They suspect he is going to Tear where the next Dragon prophecy is supposed to be fulfilled. Along the way, a girl named Zarine decides to follow Perrin because he has broad shoulders and a strong back.
Mat wakes up in Tar Valon, ravenously hungry and incredibly lucky. The rulers of Tar Valon take precautions against his escaping but Mat is kind of stubborn. And lucky. So he hatches some kind of hare brained plan and goes off gambling and wins more money than he can carry in his wallet. Then he finds Thom Merrilin, the gleeman from book one, and convinces him to accompany him. Together, and with a letter they sneakily acquired from the Amirlyn Seat, they leave Tar Valon, heading for Caemlyn to deliver a letter from the Daughter-Heir of Andor to her mother, the Queen. In Caemlyn, Mat (by chance) discovers a vile plot and turns south, to Tear, to warn his friends about a terrible trap.
Egwene, Nynaeve, and Elayne are ordered by the Amirlyn Seat to find and bring to justice the members of the Black Ajah that kidnapped them in book two. The trail leads them south towards Tear.
This book has considerably less action than the previous two. Instead it is filled with intrigue, a little politics, and plenty of drama. The pace is much slower than the previous, there is more thinking and planning and unfolding than there is action.
What I liked
It was interesting and kept me reading. And a little suspenseful, though less so than the previous two.
It was funny, in many places. For example, Rand passes through a village on his way to Tear and as he goes by everyone in the village decides to get married. Rand ends up playing the pipes at the wedding celebrations that last all day long and leave the poor villagers all exhausted. When Moirraine, Perrin, Lan, and Loial come through the village on Rand's trail, Moirraine's explanation is: the pattern of the ages shifts around Rand.
Another example: The bunch following Rand stop in an inn in Illian where a girl is dancing and singing and playing the harp. All her songs involve either a man who makes a complete idiot of himself by the end or a woman who ends up completely naked. Sometimes both. And in improbable and hilarious circumstances. Very clever.
I also liked the character development in this book.
It's also a little scary, what with all the creepy gray men skulking in shadows and trying to stick knives in peoples backs or shoot them with crossbows.
And the dream world is a pretty imaginative and cool idea.
What I didn't like
Oh the drama. Same as the last two in that respect. The series is kind of frustrating with all its drama. Part of me wants to give it up altogether but I'm just curious enough to crack open the next book... And once I have, the suspense in that one keeps me reading.
Conclusion
I guess I have to rate it the same as the previous one. 4/5 shadowy assassins.
The third book of the Wheel of Time series picks up shortly after the last book left off.
Perrin is camped in the mountains with Loial, Lan, Moirainne, and their small group of Shienaran soldiers. Rand is there too, but he's kind of sullen and seems to be going a little crazy. And then he runs away. Perrin, Loial, Lan, and Moirainne go after him, chasing him back across the continent. They suspect he is going to Tear where the next Dragon prophecy is supposed to be fulfilled. Along the way, a girl named Zarine decides to follow Perrin because he has broad shoulders and a strong back.
Mat wakes up in Tar Valon, ravenously hungry and incredibly lucky. The rulers of Tar Valon take precautions against his escaping but Mat is kind of stubborn. And lucky. So he hatches some kind of hare brained plan and goes off gambling and wins more money than he can carry in his wallet. Then he finds Thom Merrilin, the gleeman from book one, and convinces him to accompany him. Together, and with a letter they sneakily acquired from the Amirlyn Seat, they leave Tar Valon, heading for Caemlyn to deliver a letter from the Daughter-Heir of Andor to her mother, the Queen. In Caemlyn, Mat (by chance) discovers a vile plot and turns south, to Tear, to warn his friends about a terrible trap.
Egwene, Nynaeve, and Elayne are ordered by the Amirlyn Seat to find and bring to justice the members of the Black Ajah that kidnapped them in book two. The trail leads them south towards Tear.
This book has considerably less action than the previous two. Instead it is filled with intrigue, a little politics, and plenty of drama. The pace is much slower than the previous, there is more thinking and planning and unfolding than there is action.
What I liked
It was interesting and kept me reading. And a little suspenseful, though less so than the previous two.
It was funny, in many places. For example, Rand passes through a village on his way to Tear and as he goes by everyone in the village decides to get married. Rand ends up playing the pipes at the wedding celebrations that last all day long and leave the poor villagers all exhausted. When Moirraine, Perrin, Lan, and Loial come through the village on Rand's trail, Moirraine's explanation is: the pattern of the ages shifts around Rand.
Another example: The bunch following Rand stop in an inn in Illian where a girl is dancing and singing and playing the harp. All her songs involve either a man who makes a complete idiot of himself by the end or a woman who ends up completely naked. Sometimes both. And in improbable and hilarious circumstances. Very clever.
I also liked the character development in this book.
It's also a little scary, what with all the creepy gray men skulking in shadows and trying to stick knives in peoples backs or shoot them with crossbows.
And the dream world is a pretty imaginative and cool idea.
What I didn't like
Oh the drama. Same as the last two in that respect. The series is kind of frustrating with all its drama. Part of me wants to give it up altogether but I'm just curious enough to crack open the next book... And once I have, the suspense in that one keeps me reading.
Conclusion
I guess I have to rate it the same as the previous one. 4/5 shadowy assassins.
Friday, July 9, 2010
This Little Church Stayed Home: A Faithful Church in Deceptive Times by Gary E. Gilley
Summary
Gary E. Gilley describes the world of post-modernism and its dangers to the Christian church.
Included are a critique of The Purpose Driven Life by Rick Warren, an explanation and critique of Christian Mysticism, and the same for the Emerging Church in his last few chapters.
His major beef with post-modernism is its rejection of absolute. In Christian churches post-modernism manifests as a soft peddling of the gospel, a casual dismissiveness about the inerrancy of the Scriptures, and a watering down of the fundamental doctrines of Christianity.
Gilley criticizes these churches for selling out to gain greater memberships.
What I liked
I agree with most of what Gilley teaches and would probably endorse most of it. Also, his chapter on church discipline is very good, however...
What I didn't like
To begin with, Gilley's summaries of pre-modernism, modernism, and post-modernism are extremely simplistic. His explanation is a little too 'black and white'. This is a forgivable offense, however, because, for the purposes of his book, they are adequate and, for most readers the brief and narrow summary he provides is sufficient.
Second, I found that Gilley used far too few specific examples. He makes many bold criticisms but fails to support them with specific examples. For example, in his criticism of The Purpose Driven Life, he writes:
"If Warren is writing for new believers, which seems to be the case due to the elementary tone and substance of the whole book, he again misses the mark, for he uses many expressions and biblical references that would be unfamiliar to the novice. On the other hand, if he is writing for the mature, he has wasted paper, for any semi-well taught believer will be bored with this book. So, while much praise will surely be lavished on The Purpose Driven Life, it escapes me who will really profit" (p.90).
I find this paragraph insufficient and wasteful. He says that The Purpose Driven Life, "Uses many expressions and biblical references that would be unfamiliar to the novice" but expressions and biblical references such as what? And what is it in this book that will bore any semi-well taught believer? As it stands, this paragraph seems mean-spirited.
Further into his critique of The Purpose Driven Life I found this paragraph:
"A more common form of misuse of Scripture is taking passages out of context. Warren gives this exaggerated promise: 'If you have felt hopeless, hold on! Wonderful changes are going to happen in your life as you begin to live it on purpose', followed up with this quote from Jeremiah 29:11: 'I know what I am planning for you ... I have good plans for you, not plans to hurt you. I will give you hope and a good future' (p. 31). Unfortunately, this is a promise to Israel concerning their future, not a general promise for all people (even Christians) at all times. Just a few chapters later the promise is reversed: 'Behold, I am watching over them for harm and not for good...' (44:27). In Lamentations 3:38 the same prophet writes, 'Is it not from the mouth of the Most High that both good and ill go forth?' It is strange how people love to claim Jeremiah 29:11 and ignore passages such as these last two. I have yet to find anyone who has claimed Jeremiah 44:27 as their life's verse" (p. 96).
He criticizes Warren for quoting Scripture out of context, but fails to establish the proper context in his critique. That would have been more helpful than the mocking tone he adopts in this paragraph.
These are only two examples of his failure to properly support his arguments, and they were gleaned at a glance. Further rereading would certainly come up with many more.
In his second last chapter, the one on the Emergent Church, Gilley quotes from an interview with Rob Bell and his wife Kristen as a representative of the Emergent Church. What Gilley quotes makes it seem like they are saying that the Bible is subjective. However, it's difficult to tell because Gilley bases this assumption on only two or three quotes lifted from the article and expects us to take his word for it, without further supporting this argument from Rob Bell's actual teachings. Personally, I doubt that Rob Bell believes the Bible is subjective the way Gilley says he does. I could be wrong, but it will take some better-supported arguments to convince me.
Lastly, (this has gone on long enough already, I know...) I felt that the book failed to deliver what it promised in its title. The title of the book is This Little Church Stayed Home: A Faithful Church in Deceptive Times but the book does not describe what a 'faithful church in deceptive times' looks like. Instead it is wholly occupied with what we'd have to call 'the unfaithful church' and why and how it is unfaithful. There is very little positive instruction in this book about how to build and maintain a church that is faithful in deceptive times.
Conclusion
Grudgingly, I have to admit that I agree with almost all of Gilley's critiques. The ones I disagree with are inconsequential. I found The Purpose Driven Life a little too self-centered and a little too 'worksy' when I read it (and Janelle seems to agree), and that is precisely what Gilley points out in his own critique of that book.
Gilley comes across as a little mean-spirited sometimes. However, I know this isn't his intention, but it's the impression he makes.
Overall, I think I would look for a different book on the same subject. I give it 2/5 sold-out churches.
Gary E. Gilley describes the world of post-modernism and its dangers to the Christian church.
Included are a critique of The Purpose Driven Life by Rick Warren, an explanation and critique of Christian Mysticism, and the same for the Emerging Church in his last few chapters.
His major beef with post-modernism is its rejection of absolute. In Christian churches post-modernism manifests as a soft peddling of the gospel, a casual dismissiveness about the inerrancy of the Scriptures, and a watering down of the fundamental doctrines of Christianity.
Gilley criticizes these churches for selling out to gain greater memberships.
What I liked
I agree with most of what Gilley teaches and would probably endorse most of it. Also, his chapter on church discipline is very good, however...
What I didn't like
To begin with, Gilley's summaries of pre-modernism, modernism, and post-modernism are extremely simplistic. His explanation is a little too 'black and white'. This is a forgivable offense, however, because, for the purposes of his book, they are adequate and, for most readers the brief and narrow summary he provides is sufficient.
Second, I found that Gilley used far too few specific examples. He makes many bold criticisms but fails to support them with specific examples. For example, in his criticism of The Purpose Driven Life, he writes:
"If Warren is writing for new believers, which seems to be the case due to the elementary tone and substance of the whole book, he again misses the mark, for he uses many expressions and biblical references that would be unfamiliar to the novice. On the other hand, if he is writing for the mature, he has wasted paper, for any semi-well taught believer will be bored with this book. So, while much praise will surely be lavished on The Purpose Driven Life, it escapes me who will really profit" (p.90).
I find this paragraph insufficient and wasteful. He says that The Purpose Driven Life, "Uses many expressions and biblical references that would be unfamiliar to the novice" but expressions and biblical references such as what? And what is it in this book that will bore any semi-well taught believer? As it stands, this paragraph seems mean-spirited.
Further into his critique of The Purpose Driven Life I found this paragraph:
"A more common form of misuse of Scripture is taking passages out of context. Warren gives this exaggerated promise: 'If you have felt hopeless, hold on! Wonderful changes are going to happen in your life as you begin to live it on purpose', followed up with this quote from Jeremiah 29:11: 'I know what I am planning for you ... I have good plans for you, not plans to hurt you. I will give you hope and a good future' (p. 31). Unfortunately, this is a promise to Israel concerning their future, not a general promise for all people (even Christians) at all times. Just a few chapters later the promise is reversed: 'Behold, I am watching over them for harm and not for good...' (44:27). In Lamentations 3:38 the same prophet writes, 'Is it not from the mouth of the Most High that both good and ill go forth?' It is strange how people love to claim Jeremiah 29:11 and ignore passages such as these last two. I have yet to find anyone who has claimed Jeremiah 44:27 as their life's verse" (p. 96).
He criticizes Warren for quoting Scripture out of context, but fails to establish the proper context in his critique. That would have been more helpful than the mocking tone he adopts in this paragraph.
These are only two examples of his failure to properly support his arguments, and they were gleaned at a glance. Further rereading would certainly come up with many more.
In his second last chapter, the one on the Emergent Church, Gilley quotes from an interview with Rob Bell and his wife Kristen as a representative of the Emergent Church. What Gilley quotes makes it seem like they are saying that the Bible is subjective. However, it's difficult to tell because Gilley bases this assumption on only two or three quotes lifted from the article and expects us to take his word for it, without further supporting this argument from Rob Bell's actual teachings. Personally, I doubt that Rob Bell believes the Bible is subjective the way Gilley says he does. I could be wrong, but it will take some better-supported arguments to convince me.
Lastly, (this has gone on long enough already, I know...) I felt that the book failed to deliver what it promised in its title. The title of the book is This Little Church Stayed Home: A Faithful Church in Deceptive Times but the book does not describe what a 'faithful church in deceptive times' looks like. Instead it is wholly occupied with what we'd have to call 'the unfaithful church' and why and how it is unfaithful. There is very little positive instruction in this book about how to build and maintain a church that is faithful in deceptive times.
Conclusion
Grudgingly, I have to admit that I agree with almost all of Gilley's critiques. The ones I disagree with are inconsequential. I found The Purpose Driven Life a little too self-centered and a little too 'worksy' when I read it (and Janelle seems to agree), and that is precisely what Gilley points out in his own critique of that book.
Gilley comes across as a little mean-spirited sometimes. However, I know this isn't his intention, but it's the impression he makes.
Overall, I think I would look for a different book on the same subject. I give it 2/5 sold-out churches.
Sunday, July 4, 2010
in Kapuskasing
So, we're finally in Kapuskasing. It's very humid, I'm sitting in dad's leather chair and my clothes is sticking to my skin because i'm so sweaty!!
I'm also procrastinating... i should be doing some reading because i'm supposed to preach tonight...
The women (my mom, Leanne, Sophie, Grandmaman, Jelena, Janelle) are playing a word game at the kitchen table...
Chad is downstairs in the cool, cool basement (why aren't I there?) preparing his gospel message...
Dad is napping. I think.
We had quite the trip, getting here. Friday morning, Janelle and I flew into Toronto with Porter airline, so we landed at the city center airport on Toronto Island. We walked over to Union Station, lugging our luggage (that's why it's called luggage, you lug it) all the way. It took longer than I expected. So we headed north on the subway to Yorkdale Mall where we went to the theatre and watched Eclipse. It was interesting. Not my favourite, by far. A vampire soap opera, where the vampires are made of toilets. But it was kind of funny and had enough action to keep me interested.
Afterwards we went to the food court, but there was nowhere to sit down, so (and by now we were exhausted and ravenous) we took the subway again to Lawrence Center and had lunch in the vacant food court there. Teriyaki Chicken on Rice and Dumplings. It was both delicious and filling, and Janelle and I shared both dishes between us.
We wandered around the mall a little and then took the subway to our favourite bubble tea place near our old apartment. (The one we lived in when we lived in Toronto). But they were out of bubble tea, which was a massive disappointment. By now we were almost late to meet Chad and Leanne back at Yorkdale. So we went to the bus stop to catch the bus back to the subway station. The bus stop was just outside of Janelle's friend, Michelle's apartment building and Janelle said something like, "I wish I had time to buzz Michelle and see if she was home!" At that same moment she turned around and saw Michelle leaving the building!!! So we hugged and visited while we waited for the bus and then took the bus together up the street. Michelle got off before us and we continued to Eglington Station, where we switched buses. The next bus we took was supposed to take us to Glencairn station, but we'd never taken it before so we were watching for our stop. We ended up getting off a bit too soon and had to walk about five blocks to get to the subway station. By this time, Chad and Leanne and Jelena had been waiting for us for a few minutes at Yorkdale Mall. Anyways, we finally made it, and then we got Bubble Tea there and it was delicious.
Then we got in the car and headed North. Jelena finished off our Bubble Teas because she LOVED the bubbles so much and I fell asleep. Then we pulled in at the Lachance's in Barrie where we spent the night. Fortunately, I was able to stay awake while we visited with Mrs. Lachance and Mitchell.
In the morning we had a massive breakfast. Yum! And headed out again. We stopped for lunch in North Bay at Leanne's grandparent's house, and continued on. We made it to my parent's house in Val-Rita in time for a late, late supper... Leanne had morning sickness in Moonbeam. (!!!!!)
I'm also procrastinating... i should be doing some reading because i'm supposed to preach tonight...
The women (my mom, Leanne, Sophie, Grandmaman, Jelena, Janelle) are playing a word game at the kitchen table...
Chad is downstairs in the cool, cool basement (why aren't I there?) preparing his gospel message...
Dad is napping. I think.
We had quite the trip, getting here. Friday morning, Janelle and I flew into Toronto with Porter airline, so we landed at the city center airport on Toronto Island. We walked over to Union Station, lugging our luggage (that's why it's called luggage, you lug it) all the way. It took longer than I expected. So we headed north on the subway to Yorkdale Mall where we went to the theatre and watched Eclipse. It was interesting. Not my favourite, by far. A vampire soap opera, where the vampires are made of toilets. But it was kind of funny and had enough action to keep me interested.
Afterwards we went to the food court, but there was nowhere to sit down, so (and by now we were exhausted and ravenous) we took the subway again to Lawrence Center and had lunch in the vacant food court there. Teriyaki Chicken on Rice and Dumplings. It was both delicious and filling, and Janelle and I shared both dishes between us.
We wandered around the mall a little and then took the subway to our favourite bubble tea place near our old apartment. (The one we lived in when we lived in Toronto). But they were out of bubble tea, which was a massive disappointment. By now we were almost late to meet Chad and Leanne back at Yorkdale. So we went to the bus stop to catch the bus back to the subway station. The bus stop was just outside of Janelle's friend, Michelle's apartment building and Janelle said something like, "I wish I had time to buzz Michelle and see if she was home!" At that same moment she turned around and saw Michelle leaving the building!!! So we hugged and visited while we waited for the bus and then took the bus together up the street. Michelle got off before us and we continued to Eglington Station, where we switched buses. The next bus we took was supposed to take us to Glencairn station, but we'd never taken it before so we were watching for our stop. We ended up getting off a bit too soon and had to walk about five blocks to get to the subway station. By this time, Chad and Leanne and Jelena had been waiting for us for a few minutes at Yorkdale Mall. Anyways, we finally made it, and then we got Bubble Tea there and it was delicious.
Then we got in the car and headed North. Jelena finished off our Bubble Teas because she LOVED the bubbles so much and I fell asleep. Then we pulled in at the Lachance's in Barrie where we spent the night. Fortunately, I was able to stay awake while we visited with Mrs. Lachance and Mitchell.
In the morning we had a massive breakfast. Yum! And headed out again. We stopped for lunch in North Bay at Leanne's grandparent's house, and continued on. We made it to my parent's house in Val-Rita in time for a late, late supper... Leanne had morning sickness in Moonbeam. (!!!!!)
From Dawn to Decadence by Jacques Barzun (Part 3)
The "Artist" is Born
Another fairly boring chapter. This one discusses the movement away from the trade guilds and towards the individual artist. I don't really, really understand how it all works because I wasn't paying much attention because it was really boring but it seems like people in trade guilds stopped seeing their techniques as trade secrets to be kept within the guild. They trained themselves and developed technique and wrote about them in books that allowed other people--not guildmen--to study and learn techniques of the different trades.
From there, it seems, you get the great artists of the Renaissance. A good part of this chapter talks about the artists of the Renaissance and what they did and what made them famous and why they are remarkable.
The interesting part of this chapter was the one that talked about how people who we would think of as children made much of themselves at very young ages. He lists as example Richard II, who at fourteen years old, "alone in a large field, faced Wat Tyler's massed rebels and pacified them with a speech" (page 84). Also, Rossini, who at fourteen first conducted an orchestra and led the Bologna Philharmonic at eighteen. Pitt the younger was Prime Minister in England at 23. Lagrange was professor of Mathematics at the Turin School of Artillery at only nineteen. And the list goes on. I was very impressed.
Another section of note was Barzun's A Digression on a Word where he explains the meaning of the word Man, meaning human and not male human. Also worth the read.
So, all in all, a boring chapter with a few interesting and exciting parts.
Another fairly boring chapter. This one discusses the movement away from the trade guilds and towards the individual artist. I don't really, really understand how it all works because I wasn't paying much attention because it was really boring but it seems like people in trade guilds stopped seeing their techniques as trade secrets to be kept within the guild. They trained themselves and developed technique and wrote about them in books that allowed other people--not guildmen--to study and learn techniques of the different trades.
From there, it seems, you get the great artists of the Renaissance. A good part of this chapter talks about the artists of the Renaissance and what they did and what made them famous and why they are remarkable.
The interesting part of this chapter was the one that talked about how people who we would think of as children made much of themselves at very young ages. He lists as example Richard II, who at fourteen years old, "alone in a large field, faced Wat Tyler's massed rebels and pacified them with a speech" (page 84). Also, Rossini, who at fourteen first conducted an orchestra and led the Bologna Philharmonic at eighteen. Pitt the younger was Prime Minister in England at 23. Lagrange was professor of Mathematics at the Turin School of Artillery at only nineteen. And the list goes on. I was very impressed.
Another section of note was Barzun's A Digression on a Word where he explains the meaning of the word Man, meaning human and not male human. Also worth the read.
So, all in all, a boring chapter with a few interesting and exciting parts.
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