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Happy Veterinarians Day November 12, 2009

Posted by markgeil in Awana.
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vets day

Since Veterans Day was on a Wednesday this year, it coincided with our Awana program for the kids at church. One of our leaders, Mr. Tom, is currently deployed in Afghanistan, so for the last couple of weeks the kids have been collecting items to send care packages to his unit. The kids came through in spades, and Tom’s wife joined us Wednesday night to thanks the kids for their generosity and to show new pictures Tom just sent. It was a special evening.

I usually have very interesting conversations with the kids at Awana. They tend to share whatever’s going on in their life, however great or small, with wonderful enthusiasm and sincerity. Last night, a little girl came up to me as I was packing up and shared this: “My grandfather is a veterinarian.”

“Really?” I replied. “What kinds of animals does he work with?”

“I don’t know,” she said.

“Like dogs and cats, or bigger animals like horses?” I returned.

“I don’t know,” she repeated. “He was in Vietnam.”

I wondered for a few seconds why I was hearing this story about an obscure animal doctor in Southeast Asia when the light bulb finally went off.

“OH!” I declared. “You mean your grandfather is a ‘veteran’!”

“Yes,” she smiled. “He was in Vietnam.”

“Was he in the Army, or Marines, or what?” I asked.

“I don’t know,” she said again. “I just know he is a veterinarian.”

SCC on CNN November 12, 2009

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Nice interview with Steven Curtis Chapman on CNN.com.

Click here.

The Kitchen Sink November 10, 2009

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I did not floss last night. There, I said it. Mock if you must; I have confessed and I am open to your scorn. Naturally, you must wonder why I failed to floss last night, I who floss so diligently every night, sometimes even while camping. It’s a long story. Just the kind I like.

It all started with a phone call. I was at work. Amy called from home. “The sink broke,” she reported, as matter-of-factly as if this happens every couple of days at our house. It doesn’t. In fact, this was our original kitchen sink, a decade old. I knew the faucet handle had been a little wonky and I had tightened it in the past, so I hoped I just needed to fix a screw.

I left work late, since I had the crazy idea earlier in the day to go on my first ever cruise during the week of Thanksgiving, and I happened to check this cruise website, and there happened to be some really good cruise prices, and so I wound up booking a cruise for all five of us and Amy’s mom! But that’s another story. Back to the floss.

I got home, late, ready to pull out the screwdriver and fix the faucet. Amy had a big pot of water beside the sink. She said she was a pioneer woman and she had fetched the water pail from the outhouse. I laughed at her mixed metaphors, and then inspected the faucet. The handle was actually broken into two pieces, right at the base. No screwdriver would fix this.  I had never replaced a kitchen faucet before, but it didn’t look too hard. We ate dinner (my pioneer woman made delicious potato soup!) and then took off for Home Depot.

I should mention how nice it is that the kids are old enough that we can just leave them at home sometimes. None of them really wanted to go to Home Depot (what’s up with that? You’d think they’re girls or something!), and I really wanted Amy to come along for the faucet-picking-out process. So, we just left. And they stayed and worked on homework, except for Rebekah, who has swine flu. But that’s another story. Back to the floss.

Amy and I had a lovely date at the Home Depot, and settled on a lovely faucet with a big tall spout which will be useful for filling big pails with water. No more trips to the outhouse! Since there were kitchen faucets there that cost hundreds of dollars, our new faucet was especially lovely since it rang in at $64. I also had a little thrill when I got to slide the wall of display faucets to retrieve the box stacked behind it. I like sliding walls to find hidden boxes. Do all diligent flossers have the same odd proclivity, I wonder?

Back home, I unboxed the new faucet and started pulling all the obscure items out from the cabinet under the sink. We had various cleaners, a gallon of ammonia, an almost-gallon-sized jug of bubbles, and no less than eight lunchboxes. Plus lots of icky stuff that missed the trashcan several years ago and, well, festered. Then, I followed my time-tested process for all new projects: I worked at it on my own for about 174 seconds, then I called Dad.

Dad knows everything about building things and fixing stuff. I marvel at his depth of knowledge and experience. I told him what had transpired during my 174 seconds of effort, about how I tried to twist the big nut that attached the water supply hose and the copper pipe twisted instead of the nut. He told me to disconnect the other end, then take care of the tricky part after the sink was off. I asked him how the sink was attached, and he told me several possible scenarios. We sorted out that this particular sink was held on by a nut in the middle, on a long threaded stem. I told Dad the collar above the nut was rusty. He said,

“Oh. That’s going to be hard to get off.”

If Dad thinks something will be difficult, I know that for me the task will be gargantuan. I was not mistaken.

I have my wrenches hanging neatly from a pegboard in the basement, so I went down to grab a few to find the proper size for the nut. They were all too small. I went down to get bigger wrenches. They were metric. I went down again to grab another handful. Then I went down seven or eight more times just to make myself more frustrated.

I found the right size wrench and realized the ordeal I would now face. There’s simply no good way to get to this nut. It’s all the way in the back of the cabinet, right in the middle, between two supply lines and the spray hose and just above the drain pipe and behind the two sides of the sink, which, by the way, are very rough and knuckle-scraping. I decided to disassemble the spray hose to make a little more room. Success! One task down, five-or-so to go. I could get at the nut a little better, and I got the wrench on it, and it moved, just a little. It is important to realize that I was twisted all under the sink, inside the cabinet, dodging that annoying strip of cabinet that goes between the doors, propped on one elbow with my neck cocked to one side and the wrench in the other hand. The wrench had about two inches of space to actually turn, no matter which way I approached the nut. I dropped it dozens of times. I’m sure there’s some plumbers tool that does this job in seconds, but I had no idea how I could possible get this nut all the way off the long threaded pipe when I was only able to turn it about 1/6 turn at a time.

I was hopelessly frustrated after 20 minutes of 1/6 turns and dropping the wrench and getting a sore neck and such. I finally pulled myself out of the cabinet and declared, exasperated, “I can’t do this!” We talked about calling a plumber we know, but it was late. Amy had to take Sarah to a Bible study that I was supposed to go to also. I stared at the sink. A weird Yoda-like voice popped in my head and reminded me that the nut was turning. It wasn’t turning much, but it had to be called progress. I pulled off my long-sleeve T-shirt and laughed a bit at myself clad in jeans and a plain white undershirt, looking distinctly plumber-like. I wanted to do my Marlon Brando “Stella!!” routine, but there was no one in the room with me. Instead, I crawled back under the sink.

I twisted that infernal nut, 1/6 turn at a time, for hours! It crept in its petty pace toward the bottom, at which time I had to disconnect the sprayer hose which is not held on by a nut but by a completely round fixture. Whose idea was that?  I went back to the basement for vise-grips, got the hose off, and went back to my little tiny turning. I was amazed that at no point along the length of this pipe was I able to turn the nut by hand. I tried. Oh, did I try.

I’ve often said that I could have been a stellar athlete were it not for my smallish hands. Stellar athletes have huge hands. I have small hands. And, during a recent cleaning-out-the-basement binge, I discovered that in high school I wrote very sensitive poetry. And also, I like to think of myself as a musician. So I have the small sensitive hands of a poet-musician. I am certain that dozens of men could have twisted that nut with one finger, but my small sensitive musician hands were no match. Instead, it was: twist the wrench just a little bit, take off the wrench, flip the wrench over, twist the wrench a little bit more, repeat. All while contorted all up under a cabinet. Curse these small sensitive hands!!

Amy and Sarah were back. I told Sarah to run out and get me one of those ratchet-plier things, which would have trimmed hours off this project. She laughed. I soldiered on, as best a sensitive small-handed poet-musician can soldier, and after two hours of little baby twists, with a shout of victory, my nemesis the nut was vanquished!

I did some much easier disconnecting, pulled the old faucet off, cleaned the gunk from under the old faucet, then installed the new sink, all in less than an hour. It was after 10:00, after everyone had gone to bed, in a quiet room, that I tentatively opened the water supply valves. No leaks! Hurray!

Of course, you know the rest of the story. I went to bed, tired and really rather dirty. I scrubbed my hands, but they were still pretty slimy. Slimy enough that, yes, I did not floss.

I should have felt a more profound sense of accomplishment after finishing this task, but I was busy lamenting how crazy long it took. Today, though, after the perspective gained from an almost-uninterrupted night’s sleep (did I mention Rebekah has swine flu?), I am a bit proud of myself. I have taken another stride in the footsteps of my father, and I am reminded how he acquired his vast knowledge of building and fixing stuff. He struggled (at least I assume he did), and made mistakes, and used the wrong tools, and wanted to quit, and then he persevered and figured things out and accomplished one little project at a time. I’ve extended his legacy by adding just a bit to my own, one little twist of the wrench at a time.

In the end, if not flossing because your sensitive smallish hands are grimy is wrong, I don’t want to be right.

Flood Perspective November 10, 2009

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This just in: the big Atlanta flood of 2009 was not in fact a 100-year flood. It wasn’t even a 500-year flood. It was a once ever flood. No prediction models that exist would have ever predicted a flood like the one we had in September. Remarkable.

New Steven Curtis Chapman November 5, 2009

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For a limited time (probably until 11/10), you can listen to the new album by Steven Curtis Chapman, in its entirety, for free. Click here.

“Beauty Will Rise” will speak in profound ways to anyone who has suffered loss. As most folks know, the Chapmans lost a daughter in a horrible accident at their home. Chapman is a songwriter, and songwriting remains part of his natural ability to reflect, remember, and grieve. This album is the result, and the fact that he is sharing these remarkably personal songs with the world is a testament to the legacy of his daughter Maria Sue.

The lyrics find Chapman at various stages of grief: sometimes questioning, sometimes longing, sometimes relatively peaceful. “For better or worse, it just had to come straight out of my gut,” Chapman said. ”I cannot make it pretty. I cannot try to conform it to anything. It has just got to be whatever comes out. So I sort of put my fingers in my ears in a way that I have never done before as far as anybody speaking into the process.”

The raw honesty is at times gut-wrenching, as in the song Questions:

“Who are You, God? ‘Cause You are turning out to be so much different than I imagined. And where are You, God? ‘Cause I am finding life to be so much harder then I had planned.”

Ultimately, though, the album is about faith. Consider this story, and since I wouldn’t dare try to improve upon it, I quote it directly from Chapman’s site:

In the hours after Maria left to be with Jesus, Steven fervently prayed for a sign that she was okay, pleading with God just to let him see. “I remember just saying, “We know it is true. We know she is with Jesus. She is safe in the arms of the God who made her. We know she is okay. We know it, but could we just see something?” Steven recalls asking. “The next morning we went back to our house to get some clothes for the memorial service. We were not going to stay there and it was really hard to even go in the house because of the memories. We were walking through with friends who were holding on to us and we were going from room to room.

I walked into the kitchen and there is this little art table that Maria and Stevey Joy would sit at for hours. She loved crafts. She would cut out pictures. Scissors and glue were her favorite things. She would just cut and paste and draw for hours, and she often created cards for us. She would write the words she knew, “I love mom” and “I love dad” and then she would sign her name “Maria.”

Everything was cleaned up at the table but there was one little piece of notebook paper lying on her side of the art table. It was a flower, a six-petal flower that was kind of her signature flower that she would draw all the time. Only one petal was colored in blue, and the rest of it was just the outline of the petals. It had a little stem and it had a little orange center of the flower and it had little leaves at the bottom of the stem. I had noticed something else kind of bleeding through the back of the paper where she had written something and I turned it over and it was a little butterfly and then she had written the letters S-E-E. She had never written that word before. All that she had ever written as far as we knew was “I love Mom,” “I love Dad” and her name. Out of all the words that she could have written that day before the accident, she had written the word “see.” I was already weeping uncontrollably and at that moment I just really, really believed that God gave us that sign and that was the gift that Maria left us to say “I know you are wanting to see something, but see I am okay and I am where you said. It is okay.” That flower became so precious to us. It was my wife that looked at it and realized what we thought was an unfinished flower, was finished. Only one flower petal of the six was colored in. Then we realized we have six children. There is only one that is colored in; there is one that is whole and the rest of us are still waiting for our color. It just became such a gift to us.”

Make sure you listen to SEE, and gain a new appreciation for these words:

“It’s everything you said that it would be, and even better than you would believe. And I’m counting down the days until you’re here with me, And finally you’ll see.”

Back in the USSR November 3, 2009

Posted by markgeil in Family, Music, People, Philosophical musings.
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I don’t like to think of myself as an old man. I’m not quite in my 40’s yet, and by some measures of life expectancy I’m not even halfway through my time on this Earth. Still, I feel like an old man when I start marveling at how the world has changed all around me in such a short time.

The latest occasion for my “Hey you kids, get off my lawn!” sentiment is a bargain-bin CD purchase. I nabbed Billy Joel’s KOHUEPT for just a couple of bucks from… actually, I don’t remember which store. The memory fades when you’re old, see. It’s the live album Joel recorded during a rare concert tour of the Soviet Union. It is by no means his best work, but for me it’s more of a souvenir of another time. I remember seeing the double-album with its sparse Communist-red cover back in 1987, when album covers were glorious 12”x12” works of art. I remember wondering how the Dylan cover sounded and how “Allentown” would play before an audience of similarly disenfranchised Soviets.

I played the CD this morning and heard Angry Young Man. I remembered seeing Joel perform this song live a couple of times here in the USA, marveling at his piano rampage. Then I thought about playing the song for Hannah and Rebekah, our two pianists. And then I thought about discussing the concert’s significance with Sarah, who’s taking European History in school right now. Then I felt old.

What’s in Sarah’s history books was my life. I imagined my side of the conversation with my daughters about the CD.

“This was a huge deal back then. It was very rare for a US performer to be able to go to Leningrad and play a concert.”

“No, Leningrad doesn’t exist anymore. Now it’s Saint Petersburg.”

“Well, people couldn’t go there because the USSR was isolated from the USA. We were terrible enemies. I used to be worried that we would have a nuclear war.”

 “What was the USSR? Well, …”

They’re all such foreign concepts now, concepts relegated to history books. That’s a striking distinction. Everything that I have lived is contemporary for me, and everything in the history books is old. It could be 1942 or 1542 – it’s all history. Now, my contemporary is my children’s history. I know it happens to every adult, but the inevitability makes it no less jarring.

The opening track on the CD is called Odoya. It’s a traditional Georgian song recorded at the Jvari Monastery on a hill overlooking Tbilisi.

 

During a business trip I had occasion to climb that hill and walk through that very monastery. I simply got a visa and a plane ticket and I went. I took pictures (with a digital camera, even!). Once I was there, I was free to roam the country, the Republic of Georgia. A short time ago, in my lifetime, it was not the Republic of Georgia. It was just the USSR. I could not have visited, and I would not have been free to see the sites. The changes are astonishing.

They say that history and culture and events are cyclic, but today I disagree. The world I live in today is radically different from the world I lived in as a child, and it doesn’t feel like a cycle; it feels like a torrid rush. And even as I sound like an old geezer trying to explain to my children how the Cold War affected everything from the Miracle on Ice to Billy Joel to the nationality of the bad guys in professional wrestling, I take solace in this one thing. The world I inhabit today may be radically different than yesterday, but it is not fundamentally different, because it is still inhabited by people. People are fundamentally the same, and I think they always will be. We are beautiful but flawed beings, every one of us in need of salvation. That is constant. Today, I’m grateful for constants.

A “Window” Exclusive: Matthew West at the Ballpark October 29, 2009

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It was the top of the 12th inning in a 2-2 ballgame, and the Cincinnati Reds had loaded the bases against the Atlanta Braves. Singer Matthew West watched the game with mixed emotions. He was happy to be able to catch a great game with his family on a sunny Atlanta afternoon (though he is a Cubs fan), but he was also eager for this extra-long game to end, since he was set to perform a post-game concert. Even so, the event that broke the tie was nothing he would have hoped for.

Cincinnati’s Micah Owings settled into the batter’s box with one out. The first pitch came and Owings swung but missed badly. Desperate for a double play, the Braves’ pitcher fired a two-seam fastball, but at the last moment, just as the ball was released, he sought to back off on the speed a bit. Instead, the ball sailed at 93 mph, straight at Owings’ head. Owings turned at the last moment and the ball struck him on the left ear flap of his batting helmet, violently knocking him to the ground.

A dazed Owings was helped off the field and stitched up. He did not pitch again for 14 days, as his recovery depended not only on physical issues, but also on a psychological element. He’s a normally reliable hitter, especially for a pitcher, but could he become more tentative or afraid?

Matthew West understands. Like an athlete sidelined by a major injury, his career was brought to a standstill in 2007 after years of damage to his vocal cords necessitated surgery. His recovery involved two months of silence, days sometimes flooded by doubts. Like the athlete hoping to return to action, West wondered if would be able to sing as well, or sing at all.

Today, West is indeed back, perhaps stronger than ever. He had the most-played song on Christian Radio in 2008 (You are Everything), and he might very well attain the same status in 2009 with The Motions. Just like he identifies with the athletes on the field, he knows that people in the audience face circumstances that shake up their world and threaten their livelihood, so his surgery and recovery have become an important part of his witness.

During the game, West recalled the surgery and reflected on how life has changed since then. “My surgery has made sure that I stay very human, as opposed to being a guy on stage who has it all together. It’s been a powerful couple of years of being able to share from a very real and vulnerable place in my life, and to share what God taught me through that.”

Like anyone facing a trial, West struggles a bit with placing its significance in context. “I have to be careful not to overdramatize what I went through. The minute you think your problems are big, take a walk through a pediatric intensive care unit. You’ll quickly gain a better perspective of your own problems. In my own little world, though, this was the headline. We all have pain and tragedy in various degrees. Someone else’s loss of a job is my vocal surgery. It’s not like that tragedy’s worse than this tragedy. When it hits you, it hits you hard.

“My voice represented a lot more than just my voice. It represented my livelihood, my ability to provide for my family, my calling, what I feel like God has called me to do. That’s why I stopped pursuing other endeavors years ago. I went down this road with no backup plan, because that’s what I believe you’re supposed to do if God calls you to something, and all of the sudden I find myself thinking, maybe I should have had a backup plan! That’s a scary thing to go through.”

Fortunately for West, no backup plan was needed. With a concert just hours away, I asked him if he has changed his approach to singing, and if he thinks he sounds any different. “I think my voice is a lot more temperamental,” he observed. “I can tell if I’ve had 5 or 8 hours of sleep. When I’m tired, I sound like I’m tired. But when I’m on, I feel like my voice is better than ever, and that’s crazy! After I started singing again, I felt like I had gone through a tune up. A lot of people have told me that from my first record to this record I’m singing a lot better than I ever have. I’m so thankful for that.”

There is no lingering tentativeness in West’s songwriting. In fact, despite his history, he related that he still writes songs that are probably too high for him. He chooses a melody and a key for the song, and hopes to figure out how to sing it later: “That’s probably what got me into surgery!” Indeed, he calls The Motions one of his most difficult songs to sing, but one that just doesn’t sound right in a lower key.

Like the injured ball player returning to the batter’s box, West has changed his game – he now follows a strict 25-minute vocal warmup routine – but he confesses that he still has a little paranoia. “What happened to me could happen again. Those blood vessels could burst again. Last night, I was in the studio singing until about 2 a.m.; we have this deadline. I hopped on the bus, went to bed about 3. We drove here, and I didn’t sleep very well, and then I got up and started talking and singing [for the Braves’ chapel service at noon]. I start to think, ‘My voice feels weak, I hope nothing’s wrong.’ But you can’t live in fear. I can’t think about that too much because I still want to sing with all my heart and really go for it.”

That’s just what he did, once the 12-inning game finally concluded and a pair of players shared their testimonies. The eight-song set was punctuated with an energy that lifted the crowd and a host of money notes and falsetto unhindered by vocal trauma.

West had an easy rapport with the crowd, and even performed an original song entitled, “Thanks to All the Braves Fans who Stuck Around.” I wondered how many in the crowd caught the Lou Gehrig reference when he stepped to the mic and said, “Today, I consider myself…” before trailing off and laughing.

There were moments of choppiness in the set, such as the demanding chorus of “Next Thing You Know”, but I’ve always thought this add a realism that makes live music unique. The highlight was one of those moments that can only happen with a large audience, when Only Grace turned a capella and then turned into Amazing Grace. West stepped away from the mic and joined the chorus of thousands, singing passionately to none but his Creator and Healer.

A Tale of Two Concerts October 22, 2009

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It was the best of times, it was the best of times. I cannot start my tale like Dickens, because the two experiences I want to tell you about were both superlative. Both were live music events, and at first glance they had very little in common.

The first show featured a sound booth the size of a bus. The second had a single mixing board.

Before the first show, a battalion of roadies constructed the largest stage ever built for a concert tour. Before the second show, one of the performers set out a little guitar stand to hold the three guitars he would use later.

The first show was the 36th stop on a tour that had already featured multiple dates in Paris, Milan, Barcelona, and Dublin. The second show was jokingly called a “world tour”, and was the fourth stop. Ever.

The first show cost me $55 for a ticket behind the stage. The second show was free. Over 70,000 people paid that price or more for the first show. A hundred or so came to the second.

The first show featured a band called U2. You’ve probably heard of them. The second featured an erstwhile band called Andy and the Andys. I would be most impressed if you’ve heard of them.

There were certainly marked contrasts. U2’s show is epic in every measurable way. I was raised on the music of these four punks, and I knew every word to every song they played. The show was all bombast and lights and sounds – oh, the sounds! Andy and the Andys isn’t even a real band. It’s three singer-songwriters who happen to be named Andrew and who are good friends. They like each others’ music, and they like to write songs together every now and then. Their show used house lighting and sound in a massive church’s little chapel, and bombast was nowhere to be found.

It was challenging to make out all of Bono’s words when he spoke, and facial expressions were hard to come by, even through binoculars.  By contrast, Andy Osenga was a good ten feet from me, and I could still have hit Andy Gullahorn or Andrew Peterson with a spitball. Not that I would, mind you.

However unlikely, these contrasts somehow bred striking similarities. Some were superficial. In each show, there were three singers. Adam Clayton doesn’t sing, but Larry Mullen Jr. appeared to be wailing at times from behind his drum kit. Bono you know about. But man, the Edge? Dude can sing. I’ll admit I did not know he sang the falsetto chorus on “Stuck in a Moment”. To the Edge (is the “The” supposed to be capitalized?) does U2 owe much of its longevity. Similarly, all three Andys sing, with unique and effective voices that just floored me when they merged.

Other similarities were subtler. Neither show featured overt sermonizing on God or spoken prayer, but both had strong spiritual undercurrents. Grace and Love are themes that run through much of U2’s music, and the Dome could not have felt more like church than when “One” bled into “Amazing Grace”. For their part, the Andys are all Christian musicians on Christian music labels, but this was not a “praise and worship” concert. It was really more about stories of the faith and the honest experiences of three sojourners.

Both bands pulled off remarkable feats out of contrasting necessities. The Andys played guitars. Some acoustic, some electric, but that was it. Osenga did occasionally kick a drum pedal (while singing and playing the guitar), but there was an obvious lack of a rhythm section – the bass and drums that drive a song and keep all the players in time. It’s a testimony to the quality of these musicians that each song did have rhythm, that they did keep remarkable time, that they sounded so polished on songs that had only recently been learned. I was thrilled to hear a couple of new songs from my hero Andrew Peterson, and I marveled as his similarly-named bandmates added their own little riffs and fills. Was this improvised or rehearsed? Peterson mentioned that one of the songs, a lovely homage to the relationship between songwriter and listener, had been written only 4 days ago. How could Gullahorn and Osenga complement it so well? Through an extraordinary and intimate understanding of the craft of a song. Since that’s not a material possession, is it wrong to covet that?

U2 had rhythm in spades. Clayton’s bass and Mullen’s drums reverberated in my head hours after the last encore. Their challenge was in creating intimacy and relationship in that most overwhelming of settings. I can think of no other group who could pull it off so admirably. Every band mentions the town they’re playing in for cheap applause. Bono even threw in an occasional “y’all” for similar effect. But then there was the mention of the other musicians who had come to see the show that night, and the accolade for their activism. And the tangible resonance of the playing of “MLK” just a few blocks from Ebenezer Baptist Church. Moreover, the mammoth stage itself was built for contact. A circular racetrack circumference was used to satisfy every corner of the Georgia Dome, and I was thrilled to behold “Sunday Bloody Sunday”, recast as a protest for the current political oppression in Iran, since all four band members gathered behind the stage to play the song, not just for the 20,000 people back there, but for me. In fact, it was all those people who inexplicably fed that intimacy. We were all there for music, for entertainment, for spectacle. We united for a common cause and the cause rewarded us.

In the end, the strength of both shows rested not on staging, or even personality, but on music. U2 played for hours and hours, and we sang along and we never sat down because we love these songs. The Andys played songs few of us had ever heard, but they were so visceral and meaningful that we responded. Sometimes we laughed, heartily.  How can one not laugh at Gullahorn’s deadpan ode to Osenga’s severed toe? Other times we were devastated. The group performed a Peterson song called “Golden Boy”. It’s not my story, but the fact that it is someone’s story shook me deeply. Whether you’re with 70,000 people or 100, we’re all in this together. Didn’t John Donne say “I am involved in mankind”? It is music, our common language, that moves and unites, which is why it is such a joy to see brilliant practitioners of music at work.

The Concert of the Decade October 14, 2009

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It was the concert of the DECADE, and I’ll bet you missed it, didn’t you? Don’t worry, I’m here to help. I wrote a piece with a brief recap and a “state of the GMA” that posted on Christianity Today yesterday, but while I was watching I kept my own little running diary of notes. So, in case you did indeed miss it, here’s the diary. And don’t worry, the next decade is just a few months away.

8:32 Eastern time, trying to log in just two minutes late for the 7:30 Central time show. I tried to get in early but was denied. I’m having a little trouble logging in, so I suppose it would have been better to drive 3 hours to Nashville and buy a $1,000 ticket.

8:41 Finally logged on, 11 minutes late after many refresh attempts. The site is half-broken, but the stream finally started with an a capella choir, the Fisk Jubilee Singers. There’s one soprano who is two close to a mic that’s turned way too far up. Plus, the backdrop in the barn here is wildly disorienting. A video montage of Dove Award moments follows including a fabulous array of famous mullets. Bart Millard introduces Amy Grant, who somehow reminds me more of Carole King every time I hear her. She performed a beautiful acoustic version of El Shaddai. This is more an in-person event than a live broadcast, with just a couple of cameras and a less-than ideal sound mix. I want to go to full-screen mode but the stream was so challenging to access I’m afraid.

Amy follows with a new song, Please Don’t Make Me Beg, and a promise to keep making music for a long time. Before that she told a story about her origins in the industry and her position now as the “first concert” for so many current artists. “I’m your Vestal Goodman without the big hair and the big boobs,” she quipped.  “So, uh, well that doesn’t lead into the next song very well. I haven’t written the breast song yet.”

9:04 Bart Millard declared himself a “product of the system”, mentioned his childhood steeped in Christian music, and then I lost the stream.

9:17 Still no stream. I’ve turned on Monday Night Football while refreshing the page dozens of times. I either get a message that the site itself is down or the player times out when trying to connect to the stream. I guess this means word got around and the concert is a big draw. Alas.

9:21   I’m a little bitter that Bart Millard killed my concert. I drove the man all around Atlanta, for Pete’s sake! Who is this Pete, by the way, and what is his sake?

9:23 That ungrateful Bart is probably singing right now, and I’m placing my bet on I Can Only Imagine.

9:25 I’ve emailed the GMA. Like they don’t know their concert of the decade is broken. I guess I feel bad for them, but I honestly thought we’d figured out streaming video. You had to register for the stream, so they must have had a decent idea of demand.

9:30 It’s back! Eddie DeGarmo is talking about the GMA and what’s going on. He just declared that the GMA is committed to hosting the Dove Awards in 2010. “This is not the beginning of the end of the GMA. It’s the beginning of the future of the GMA.” He then introduced Congressman Marsha Blackburn, who proceeded to kill the stream again. Well, I don’t think she did it. At least not intentionally. At any rate, I got 3 minutes of the concert of the decade and it was just people talking.

9:34 Whoa! It’s back again and the rest of the site even looks right. It’s like someone in Nashville just got back from Best Buy with a bigger internet cable. Our auctioneers for the evening, David Nasser and a GMA board member (Roy Miller?) took the stage. David Nasser’s personal stories are charming. He was raised Muslim, and recalls learning much about Christianity through music. “I learned that it was okay as a Christian to like girls, as strange as that sounds, through Baby Baby.” The first item up for auction is a week at Eddie DeGarmo’s beach house in Watercolor, Florida. This is bizarre. The highest bid is a steal at $2,100. I mean, dude, Eddie DeGarmo!  I would listen to DeGarmo and Key tapes all week long. And yes, I said tapes. The next auction item is a chance to be written in as a character in a Karen Kingsbury book. Brilliant idea, but no one bites at $2,500. Apparently this will go online, so you can buy it! I want to buy it so I can be the Amish farmer who falls for the mysterious maiden while the prairie winds blow. And I want to wear overalls.

9:46 Natalie Grant is telling stories of her first GMA event 11 years ago. “I am so proud to be a part of the Gospel Music Association.” Natalie passionately performs In Christ Alone and introduces Kirk Franklin and Anthony Evans. Kirk states: “This organization has done more than any other Christian organization I’ve been a part of to reach out and be diverse. This has been a community that has always made me and my friends feel at home and feel welcome.” GMA has indeed embraced varieties of music that cross cultures and races, something we sadly see too little of in the church. Kirk (well, Kirk’s choir, as it usually the case) perform Imagine Me. 

10:06 Martha Munizzi says: “Don’t kid yourselves. There are a lot of secular artists that know about gospel music. It’s their church.”  I hope that’s true, and I hope they’re watching right now, because the man joining Martha on Because of Who You Are, Jason Crabb, can wail. How Great is Our God follows as an extended gospel soul romp.

10:18 The Booth Brothers and their accents represent Southern Gospel, and declare a bit of a truce between southern gospel and the GMA. I don’t follow Southern Gospel, so I didn’t know there was a rift there, but it is so often true that adversity binds people to a common cause. The Biblical notion that trials can eventually lead to hope for the future is apparent here, and the hope is that a new GMA will be better than ever. By the way, the Booth Brothers delivered some sweet harmonies on Castles in the Sand, which is not really just about sandcastles.

10:25 Mark Hall of Casting Crowns continues the community theme. “It’s so cool to get to a place and just hear Jesus music from all different styles and all different genres.” The band sounds good on Voice of Truth. It’s an almost-unplugged version but it’s plugged in, if that makes any sense. I got it – it sounds like it would if they set up their gear in my garage and did a little show for me. Not much like the CD, but curiously endearing. Lifesong follows, and I am once again jealous of Mark Hall’s vocal range.

10:36 Jon and Sherry Rivers are brutally honest about his recent admission of addiction and his recovery, and the theme of community is broadened. Point of Grace are introduced, and I like the mandolin-backed How You Live, though the ladies’ vocals aren’t mixed as well as they could be.

10:44 Smitty time! Three roadies struggle with a Yamaha keyboard while Michael patiently waits, starts playing, then looks up to an empty mic stand. I love it! A mic is found, and Smitty launches this peppy medley: Love Crusade, For You, Secret Ambition (which was released in 1989 seems to be right in this $1,000 per plate audience’s wheelhouse), Place In This World, Thy Word (for Amy), and, yes, Friends. Here comes Amy! You just can’t beat that harmony. I honestly don’t think they sing this song together very often anymore, so this is really a treat.

“I think I’m supposed to have everybody come up, but I really don’t know what we’re gonna do… (sings) Amazing grace, how sweet the sound…” Smitty then changes the key for the group singalong, and then kicks in the Tomlin chorus, “My chains are gone, I’ve been set free…”

10:57 The credits are rolling over an entirely inappropriate smooth jazz score. Good concert. Some heartfelt reminders of why music is important and some insightful commentary on why the GMA is important. The tension between industry and ministry will always be there, but tonight the ministry was apparent.

“Concert of the Decade” tonight October 12, 2009

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If you’re interested in Christian Music, take note. Tonight, October 12, at 8:30 pm eastern time you can watch an online stream of a so-called “Concert of the Decade” being held in Nashville to support the Gospel Music Association. The lineup is impressive: Amy Grant, Michael W. Smith, Casting Crowns, MercyMe, Kirk Franklin, Natalie Grant, Point of Grace, plus a handful of gospel artists. Visit www.concertofthedecade.com to access the stream.

In case you’re wondering, the GMA is a trade organization that promotes and advocates for what I usually call Christian music but they call gospel music. They’re the group that puts on the annual Dove Awards and GMA week. They’ve been hard-hit by the industry downturn and this event is a response, along with a complete organizational restructuring and the resignation of longtime president John Styll.