All posts by M.J.

#305: The Cross Case: Supreme Court Sours on Lemon

This is mark Joseph “young” blog entry #305, on the subject of The Cross Case:  Supreme Court Sours on Lemon.

I have been watching for this case since it hit the circuit court, and so was pleased to see that the Supreme Court had decided it.  It seems on one hand to be a simple question:  is a century-old war memorial in the shape of a forty-foot cross originally built by private citizens but for half a century maintained on public land at public expense a violation of the “establishment” clause, that is, a constitutionally impermissible promotion of a particular religion by the government?  That’s the question; yes or no?

So imagine my surprise to discover that although Justice Alito managed to write a seven-to-two majority opinion that said no (that is, the cross can stay), there were five concurring opinions (a concurring opinion is one that agrees with the conclusion but not with all the reasoning) plus a dissent.  So how is there so much confusion over so simple a question?

At the time of this writing, I was unable to find the official Supreme Court PDF online; however, Justia has it in an easy-to-access form.  The Court combined two cases into one, so the title reads

THE AMERICAN LEGION, et al., PETITIONERS

v.

AMERICAN HUMANIST ASSOCIATION, et al.; and

MARYLAND-NATIONAL CAPITAL PARK AND PLANNING COMMISSION, PETITIONER

v.

AMERICAN HUMANIST ASSOCIATION, et al.

A lot of the trouble revolves around what’s been called the Lemon Test, named for Lemon v. Kurtzman, 403 U.S. 602 (1971), in which the court articulated a three-part test for whether something violated the establishment clause.  The short version is:

  1. Does the action/activity have a secular purpose?
  2. Is the principle or primary effect one that neither advances nor inhibits religion?
  3. Does it avoid fostering an excessive government entanglement with religion?

By these three questions all such cases were supposed to be answered.

Let’s get some backstory.

Just after World War I, a citizens group in Bladensburg, Maryland wanted to honor the forty-nine men from their community who died in that conflict.  Quite a few of the fallen in that war were never returned, and more were never identified.  The monument would serve as a surrogate grave for them, for their families to visit, and as a recognition of the service of so many others.  They hired an architect/sculptor, who designed a large Latin Cross, modeled on the crosses that had been used as temporary grave markers for the over one hundred thousand Americans buried in European graveyards.  (The Star of David was also used for such markers, but only about five percent of American casualties were Jewish, so crosses dominated the photos that came home and were emblazoned in the minds of the mourners.)  The citizens group raised money through donations, but ran out before completing the work, so the American Legion took over, adding their emblem to the cross, finishing the work, and maintaining it at their own expense into the early 1960s.  At that time, actions were taken to transfer the ownership of the property to the Maryland Parks Department, in part because the road around the monument had become a major traffic problem, in part because the American Legion was no longer able to afford it, and in part because the State wanted to expand the surrounding area into a memorial park with monuments for all the other wars.  Since then the monument has been maintained by state funds.  However, a few years back the American Humanist Association filed suit claiming that the cross was offensive and an impermissible endorsement of the Christian religion.  They wanted it removed, or demolished, or at the very least stripped of the crosspiece so it would be an obelisk instead of a cross.

The Federal District Court applied the Lemon test and sided with the park service, stating that the primary purpose of the cross was to honor the dead of World War I, and there was no evidence that any religious purpose was intended in its design or its present maintenance; any impartial observer who knew the history of the monument would conclude that it was not about promoting Christian faith, but about honoring the war casualties.  A three-judge panel of the Circuit Court, however, disagreed in a split decision, again applying the Lemon test but asserting that the cross was so tied to Christian belief that anyone seeing it would think it was an emblem promoting that religion.  The full court declined to review the case en banc (that is, all the judges), and the Supreme Court granted certiorari (or cert., agreeing to hear it).

Justice Alito wrote that there were many problems with applying Lemon, and that since the the test has a lot to do with motivations and intentions it is particularly difficult to apply the case to situations with deep historic roots.  It can’t be said that those who originally erected the monument had a religious purpose in view.  He cites other situations in which crosses are used as an emblem that do not have a religious purpose, notably among them the International Red Cross, whose red cross on a white field was designed to call to mind the white cross on a red field that was the flag of the neutral country Switzerland, and so marking the deliverers of medical care as neutral.  So, too, the crosses that dotted graveyards throughout Europe had become an image of the fallen in that war, popularized alongside the poppy even more by the poem In Flander’s Field.  Shortly after the war the same emblem became the basis for the national congressional medals known as the Distinguished Cross and the Navy Cross.  There was no reason to suppose that the original designers of the cross intended it to have any greater religious significance than that which is attached to any grave marker.  Indeed, one of the members of the committee which began the work and approved the design was Jewish.  Further, there is no evidence of bias or prejudice, sectarian or otherwise.  At the dedication ceremony, a Catholic Priest opened with an invocation, a politician gave the keynote address, and a Baptist minister gave the closing benediction.  Although racial tensions were high in the country and the Ku Klux Klan held a rally within ten miles of the site within a month of the dedication, black and white soldiers were listed together on the plaque.  To claim that the original intention was religious is to read our own ideas into their situation; we cannot do that.  Further, he argued, the fact that the monument has been there for almost a century means it has taken many other significances, historical and cultural.  We might think there is a religious significance to it as well, but it is a relatively small part of a memorial that has been part of the community for so long.  Besides, to destroy or deface it would appear to be an act against religion, not an act furthering religious neutrality.

The opinion did not overturn Lemon; it simply said that in dealing with matters steeped in history, it was generally impossible to know the motivations of those who made the original decisions, and so Lemon was rendered useless in such cases.

Justice Gorsuch in the main agreed, but went further.  Lemon, he said, was useless as a test.  Case law demonstrates that a court using the test can reach any conclusion it wants.  More pointedly, the notion of the response of a reasonable observer (whether a reasonable observer would think that the purpose was primarily religious) has created an “offended observer” status, that someone can file suit against an action on the grounds that it offends him.  This, Gorsuch argues, is not real injury and the Constitution gives no basis for anyone to sue without real injury.  Overturning Lemon and getting rid of its test would resolve much of the confusion in the courts and mean in the future cases like this, in which someone claims to be offended by the sight of a supposedly religious object, would be dismissed perfunctorily.

Justice Thomas agreed with that, but went further.  The Establishment Clause, he observed, begins “Congress shall make no law”.  He explains what kinds of laws had existed that were eliminated, but asserts that the protection has nothing to do with actions that are not based on laws made by Congress.  He suggests that one might apply the I Amendment to the States by virtue of the XIV Amendment, but even so the original purpose of the Establishment Clause was to forbid legislative actions compelling citizens to support a specific church or denomination.  Local creches, non-sectarian thanksgiving services, opening invocations and closing benedictions, and memorials to the dead are not covered by this, as they are not compulsory and in the main are not legislative acts.  Lemon, he asserts, should be overturned because it goes far beyond what is Constitutional.

Justice Kagan also wrote a concurring opinion, agreeing with nearly all of Justice Alito’s opinion but for two sections.  The important disagreement is that she asserts that Lemon, with its focus on purposes and effects, is still very valuable even though it does not resolve every Establishment Clause problem, and she would retain it.  Her lesser disagreement is that Justice Alito suggested that history would play an important part in Establishment Clause analysis, which she does not reject entirely but does not wish to see embraced as a principle of law.  She agrees, though, that it might be important to consider whether long-standing monuments, symbols, and practices reflect respect for different views and tolerance, with an honest effort to achieve non-discrimination and inclusivity, and a recognition of the important role that religion plays in many American lives.

Justice Kagan also agrees with the concurrence written by Justice Breyer, who has long said that no one test works for all Establishment Clause cases, but that in each case the court has to consider the purposes of the clause, “assuring religious liberty and tolerance for all, avoiding religiously based social conflict, and maintaining that separation of church and state that allows each to flourish in its “separate spher[e]”.  He says that the majority opinion is correct that there is no significant religious importance to the Bladensburg Cross, and that its removal or destruction would signal a hostility toward religion against the Establishment Clause traditions.  However, he objects to any sort of “history and tradition test” that might permit religiously-biased memorials on public lands in the future.

That, apparently, is a suggestion in Justice Kavanaugh’s concurrence.  He fully joins the majority opinion, but emphasizes the importance of reviewing history and tradition in such cases.  He suggests that the Lemon test has proven useless and is never really used by the Supreme Court.  He also expresses sympathy for those, particularly Jews, who feel alienated by the cross, which he says must be recognized as a religious emblem.  The fact that it is a religious emblem does not mean the government cannot maintain it–but the government does not have to do so, and other branches of the government could take action to remove the cross or transfer its ownership and care to a non-governmental entity.  The objectors do have recourse to the political process if they wish to pursue this; what they don’t have is a court decision declaring that the cross cannot be maintained by the State.

Which leaves Justice Ginsberg’s dissent, joined by Justice Sotomayor.

Ginsberg maintains that the Latin Cross, defined as one in which the lower upright is longer than the other three branches, has always been recognized as a Christian symbol, and has never had a secular meaning or application.  (This in contrast to the Greek Cross, in which the four branches are equal.)  The Bladensburg “Peace Cross” is thus offensive to anyone of any other religion or of no religion.  Marshaling evidence that even in the aftermath of World War I the cross was identified by the government as a sectarian symbol to be put on the graves of all Christians and of any persons not known not to be Christian (in case they were), with Stars of David placed on all graves of soldiers known to be Jewish.  (Those who were known not to be either could, at the family’s request, have a plain stone, be transported home, or be interred in a private cemetery overseas with a headstone of their choice.)  There has never been a case in which a Latin Cross was identified as a non-sectarian emblem of death, and historically it has been regarded as conveying the message that Christians are saved and all others are damned–an offensive message to all those others.

While Ginsberg’s claim is well-supported, it is not clear that the modern cultural view of crosses as memorials perceives them as specifically Christian.  It comes to me that many graves of pets are marked with crosses, but no Christian denomination of which I am aware supports the theological belief that animals can be Christian, The Vicar of Dibbley notwithstanding.  (The eternal destiny of animals is not something the Bible tells us, which makes sense, as C. S. Lewis would have said, because it’s not actually something we need to know.)  Crosses are also frequently used in decorative graveyards such as in Halloween displays.  To many, the cross says “grave marker” much more than it says “Christian”.

I can’t say that everyone perceives such memorials as non-sectarian, but I do think that over time they have become more so.  It appears that the Court, in the main, agrees with that:  memorials using crosses in their imagery have become non-sectarian by their use over time, and the Bladensburg Cross far more represents the fallen of World War I and, since its rededication in 1985, all the American casualties of all our wars.  Lemon has not been overturned, but it has been significantly limited in its application in the future.

The Peace Cross stands.

#304: Accidental Amy Grant

This is mark Joseph “young” blog entry #304, on the subject of Accidental Amy Grant.

It comes across as the musician’s dream story.  A sixteen-year-old girl bought some studio time to make a recording for her mother, and a major record producer heard the tracks and contracted her to a major record label deal.  That, in a nutshell, is the story of Amy Grant.

The story is more complicated than that.  Due to his recent success as a producer of Christian albums, Chris Christian had been given a contract to produce five albums a year, and needed artists quickly.  Although he and Brown Bannister did hear Amy’s work in the studio, she also was a member of the church he attended, so he knew who she was.  Although she was indeed sixteen when she was discovered, she was eighteen before her first album was released.  Still, it was a remarkable beginning for a remarkable career–and it really did begin with a recording she made for her mother’s birthday.

The dream got better–but it wasn’t all good.

Her first album, released in 1977, was already on the shelves at the radio station when I got there, and every song on it was popular, but particularly memorable were Mountain Top, What A Difference You’ve Made, and the one that still got airplay after she had released several other albums, also covered by The Imperials, Old Man’s Rubble–as demonstrated by this live version done some years later.

Her second album, in 1979, was known for two things, the very popular title song Father’s Eyes, and the controversy about the third button.  That’s right, Christians were all up in arms because the now twenty-something college student and successful Christian singer had her blouse open to the third button in the cover photo on the back of the album jacket.  It was an excellent album (and really, I saw the photo before I knew there was a controversy, and it never occurred to me that there was anything wrong with it, being fresh out of college myself), with other great songs including Never Give You Up.

That title song was written by Gary Chapman, whom she married in 1982–the first of her two failed marriages, the second to country singer Vince Gill in 2000.  [Errata:  I had been told that Amy’s second marriage had also failed; that apparently was false gossip, as she is still married to Vince Gill.]  It was not all roses.  She has one child, daughter Sarah Chapman.

In 1980 she released Never Alone, a considerably less memorable entry but sporting titles like Look What Has Happened To Me and Don’t Give Up On Me.

It was also during these college years that Amy looked at the work she’d done and realized she had produced three albums that she wouldn’t own if they weren’t by someone she knew personally.  She talked to people, and sent word to Eddie DeGarmo and Dana Key that she wanted to collaborate with them on something.  They reportedly responded, “That Amy Grant?”  However, the outcome was the recording of Nobody Loves Me Like You on the Degarmo & Key LP This Ain’t Hollywood.

In 1981 she released two live albums, In Concert and In Concert Volume Two.  The songs were almost all remakes of familiar Amy Grant songs, but the second disc opened with I’m Gonna Fly, a bit more upbeat than most of her familiar hits.

Age to Age was released in 1982, and she continued to progress with the country-rock I Have Decided and the upbeat Sing Your Praise to the Lord (with the baroque intro), but perhaps the most significant song on the record was El Shaddai, about half of which is in Hebrew, which got heavy airplay and introduced songwriter and artist Michael Card, whose own recording of the song was released on his debut album at about the same time.

It is not at all surprising that Christian artists often release Christmas albums, and that Christian radio stations play them, but that most of them have very little to commend them–just retreads of familiar Christmas songs, often with secular holiday songs mixed in.  In 1983 Amy released her first such album–and it was a wonderful work of art, to this day my personal favorite Christmas album.  She sent us a “picture disk”–a vinyl record with the cover image embedded in the vinyl, in a jacket with a clear plastic front so that the picture showed through.  That wasn’t a lot of use at the station, so I still have it here at home.

The opener, Tennessee Christmas, is one of those songs which poses an enigma to Christian radio stations.  It is all about spending Christmas at home instead of somewhere else, but doesn’t mention Jesus or even God at all–just the love of family at home.  Yet it was co-written by Amy and then-husband Gary Chapman, and no one can say it doesn’t reflect Christian values.  Still, it ultimately is a holiday song, later to be covered by the band Alabama, and a pleasant start to the disc.

From there it moves into Hark the Herald Angels Sing, followed by the instrumental Preiset Dem Konig! (Praise the King!), which virtually segues into the rocky sequence of Emmanuel/Little Town/Christmas Hymn, the middle of those a completely new and upbeat version of O Little Town of Bethlehem for which my only complaint is that I would have liked for her to have included the entire third verse.

She follows this with the upbeat Love Has Come.  I am then disappointed by her inclusion of two secular holiday songs–Sleigh Ride and The Christmas Song.  Don’t misunderstand.  They are credibly done, but there is nothing particularly different or interesting about them, and they are on the list of songs that to me disrupt the spirit of the holiday.  She makes up for it, though, with another excellent creative original, Heirlooms, and then finishes the album with a medley of A Mighty Fortress and Angels We Have Heard On High.  The timing error on Fortress irks me, because my mind is trying to sing along and it omits the notes for a few words, but Angels is a fit and perhaps glorious ending for the work.

I’m pretty sure that her next album, Straight Ahead, passed through my fingers just before I left the station; I vaguely remember Thy Word, but nothing else about it is familiar other than the cover and the title.

Not long after that, Amy hit controversy again as it was announced she would be crossing over into the secular market.  I don’t know how successful that was, but a lot of her fans were upset about it.  On the other hand, the single that was released to the secular stations reportedly was about love and fidelity, and those were certainly Christian values.

Amy continued to release albums on Christian labels for decades after that.  She became the first Christian artist to win a Platinum record, and went on to win several more, making her the best selling Christian music artist to date.  The little girl who recorded a tape for her mother’s birthday has in some senses been the most successful Christian musician.

I heard her talking on the radio not too long ago.  She lives with her mother now, who is suffering from the mental afflictions of old age.  One day as Amy was headed toward the door with guitar case in hand, her mother said, “Where are you going?”

“I have a concert, Mom.”

“Oh, do you sing?”

“Yes, Mom, I sing.”

“Well, have fun.”

How sad is that?

*****

The series to this point has included:

  1. #232:  Larry Norman, Visitor;
  2. #234:  Flip Sides of Ralph Carmichael;
  3. #236:  Reign of the Imperials;
  4. #238:  Love Song by Love Song.
  5. #240:  Should Have Been a Friend of Paul Clark.
  6. #242:  Disciple Andraé Crouch.
  7. #244: Missed The Archers.
  8. #246: The Secular Radio Hits.
  9. #248:  The Hawkins Family.
  10. #250:  Original Worship Leader Ted Sandquist.
  11. #252:  Petra Means Rock.
  12. #254:  Miscellaneous Early Christian Bands.
  13. #256:  Harry Thomas’ Creations Come Alive.
  14. #258:  British Invaders Malcolm and Alwyn.
  15. #260:  Lamb and Jews for Jesus.
  16. #262: First Lady Honeytree of Jesus Music.
  17. #264:  How About Danny Taylor.
  18. #266:  Minstrel Barry McGuire.
  19. #268:  Voice of the Second Chapter of Acts.
  20. #272:  To the Bride Live.
  21. #276:  Best Guitarist Phil Keaggy.
  22. #281:  Keith Green Launching.
  23. #283:  Keith Green Crashing.
  24. #286:  Blind Seer Ken Medema.
  25. #288:  Prophets Daniel Amos.
  26. #290:  James the Other Ward.
  27. #292:  Rising Resurrection Band.
  28. #294:  Servant’s Waters.
  29. #296:  Found Free Lost.
  30. #299:  Praise for Dallas Holm.
  31. #302:  Might Be Truth and the Cleverly-named Re’Generation.

#303: A Nightmare Game World

This is mark Joseph “young” blog entry #303, on the subject of A Nightmare Game World.

I had a dream, a very strange dream, in which I was apparently trapped in a very strange world.  I think that if I ran this world in a game, people would be frightened, and so I’m calling it a nightmare–although oddly even when I was running for my life I wasn’t scared, just intrigued with the problems of trying to understand the world.  I’m going to blame Michael Garcia for some of this, because he just asked my opinion on a batch of documents that formed part of a world for his AD&D™ game set in a labyrinth with dimensional instabilities, but in fairness other than that there must have been dimensional instabilities in it, nothing in the dream came from him.  Yet I can see Eric Ashley running something like this as a Multiverser™ world, so I wanted to share it for the benefit of those referees looking for something really out there.

The basic setting is a modern warehouse-style department store, a sort of cross between BJ’s or Home Depot with the high racks of goods and Wal-mart with the many departments and clothing racks and linoleum floors and good lighting.  There seemed to have been a lot of people in the building, but it was not crowded, and often I was alone or with a few others.  I tacitly understood somehow that there was no exit, but that nobody actually lived here, as if they had all come to shop but then were trapped inside.  That in itself did not cause anyone to panic; it might be that they were not yet aware of the situation, as most were still shopping.

The first real oddity that caught my attention was in one corner of the store, where an aisle running from the front toward the back was lined with boxes that might have been games or kitchenware or something, there was a girl, probably young twenties, trying to set up something like a telescope–a big one, not Mount Palomar, but a couple body lengths with perhaps a four-foot diameter tube on a large base.  This apparently belonged to her father, who had set it up right here not long before, but had vanished, and for reasons not at all clear to me the device had been disassembled but was now being reassembled.  I came to understand through conversation that the telescope also had laser targeting devices which somehow managed to latch on to portals to other dimensions, maybe created wormholes or something, and the girl was certain that if she could get it working she could bring her father back.  O.K., shades of Howard the Duck.

Meanwhile, I concluded that there were dimensional rifts of some sort somewhere in the building.  My first clue to this was that a tyrannosaur came down the front aisle toward us, and we all had to run for our lives, abandoning the work on the telescope.  It’s kind of funny that whenever there is a breach to the Mesozoic era, it’s always a tyrannosaur that comes through, never small harmless herbivores, but then, they wouldn’t be so exciting.  I remember diving under a shelf unit to escape, and sometime in this I spotted what I took to be a shambling mound.  When I awoke I realized it looked nothing like a shambling mound, but rather appeared to be made of a mass of tangled bright green plastic ribbon about seven feet tall–but a shambling mound, I realized, made sense, since it’s entirely vegetative and so would be of no interest to the carnivorous tyrannosaur.

I can think of a lot of questions and directions for the player characters in such a world.  Can the professor actually be rescued using the telescope-like device?  If he is, does he know how to fix the dimensional instability so that the portals to other worlds can be closed and the doors to the natural world opened?  Is all of this a result of a botch with this device, and if there’s another botch, what’s likely to happen?  Is the equipment to fix the instability available in the store?  On a similar topic, does the store sell weapons, such as hunting rifles, and if so can they be accessed and made operational, and would they be effective against the invading creatures?  Can the panicking shoppers be organized into some kind of useful group, or are they just going to wind up bait for the monsters?

The biggest problem I see, from a Multiverser play perspective, is if the player character manages somehow to stabilize the building and open the doors so the people can egress to their homes, what does the referee do with the world beyond?  I find modern settings to be some of the most difficult to make interesting, myself, but then I know people who can do wild and crazy things with simple ideas.  I’d love to hear whether anyone does anything with this one.

#302: Might Be Truth and the Cleverly-Named Re’Generation

This is mark Joseph “young” blog entry #302, on the subject of Might Be Truth and the Cleverly-named Re’Generation.

When I was in college I heard a rumor about a band–I’m not sure you could characterize it quite that way, though.  I heard that there were these guys, one of whom traveled around the country listening to high school musicians and collecting a group of the best, the other then taking them, managing them as a band, taking them on tour, and finally producing an album.  Then after a year on the road they disbanded, presumably continued their educations, and the new crop of high school graduates took the stage.

I think that band was called Truth.

I have a couple reasons for thinking this.  In about 1974 I was given a pirated copy of several albums and a few extra songs which included an album by a band called Truth.  (Others were the debut albums from Love Song and Malcolm and Alwyn, and a live cut from Larry Norman.  I’m pretty sure that part of the point Jeff had in giving me the tape was to demonstrate that a brass section did not make a band better–I liked brass in my work.)  I remember very little of that album, but it was probably We Want to Love, We Want to Shine, because I specifically remember their versions of He Ain’t Heavy, He’s My Brother and One Solitary Life (neither of which I can find online as videos).  Then I remember encountering a band called Truth at the radio station, a sort of MOR (that stands for Middle Of the Road, and is a technical term in the music industry) Contemporary vocal group with a bit of brass, but with entirely different vocalists from the album I knew.

I also heard a story, that every year Truth was a new band, until one year when they came to the end of the tour and made the record they looked at each other and said, why would we want to do something else?  So the band Truth stabilized into that group.  (I have no idea what happened to those poor high school graduates who had anticipated being part of a touring Christian band, but I got the story so poly-handed that it could be completely wrong.)

What I don’t remember, really, is any single song or album that they recorded during my time at the station other than that logo in the picture of that album cover.  I can tell you, though, that they did well-produced covers of popular Christian hits, toning down some of the rockier ones and spicing up some of the calmer ones to get a sound that could be played by most radio stations.  Unfortunately, it was apparently an easily forgotten sound.

I’m pairing them in this article with a band called Re’Generation, because what I remember about them is that they were very similar in sound to Truth.  The only other thing I remember about them is that Found Free teased about their sound in their song Individually Wrapped (“Should we change our style and sing just like Regen–?/Oh, one of us hot-dogs would surely wreck the blend.”).  Seriously, even looking over their online discography, I see no familiar album covers and no familiar titles beyond that they are mostly covers of songs known from elsewhere.  They produced twenty-some albums over a decade, and were as I recall good at what they did, but nothing from them is remembered as remarkable.

*****

The series to this point has included:

  1. #232:  Larry Norman, Visitor;
  2. #234:  Flip Sides of Ralph Carmichael;
  3. #236:  Reign of the Imperials;
  4. #238:  Love Song by Love Song.
  5. #240:  Should Have Been a Friend of Paul Clark.
  6. #242:  Disciple Andraé Crouch.
  7. #244: Missed The Archers.
  8. #246: The Secular Radio Hits.
  9. #248:  The Hawkins Family.
  10. #250:  Original Worship Leader Ted Sandquist.
  11. #252:  Petra Means Rock.
  12. #254:  Miscellaneous Early Christian Bands.
  13. #256:  Harry Thomas’ Creations Come Alive.
  14. #258:  British Invaders Malcolm and Alwyn.
  15. #260:  Lamb and Jews for Jesus.
  16. #262: First Lady Honeytree of Jesus Music.
  17. #264:  How About Danny Taylor.
  18. #266:  Minstrel Barry McGuire.
  19. #268:  Voice of the Second Chapter of Acts.
  20. #272:  To the Bride Live.
  21. #276:  Best Guitarist Phil Keaggy.
  22. #281:  Keith Green Launching.
  23. #283:  Keith Green Crashing.
  24. #286:  Blind Seer Ken Medema.
  25. #288:  Prophets Daniel Amos.
  26. #290:  James the Other Ward.
  27. #292:  Rising Resurrection Band.
  28. #294:  Servant’s Waters.
  29. #296:  Found Free Lost.
  30. #299:  Praise for Dallas Holm.

#301: The Song “Holocaust”

This is mark Joseph “young” blog entry #301, on the subject of The Song “Holocaust”.

On my recent trip to Nashville for The Objective Session it was recommended to me that I start my own publishing company, and so publish my own songs.

That would be excellent advice for anyone with a knack for business.  I have more than once proven than I have no such ability, and so I will add that to the list of good advice I hopefully wisely did not take.

However, I am going to publish my songs, so consider me self-published.

The plan is this:  I have mostly poor recordings of perhaps sixty of the hundreds of songs I have composed over the decades.  In anticipation of the aforementioned Objective Session I selected thirty-some of these for consideration in inclusion in a package of materials to be submitted to Nashville professionals, and ultimately gave them copies of the top three.  I am now going to give those songs to you, my readers/fans, beginning with those same three, continuing through the list of thirty-some others, and adding a few that I have since been told ought to have been included.

There are other songs that ought to have been recorded which never were, or which were long ago on tapes no longer in existence.  If there is enough support through the Patreon and PayPal me links (at the top of the page) I’ll obtain new recording software and work on laying tracks for some of them.  (The old software, Record Producer Plus, was actually rather good, but Turtle Beach decided not to support it when I attempted to reinstall it after a computer crash, so I recommend avoiding anything from them because they are unreliable in terms of future support for older products.)

In compiling this list, I went through all my recordings and eliminated a few for specific reasons–a couple of them because they are part of a nearly finished opera from which very few songs have been recorded (I will remedy that if I get the software), a few because the recordings I have of them are more severely flawed than I can reasonably permit myself to release publicly (although with the caveat that some of the recordings I am releasing are seriously flawed).  I used a pocket digital recorder to record, live with an acoustic guitar, a few more songs I thought should be included which I could manage that way.  I then made two copies of the list of songs I had compiled, one listing them in what it my opinion were best to worst songs, music and lyrics, the other listing them in what in my opinion were best to worst recordings, performance and technical.  I averaged these and also asked a bunch of people (family, mostly) to comment on the list, and one, my son Tristan, responded, selecting eighteen of the songs which he thought definitely should be included, divided into the four best, the next four, the next four, the next two, and the final four.  I averaged his opinion in with mine, and that gave me the list I am using.

The first song on his list was the first song on my list of best songs, although it was only fifth on the list of quality of recordings.  It is entitled

Holocaust.

I suppose it makes sense that the song both I and my third son list as the best would already have appeared on the web.  My wife included part of the lyrics on a site (a long time ago, one of the GeoCities web sites), and I put the lyrics up in a section of this site dedicated to the songs of a defunct late 90s band called Cardiac Output (who never actually did the song, although TerraNova did back in the mid 80s), and also gave a rather detailed recollection of the process of composing it in connection with the history of the band Collision.

It may be the most powerful and is probably the most poetic of my songs (which I must again mention is co-written with my wife Janet Young and our friend Robert Leo Weston) despite its frequent disregard of rhyme and meter.  Its double meaning metaphor carries through the sung portion of the song and is cemented with the spoken poem at the end.  It was written as a duet, and in the places where both voices are singing each is regarded its own melody, neither a harmony of the other.

This recording was made using Record Producer Plus with a Soundblaster sound card; the instruments are all programmed midis, and I sang both voices.  Here are the words:

Reality has come over me as I slip away from myself.
The people I know can’t tell the truth,
And I don’t think I even care.
I can see the face of a thousand people passing by on a train.
The silence of a world as they pass on by still resounds in my brain.

Shed a tear (shed a tear) for all the earth (for all the earth),
For she has closed her eyes to all the pain!
What will you do when it comes to you?
Will you run or will you hide?
I can hear the screaming–

Lambs to the slaughter, they open not their mouth.
A sacrifice displeasing to their God
(The innocent must die).
Smoke is rising from eternal fire.
The one we would expect
Would be there to protect
Now breaks his vow and deals the fatal blow.

Shed a tear (shed a tear) for all the earth (for all the earth),
For she has closed her eyes to all the pain!
What will you do when it comes to you?
Will you run or will you hide?
I can hear the screaming–

I was dumb when they took my neighbor
(I hear those footsteps getting closer),
Held my tongue when they took my friend
(Oh, my heart, no need to be afraid).
I was still when they took my brother
(They’ll never take me).
Who will speak up for me?

The sacred dream is ended in the silent scream!
The breath of life is stifled by the surgeon’s knife!

A holocaust inevitably comes
To those who place themselves too high,
To those who teach themselves the lie
That life and death is in their hand–

Mere men!  Too small to understand
The truth, the value of one soul.
And so their wisdom takes its toll
In infants shattered on the rock–

Such pain!  And yet it does not shock
Our hardened hearts, our souls of ash–
We throw their bodies in the trash
And tell ourselves, it’s for the best.

And that is how we treat the rest–
The useless crippled, and the old.
With every death our heart grows cold
‘Til someone puts us in our tomb.

The gift of God comes in a maiden’s womb.

I can only hope you benefit from the song in some way.  I will continue with additional songs in the future.

Next song:  Time Bomb

#300: Versers Challenged

This is mark Joseph “young” blog entry #300, on the subject of Versers Challenged.

With permission of Valdron Inc I have previously completed publishing my first four novels, Verse Three, Chapter One:  The First Multiverser Novel, Old Verses New, For Better or Verse, and Spy Verses,  in serialized form on the web (those links will take you to the table of contents for each book).  Along with each book there was also a series of web log posts looking at the writing process, the decisions and choices that delivered the final product; those posts are indexed with the chapters in the tables of contents pages.  Now as I have posted the fifth, Garden of Versers,  I am again offering a set of “behind the writings” insights.  This “behind the writings” look may contain spoilers because it sometimes talks about my expectations for the futures of the characters and stories–although it sometimes raises ideas that were never pursued, as being written partially concurrently with the story it sometimes discusses where I thought it was headed.  You might want to read the referenced chapters before reading this look at them.  Links below (the section headings) will take you to the specific individual chapters being discussed, and there are (or will soon be) links on those pages to bring you back hopefully to the same point here.

There is also a section of the site, Multiverser Novel Support Pages, in which I have begun to place materials related to the novels beginning with character papers for the major characters, giving them at different stages as they move through the books.

This is the seventh mark Joseph “young” web log post covering this book, covering chapters 73 through 84.  Previous web log posts covering this book include:

History of the series, including the reason it started, the origins of character names and details, and many of the ideas, are in those earlier posts, and won’t be repeated here.

Chapter 73, Kondor 148

I pretty much gave the Derek-Princess relationship story its head, and this is where it was taking me.  I had decided before it started that the princess and her entourage were being trained in self-defense techniques, and that Derek would join the class.  I remembered his loneliness as I contemplated this chapter, and included that.  I have not decided whether one of the girls falls in love with him beyond the immediate flirtatious infatuation they all have, but I think it at least possible that he would leave this world with a young wife trained in martial arts.


Chapter 74, Hastings 156

The three paragraphs about reading Gavin’s mind and considering reading Doctor Conway’s mind were written a couple days in advance, and copied here.  The idea of reading the doctor’s mind was Kyler’s suggestion.  He also suggested that Derek would read the minds of the girls, and I’m contemplating that.


Chapter 75, Beam 19

According to the outline, this was supposed to be the beginning of a story in a new world; by this point I was thinking I would have to tighten up the Beam story to give it more chapters, so I could fit another world in this book, since I still had another story in this world.

It was Kyler’s idea that the creatures in this version of The Dancing Princess would be efriit, not demons, as a way of setting up a future connection for a world ahead.

I let Beam’s cynicism about marriage have full rein here.

The notion that not all demons are bad is probably mostly attributed in Beam’s thought to the television series Buffy the Vampire Slayer, although it was also heavily influenced in my mind by the Mythadventures books by Robert Asprin.  Both of them treat demons as intelligent creatures from other dimensions who might be either good or bad.


Chapter 76, Brown 172

I originally wrote that Derek blushed because he had thought of marrying her (the second time he thought that in the chapter), but I had barely printed it when I thought that was wrong, that he blushed because he had thought of sleeping with her.  It also occurred to me that he must have been resisting the temptation to use his clairvoyance to follow her to her room and watch her get changed.  However, I never incorporated that in the story.

The relationship with Button Nose was one of the decisions I made about the story; I made several others concerning that relationship at the same time, and started working in those directions.  Thus the Brown stories started to pick up.


Chapter 77, Hastings 157

I was going to have the doctor end the session by saying something like it was a good place to hold, but as a sort of inside joke I let him say that it was a good place for a chapter break.  He, of course, meant in the story Lauren is telling.


Chapter 78, Beam 20

I knew there would be a short chapter for an interlude before the next adventure; I did not really expect it to be as short as it originally was.  On the other hand, I didn’t see Beam mediating between the girls and their father, and I didn’t see him hanging around for the fireworks, so it was a simple matter to remove him swiftly.

In editing I realized that we were depending on this part of the story to create the foundation for the future claim that Beam had a friendship with the effriit, but that hadn’t actually been included.  This was expanded with the extended conversation between them to provide that.


Chapter 79, Brown 173

At this point, with a little help from Kyler, I put together my list of girls:

Rathi, called Rath = Bronzy, for her lighter reddish hair, is the Princess

Vashti, called Vash = Button Nose, the girl Derek loves

Scheherazade, called Sch’hery = Pink Cheeks, the dominant one in the group

Haddasah, called Haddy = Chin Dimple

Keturah, called Ketty = Elf Ears

Sarai, called Sar = Lashes

Leah, called Ley = last one to get a distinguishing feature from which to derive a Derek Name, Green Eyes.

I spent at least a day, maybe two, outlining this in my mind, and then when I typed it I still forgot the part about calling Joe and had to go back and insert it.  I struggled with the names, and then had to get them all involved in ways that would fit the ongoing story.


Chapter 80, Kondor 149

I wanted Joe to witness the healing, partly because I wanted to avoid writing what Derek prayed and what he experienced, and partly because I’m still giving Joe trouble over questions about magic.

I also wanted to make the medical situation seem real.  Joe should have seen to the sucking chest wound first, but he didn’t know the man’s condition, and since I wanted to cover everyone else first (and certainly he knew that the condition of the “civilian” princesses was going to be of more concern at the palace than that of the professional soldiers defending them) I arranged it such that he got to that man last and attended to him immediately.

Rathi is the name of an online friend of the family from Oman.  She doesn’t like her name, but I hope she doesn’t mind me using it for the Princess.


Chapter 81, Beam 21

This was originally slated to be a Slade chapter, but I suddenly felt that the Arabian story was moving too quickly and I was going to run out of story before the other characters were ready, so I shifted to insert a Beam chapter and a Hastings chapter before continuing.

Kyler had wanted to bring in the magic dragon control ring, which is a fun bit of the whole, and I had already drafted chapters related to it for the future, so at this point despite being behind my schedule I needed to start working on the dragon encounter.  It will take several chapters, as the acquisition of something from a dragon seems a necessary part.


Chapter 82, Hastings 158

I was constantly uncertain about how much to tell, as I am certain a significant part of the audience has already read the previous books; but mostly I am trying to connect the parts where Doctor Conway is likely to react.


Chapter 83, Slade 149

Joe was my mystery investigator; Slade certainly knew it.  However, Slade was the person connected to the Caliph, so he would be the one called upon to solve it.  I also knew that Derek was the one with the best information, so the ball kind of bounced from the Caliph to Slade to Kondor to Derek, and then back again.

I had worked out the solution before running the kidnapping, simply because I think that’s the way to do it:  know how the thing is done, then present how it appears, then work through the clues that drop along the way to reveal how it was done.


Chapter 84, Beam 22

This was stalled a couple days while I tried to figure out how to accomplish what needed to be done in a way that would be interesting but wouldn’t consume too many chapters.  Fragments of it came over time, but I was actually surprised to get it all into the one short chapter.


This has been the seventh behind the writings look at Garden of Versers.  If there is interest and continued support from readers we will endeavor to continue publishing the novel and these behind the writings posts for it.

#299: Praise for Dallas Holm

This is mark Joseph “young” blog entry #299, on the subject of Praise for Dallas Holm.

It must have been 1977; it can’t have been later than 1978.  Jeff Zurheide and I met with a young singer interested in forming a band, who was absolutely focused on doing music from Dallas Holm.  He did a passable job on Holm’s signature song, Rise Again released on the 1977 album Dallas Holm and Praise Live, which had become a major Christian hit.  We might have met with the guy twice.

Almost a decade and at least half a dozen albums later that was still the song people wanted to hear from Dallas Holm.  It came from the first certified gold Christian contemporary music album, was recorded by him and many other artists over the years, and the only negative thing that can be said about it is that it overshadowed the rest of his career.  Even I, who heard quite a few of those albums and aired many of those songs, can only remember one other, itself a powerful if slightly country song that is mostly forgotten, (He Died of) A Broken Heart, and I barely remember that one myself, and I recall even less well Jesus I’m an Open Book, in the same stylistic vein.

This happens to Christian artists quite frequently.  Despite his long career both with and after Love Song, Chuck Girard was mostly remembered for Sometimes Alleluia.  Still ahead in this series we’ll see other artists who are remembered for one song despite long careers with many hits–Don Francisco, Evie Tornquist Carlsen, Karen Lafferty, Kathy Troccoli, Randy Matthews, Scott Wesley Brown, David Meece, Wayne Watson, Dan Peek, and if I thought long enough I might remember more.  Listeners latch onto a song and that’s the one they want to hear, and so the stations play what the listeners request, and the new songs never have a chance against the old ones.  Rise Again so dominated Dallas Holm’s career that it is doubtful whether anyone other than diehard fans and music industry people could name another song of his that charted.

Still, to have produced one great song that is still remembered is a noteworthy accomplishment, and if you have not heard that song, you are the poorer for it.

*****

The series to this point has included:

  1. #232:  Larry Norman, Visitor;
  2. #234:  Flip Sides of Ralph Carmichael;
  3. #236:  Reign of the Imperials;
  4. #238:  Love Song by Love Song.
  5. #240:  Should Have Been a Friend of Paul Clark.
  6. #242:  Disciple Andraé Crouch.
  7. #244: Missed The Archers.
  8. #246: The Secular Radio Hits.
  9. #248:  The Hawkins Family.
  10. #250:  Original Worship Leader Ted Sandquist.
  11. #252:  Petra Means Rock.
  12. #254:  Miscellaneous Early Christian Bands.
  13. #256:  Harry Thomas’ Creations Come Alive.
  14. #258:  British Invaders Malcolm and Alwyn.
  15. #260:  Lamb and Jews for Jesus.
  16. #262: First Lady Honeytree of Jesus Music.
  17. #264:  How About Danny Taylor.
  18. #266:  Minstrel Barry McGuire.
  19. #268:  Voice of the Second Chapter of Acts.
  20. #272:  To the Bride Live.
  21. #276:  Best Guitarist Phil Keaggy.
  22. #281:  Keith Green Launching.
  23. #283:  Keith Green Crashing.
  24. #286:  Blind Seer Ken Medema.
  25. #288:  Prophets Daniel Amos.
  26. #290:  James the Other Ward.
  27. #292:  Rising Resurrection Band.
  28. #294:  Servant’s Waters.
  29. #296:  Found Free Lost.

#298: Taxing Corporations

This is mark Joseph “young” blog entry #298, on the subject of Taxing Corporations.

Periodically we will read that some particular major corporation paid no federal income tax, and many of us react in horror.  Here we are surrendering large chunks of our hard-earned wages while these companies who pull in millions of dollars get to keep it all.  Those corporations ought to be paying their share; they ought to be paying our share, with how much money they have.

But beneath this there is another problem, a question of whether corporations should be paying income tax at all, and when we look deeply at that problem we hit problems of double taxation and equitable treatment.

There are a lot of ways in which the law treats corporations as if they were people.  They can sue and be sued; they have to obey laws, and they can own property.  But they aren’t people, and the law has to recognize this as well.  A corporation is fundamentally a piece of property that is owned by a lot of people–the shareholders.  When the corporation makes money, that money quite literally belongs to those people, even though they don’t have it.  They can get it.  If they want, they can vote to dissolve the corporation, sell its assets, and divide the money among the shareholders.  If they can’t agree to that, any one of them can sell his share in the company and take his money that way.  Periodically most corporations decide to take some of their income and pay it to their shareholders as “dividends”, giving everyone who owns the company a portion of the income they made.

So when we say that the corporation made a billion dollars, we don’t really mean that there is this person called a corporation who earned that income.  We mean that the people, maybe hundreds of thousands of people, who own that corporation jointly made a billion dollars.  So if we tax the corporation, as a corporation, we’re really taxing all those individuals who own the corporation.  So maybe I own one share of this corporation, and my share is worth twenty dollars, and the government takes ten percent of the value of the corporation.  That means that the government took two dollars from me.  That’s fine–the government is allowed to tax my income.  But then, if I get money from the corporation–money that has already been taxed as corporate income–the government is going to tax that money again as my income.  But I already paid tax on that income, because whatever the corporation does with its money is something I and many other people did with that money.

It would be something like the government taking money out of your paycheck before your employer gives it to you, and then taxing you again when you cash the check to take money from your bank.  You would be livid if they taxed the same money twice.  Yet that is exactly what happens to shareholders when the government taxes a corporation and then taxes stockholder income from the corporation.  It is exactly as if you were taxed on your wages before they went into your bank account and again on the same money when you withdrew it from the bank.

Oh, but that’s all right, because only rich people own stock, right?

Wrong.

A great deal of stock is owned by banks, retirement accounts, pension plans, and other financial programs that are part of the finances of ordinary people.  If you have an interest-bearing bank account, or a company or government pension plan, or an investment account, or an insurance policy, it is almost certain that you, indirectly, own stock and are dependent on the income of probably quite a few corporations to make your money “grow”.  So that “corporate income” you want to tax is your own income, your pensions, your interest, your insurance.

Of course, corporations do pay income tax.  So why do some of them pay none?  We covered this quite a few years ago in our discussion of Taxation:  that they received billions in income doesn’t mean they turned a profit.  They probably payed billions in payroll, not to mention rent and mortgages, property taxes, utilities, and other expenses of production.  On top of this, they can probably deduct monies invested in advertising, in repairs to equipment and purchases of new equipment, in insurance premiums.  In some cases the costs involved in ensuring future income are deductible–research and development, new product testing, exploration for new resources.  At the end of the day it’s quite possible for a corporation to spend more than it made, just trying to make the money–and if your job cost you more than your paycheck delivered, you would expect your tax bill to be considerably lower.  We do let employees deduct from their taxable income expenses for specialized clothing, work-related transportation, job equipment, and other costs of earning the income.  We let corporations do the same thing.

So next time you hear that some corporation paid no income tax, don’t think they got away with something.  It might be because at the end of the year they spent more trying to make that money than they actually made.

#297: An Objective Look at The Extreme Tour Objective Session

This is mark Joseph “young” blog entry #297, on the subject of An Objective Look at The Extreme Tour Objective Session.

Late last year I received an invitation from someone representing something called The Extreme Tour inviting me to investigate mutually the possibility of participating in their program.  The big piece of the puzzle was something called The Objective Session, a long weekend of meetings in Nashville which they correctly say defies characterization as a convention or conference or retreat or just about any other label we might put on a large gathering of persons for a specific purpose.  The Greeks would probably have called it an ekklesia, which means a gathering of people called together by a common interest, but which we typically translate “church”–and there is a sense in which church is not a bad name for what this is, but it’s very unlike any church I’ve ever attended, and I’ve attended many in many different denominations.

The odd thing was that I could find very little online about either The Extreme Tour or The Objective Session.  Then many events conspired against any hope I might have had of attending–our car’s transmission died to a tune of almost as much as we were still paying for the car, I was hospitalized twice, money was getting tighter.  I wasn’t investigating the trip as diligently as I otherwise might have done because it was beginning to look impossible–but I was still praying about it.

Then with literally less than a week to go the last pieces were falling into place; it transitioned from a ridiculous impossibility to a very difficult possibility.  I posted to all the Christian musicians groups I knew to see if anyone could advise me on this, and got almost no response at all, and none that was informed.  On Tuesday morning I was literally weeping, for reasons I cannot really explain in this post beyond that it had looked as if an opportunity to do something with the music had been placed in front of me and I was going to have to decline it.  That’s a lesson for a different forum, but an hour later the last piece of the puzzle fell into place and the decision was made:  my son Adam and I were going to Nashville to attend The Objective Session.

It was then that we started getting advice from musicians, and it had three things in common.  The first was they were universally against our going.  The second was they knew no more and probably less than I did about the program.  One person asked if I had ever heard of a concert being presented by The Extreme Tour, which was a pretty useless question because I’m pretty sure that of all the concerts I attended and even promoted when I was at the radio station, I knew who presented or sponsored very few of them.  Another person seems to have a very odd view of divine guidance, suggesting that no believer would ever be uncomfortable doing anything that was what God was directing him to do.  The third commonality was that most of them had received invitations and ignored them.

The decision had already been made, so this advice had less impact than it might otherwise have had.  We went.  It was a twelve-hour drive, and over the course of Wednesday night through Monday morning we probably spent between two and three hundred dollars on food, gas, and tolls; lodging at a cheap hotel less than half an hour from the site even in morning traffic was less than two hundred dollars for three nights, although with how intense the event was it probably would have been better for us to have stayed in the area the nights before and after.  Parking at the venue was free for the event, but we made a point of arriving early and not moving the car until we were done, because it was very crowded.  Because we had been invited the meeting itself cost us nothing, and I don’t want to quote the price I heard for tickets for those not invited.

What I want to do in this post is provide information for those who have been invited and don’t know whether it would be worth going.  I’ll give you the short answer up front:  I don’t know what will happen from it, but for us it was worth going.

To fully understand The Objective Session you probably need to understand The Extreme Tour.  Ted Brunn, founder, has one of those testimonies on the order of he should have died and the doctors don’t know why he lived and were themselves using the word “miracle” (fell seven stories and landed on his head on rocks).  At some point he became extremely sensitive to the fact that there are a lot of lost people out there who don’t believe that anyone cares about them, and he began an organization that works with local non-profit groups to put on free shows in places no one wants to perform.  The shows include select artists and talented extreme sports athletes (e.g., skateboarding exhibitions), and the message to the people is that someone does care about them.  All of the performers, as well as all of the staff, are volunteers; the money that the organization collects really does go to the expenses of doing what they do, such as hiring sound equipment for venues.  For some situations they defray costs of performing artists, but this is not an organization designed to make you rich.  It is rather designed to enable you to contribute your talents alongside those of others to take the good news into places you probably could never go alone.

The Objective Session is from their perspective an opportunity for them to meet potential volunteer performers; to facilitate that, they also gather many music professionals from the Nashville area.  Although in spare moments throughout the weekend I tackled the program book, I never finished reading all the names and credentials, and I’m only going to name a few here.  I will also mention that there were said to be six hundred of us in attendance, and I met many of them and have CDs from a few.  Probably the last thing I did was give a couple CDs of my own music to a young artist who was probably the first person I met when I arrived; it seemed the right thing to do at the time, as he wanted to hear the rest of the song I had partly sung the day before, and I was in no condition to attempt to sing it.

I will tell you that from the moment we arrived things were happening.  Because of the fact that we drove eight hundred miles and twelve hours with one break for dinner and gasoline (don’t tell my hemotologist) arriving around noon central time and staying up to reach our hotel twenty minutes outside the city after midnight, so I was immunologically compromised, we left the event a bit early on Friday and Saturday nights.  There are no meal breaks; there are food trucks in the parking lot said to be some of the finest in the city (and the ones I patronized were very good) and they recommend you slip away and bring back food to eat during the meetings.

Let me say I have been to several retreats for Christian musicians over the decades.  This one was what all the others only dreamed of being.  Here are some of the highlights of my experience.

Many of the speakers were excellent.  I apologize that with that intense a schedule I can’t specifically pinpoint what we heard from Wes Yoder (one of the original business names in the CCM world), Tom Jackson (the go-to guy for staging a musical show), or any of the others; I do remember that Dr. Ken Steorts, founding guitarist of Skillet, delved into a Biblical understanding of the function of artists (he has a book on the subject).  I had private meetings with Ezra Boggs and Vince Wilcox for the specific purpose of gaining some career advice, and I attended a songwriting session led by early Petra member Rob Frazier, at which I was invited to sing a portion of my song Free.

There were some things for which there was a charge, or an extra charge, and I took advantage of one, submitting a few of my songs and some biographical information to be distributed to a list of Nashville professionals who wouldn’t take anything like that from a stranger but would take it from people they know at The Extreme Tour.  That was just under two hundred dollars, and I don’t expect to hear the outcome of that for at least a few days, probably a few weeks.  I did not get tapped for a recording contract or management representation.  However, I did not pay the extra to be one of perhaps a dozen performers who played two songs each for a panel of industry judges on Friday and Saturday evenings.  Adam said it sickened him to watch eight strangers critize the performances of these mostly wonderful artists, although I sometimes found myself agreeing with their criticisms as things I would have said.  He felt even worse when I told him that those artists had paid somewhere around five hundred dollars each for the privilege of being so criticized.  However, while we watched a young band called Zoe Imperial absolutely wowed the attendees (and most of us fancy ourselves professional caliber musicians) with a rock/hip-hop blend in a show choreographed and performed as well as anything I’ve seen since Servant, one of the judges, Lamont Compton a.k.a. Supreme, leapt up on stage to offer them a management deal with him, so it does happen.

Recording artist Jennifer Knight playing with kids at inner city picnic

What Ted Brunn hopes will be the real impact, though, is that on Saturday night we were broken into teams and sent to Broadway in Nashville to make music and get attention and talk to people about the hope that is in us.  Because it was so late and my condition was deteriorating I did not attend these, and Adam took me back to the hotel; I’m sorry he missed it, but I did that kind of thing at the Boston Common and the Topsfield Fair decades ago, so I’ve seen it.  On Sunday afternoon we put on a concert (I really just watched) supporting a local church barbecue (O.K., so I also ate a hotdog and some chips) in a field that was supposed to be a park but there were too many shootings there for people to feel safe outside in it ordinarily.  Most of us were to interact with the people, to let them know, once again, that someone cares about them.  I watched a recently signed Universal recording artist attendee dancing with young ghetto children, and a Christian rapper hold a children’s dancing contest on the portable stage someone had loaned the Tour at the last minute when transportation for the stage they were going to use failed.  This organization is really about taking the message to the hopeless, and it was worth every minute of it and the respiratory distress I was still fighting to overcome the night after.

It struck me that this might seem like a lot of effort for the opportunity to play a bunch of free concerts.  I can’t speak to participating on the tour because I haven’t yet done so and have no guarantee that I will be invited.  However, it seems to me that my experience is fairly typical, that most of us play most of our concerts for free, mostly in venues which reach only Christians.  That’s not a problem for me, because my ministry is to be a teacher, which is primarily a ministry to believers, and my music frequently reflects that; but Paul told Timothy to do the work of an evangelist, and there’s good reason to think that that instruction is for all of us, or at least all of us doing any kind of ministry at all, so the opportunity to do for free what you are already doing for free but in front of people who need to hear the message alongside others doing the same might be worth the time and effort.

So to all those who thought it was some kind of scam, I am persuaded otherwise; and to those who wondered whether it would be worth it, I am persuaded that it is.  Probably you won’t get a Nashville management deal or recording contract; those are few and far between.  Maybe you won’t be convinced to volunteer for free concerts in ghettos and such, but you will still benefit, I think probably enormously, from the experience.  Maybe you will get something from it that will move your music and ministry career forward in a significant way.  Maybe that’s not the point of what you’re doing, and maybe you’ll discover what it is God really wants from you.

#296: Found Free Lost

This is mark Joseph “young” blog entry #296, on the subject of Found Free Lost.

I first encountered Found Free when they played at Gordon College, probably in 1975 or ‘6.  I was in the cafeteria (I have previously mentioned that Gordon did not have an auditorium, and the chapel was not large enough to hold the entire student body, so large gatherings were always in the cafeteria or the gym) in advance of the show, while they were setting up, and I approached their guitarist, Wayne Farley.  I approached him because he was playing what I still on some level consider the “Holy Grail” of instruments, an electric guitar that sounds like an acoustic when amplified.  I asked him what it was, and he gave me an unfamiliar brand name; I believe he said it was from Australia.  I failed to remember that information, partly because on my paltry budget everything was too expensive to consider.

My good friend Jeff Zurheide walked out of that concert, and I understand why, although it might be said that he lacked patience.  The band had a well-organized and well-performed show designed for college campuses generally which began with covers of secular oldies coupled with nostalgic reminiscences to draw in the audience, and then eventually shifted to delivering the gospel message with a few Christian covers and originals.  Jeff was not interested in hearing a secular music concert, and did not anticipate the shift; I stayed to see what they were going to do, although I don’t know why I expected something different.  They were talented.

A couple years later I was out of school and out of work, and I heard they were auditioning for a guitarist.  I arranged an audition.  I had lunch with David Michael Ed, keyboard player and vocalist, and then played for him and vocalist Keith Lancaster, but my fate was sealed at lunch when they learned that I was married–it had been their plan to find someone who could share an apartment in the city with Keith, and so keep expenses down.  They said that my playing and singing were certainly good enough (although I am not at all satisfied myself that I could have replaced Wayne Farley, whose departure from the band had occasioned this opening), but they couldn’t afford my wife.

I often wonder what might have been, but I doubt I could have saved them, as sad as that is.

They did give me a copy of their recently released Greentree Records album Closer Than Ever, saying that I apparently did not know what they sounded like at that point (which was correct, as they had changed significantly in the couple years since I’d heard them).  It was a well produced album with good but not great songs, and the vocal work was very impressive.  I remember many cuts from that disc, but not many of them have been preserved on the web.  Ed’s song I Won’t Turn Back was a gentle opener, but Stone Heart exemplifies the processed sound typical of the LP.  Lancaster’s Do You Want Him? is a gentle call, and Starlight Praise has been described by someone as “brassy gospel swing”.  Touched by Love closes the first side with a bouncy touch, and the B side opens with the title track, smooth and a bit schmaltzy.  Farley contributed the track Still Up Walkin’, a song that prefigures his complicated compositions which appear later elsewhere.  I always liked Lancaster’s Stained Glass Window, but I don’t remember the closing song If You Know by Ed.

I know a few facts that come next, but not the sequence in which they came.  David Ed and his wife Joy separated, and both left the band.  They never actually found a guitarist to replace Farley, but instead found a new bass guitarist and shifted their former bass guitarist to guitar.  I think Lancaster took over on keyboards, and they put together an impressive array of musicians that filled the stage.  I managed once again to catch them in concert, as they released another album–sort of.  They had apparently lost their contract with Greentree, and it was pretty obvious that Sparkal Records was a vanity label, that is, they had produced their own album and paid to have it pressed.  We had a copy at the radio station, and I had my own copy, and it was a superb album throughout, under the title Specially Purchased, Individually Wrapped.  However, it failed to find national marketing, and was the last gasp for the band.

Still, I remember some great songs from it, including Front Lines, I Need You Lord, Just Like a Child, Don’t We Need to Know, and of course the title song, Individually Wrapped, about being who God made each of us to be, instead of trying to copy what someone else is doing (in which they humorously copy several other artist styles in the midst of a group rap).  Not a one of those was found in online video, which is sad because I think it some of their best work.

On an only loosely related subject, I would later try out for a guitar and vocals spot in a band called Daybreak.  They lived together and worked out of a farmhouse somewhere in Pennsylvania, and became the go-to people for festival sound systems, but they never told me why they didn’t take me.  They were so insignificant that their discography isn’t published online that I could find (there’s another band of the same name around the same time), but the song I most liked from them was the a capella novelty title track from the one album I ever saw, You Can’t Stand Up Alone, and it appears that there must have been an earlier LP, from which the title track After the Rain is online.  I don’t know–I think I could have helped them, but I am impressed with their vocal work on other videos.  Probably I’ll never know what they didn’t like about me.

*****

The series to this point has included:

  1. #232:  Larry Norman, Visitor;
  2. #234:  Flip Sides of Ralph Carmichael;
  3. #236:  Reign of the Imperials;
  4. #238:  Love Song by Love Song.
  5. #240:  Should Have Been a Friend of Paul Clark.
  6. #242:  Disciple Andraé Crouch.
  7. #244: Missed The Archers.
  8. #246: The Secular Radio Hits.
  9. #248:  The Hawkins Family.
  10. #250:  Original Worship Leader Ted Sandquist.
  11. #252:  Petra Means Rock.
  12. #254:  Miscellaneous Early Christian Bands.
  13. #256:  Harry Thomas’ Creations Come Alive.
  14. #258:  British Invaders Malcolm and Alwyn.
  15. #260:  Lamb and Jews for Jesus.
  16. #262: First Lady Honeytree of Jesus Music.
  17. #264:  How About Danny Taylor.
  18. #266:  Minstrel Barry McGuire.
  19. #268:  Voice of the Second Chapter of Acts.
  20. #272:  To the Bride Live.
  21. #276:  Best Guitarist Phil Keaggy.
  22. #281:  Keith Green Launching.
  23. #283:  Keith Green Crashing.
  24. #286:  Blind Seer Ken Medema.
  25. #288:  Prophets Daniel Amos.
  26. #290:  James the Other Ward.
  27. #292:  Rising Resurrection Band.
  28. #294:  Servant’s Waters.