Is America a force for good in the world? Many people would respond positively, convinced of some strange belief called ‘American exceptionalism’, and would top it off with a resounding ‘God bless America!’ But on the other end of the spectrum we find many who would respond with disgust, as if such a question was not worthy of a response at all. Perhaps both of these responses are true. In an interview on the Dick Cavett Show in 1970, Orson Welles declared,
I think one thing that is generally true, the one generalisation that is true about America is that everything is true about it. It’s impossible to say anything that isn’t true, good or bad. Our enemies are right, our friends are right. It’s an awful big country [with] an awful lot of different kinds of people in it.
I think there’s a lot of truth in that statement. From my perspective, an expatriated American of Scottish extraction, I can’t bring myself to side with either one of the two extremist responses above. The disestablishmentarian in me would readily scoff at the first answer when looking at the actions of ‘America’ throughout its short history. ‘Manifest Destiny’; CIA plots to interfere with South American politics in order to stop the spread of COMMUNISM(!); capitalistic exploitation in America and in third world countries; the ill-informed invasion of Iraq in 2003; all those boy bands from the 90s – America isn’t a wholly good nation. But then again, such a thing doesn’t exist. That is not to say that America has done exclusively ‘bad’ things with this power. Throughout history America’s government—however manipulated by an insecure worldview—has acted in self-interest. Sometimes America’s self-interest is beneficial for the rest of the world and sometimes it isn’t.
When I left America for Scotland I was told by a Northern Irish friend that I would probably find myself defending my the States more than I expected. But to be honest, I never had an entirely bleak outlook on America in the first place. At different points I toyed with expatriation as a self-righteous act of political protest, but if anyone wants to lump America together as a homogeneous society of nit-wits I will try my best to convince them that this cannot truly be said of any nation. America, with more than 300 million citizens who for the most part find their origins in faraway countries, is a freakishly diverse and dynamic nation. But as it stands, and while this is not unique to America, many Americans (me included) and American governments have been guilty of making this world a poorer place in many inventive ways.
But America is also a beautiful nation full of beautiful people. This as well is not unique to America. But growing up in and around Los Angeles has shaped who I am in many ways and I wouldn’t change that fact even if I could. And while I profess a love for Scotland, it inevitably shares many of America’s flaws. I simply can’t escape what is broken with the world because I can’t escape the world. All any of us can do is aim to repair what is broken and spread what is good. But at this point we must ask the question, what is good?
Regarding America, and in celebration of the Fourth of July, when Americans commemorate the signing of the Declaration of Independence in 1776 (according to Thomas Jefferson, Benjamin Franklin, and John Adams), I will now point out two things that I think are exemplary of the good: American music and baseball.
Let me make clear that these two things are not free of their own flaws. For instance, in addition to the 90s boy bands I mentioned earlier, America is also responsible for Journey and a host of other terrible artists. Of course this is a matter of taste, and while some poor folk might think that Elvis Presley and Bob Dylan are passé, their music had and continues to have a profound impact on culture around the world. Of course we are reminded of the words of Donne, ‘No man is an island’, and the two owe a great deal to a rich and fertile musical heritage borne from countless sources like the Negro spiritual. But it can be argued that, among many others, the highly influential genres of ragtime, jazz, country, rock and roll, soul, hip-hop, and grunge were all founded in the US of A. And of course there’s the broad Americana genre. Perhaps these developments can be attributed to the rapid economic growth of America throughout its short history, mixed with the continual convergence of various world cultures, all taking place alongside the development of music recording and transmission throughout the 20th century.
Regardless of the cause, American music has always pushed new ground and inspired subsequent generations of artists. See legendary musicians of days long past like Blind Lemon Jefferson, Jelly Roll Morton, Robert Johnson, Lead Belly, Hank Williams, Billie Holiday, Woody Guthrie, and Pete Seeger (who is still kicking!). Their torch was passed to popular artists like Elvis Presley, Bob Dylan, Louis Armstrong, Dave Brubeck, Johnny Cash, John Coltrane, Miles Davis, Duke Ellington, Ella Fitzgerald, Buddy Holly, Jerry Lee Lewis, Thelonius Monk, and Frank Sinatra. Then this was followed by a wave of dramatic developments from American artists like The Beach Boys, Blondie, James Brown, T-Bone Burnett, Devo, Philip Glass, Iggy Pop, Michael Jackson, Love, Ramones, The Talking Heads, Television, The Velvet Underground, Tom Waits, and Frank Zappa.
In more recent years we’ve seen the rise of significant American musicians like Lou Barlow, Jeff Buckley, Botch, Converge, Fugazi, Grandaddy, Aimee Mann, Neutral Milk Hotel, Nirvana, Pixies, R.E.M., Tupac Shakur, Daniel Smith, Elliott Smith, Sonic Youth, Sunny Day Real Estate, The White Stripes, Yo La Tengo, and yet more recent artists like Animal Collective, Deerhunter, Explosions in the Sky, Fleet Foxes, Grizzly Bear, Cass McCombs, and Frightened Rab…nevermind that last one. Of course there are many more artists that should be included in this list (I merely picked some of my favourites), but that only goes to show how important American music has been in the last century. In Sufjan Stevens alone we can see a massive and ambitious output of constant reinterpretation and innovation.
Now onto the second good thing I want to affirm about America, which probably came as no surprise to seasoned LITC readers. Baseball may not enjoy the global fame of association football, but I happen to think it is the greatest sport to ever grace the face of the earth (though football’s soccer’s not far behind – apologies to cricket, rugby, golf, etc.). I’ve professed my undying love for baseball through blog posts on several different occasions. And despite the inevitable corruption that plagues the sport (greed, performance-enhancing drugs, marital infidelity, bench-clearing brawls, etc.), there’s a magic and heart to baseball that is truly good.
In the classic 1989 film Field of Dreams, the character Terrance Mann (James Earl Jones) is trying to convince the main character, Ray Kinsella (Kevin Costner), to embrace his dream, a vision he had of a baseball field on his farm in Iowa. Because Ray has cleared land for this baseball field and has invested money into its development (outfitted with stadium lights and all), he is losing money rapidly and in this particular scene his brother-in-law is trying to convince him to sell the farm and leave his dream behind. Mann responds,
Ray, people will come Ray. They’ll come to Iowa for reasons they can’t even fathom. They’ll turn up your driveway not knowing for sure why they’re doing it. They’ll arrive at your door as innocent as children, longing for the past. Of course, we won’t mind if you look around, you’ll say. It’s only $20 per person. They’ll pass over the money without even thinking about it: for it is money they have and peace they lack…
And they’ll walk out to the bleachers; sit in shirtsleeves on a perfect afternoon. They’ll find they have reserved seats somewhere along one of the baselines, where they sat when they were children and cheered their heroes. And they’ll watch the game and it’ll be as if they dipped themselves in magic waters. The memories will be so thick they’ll have to brush them away from their faces…
People will come Ray…
The one constant through all the years, Ray, has been baseball. America has rolled by like an army of steamrollers. It has been erased like a blackboard, rebuilt and erased again. But baseball has marked the time. This field, this game: it’s a part of our past, Ray. It reminds of us of all that once was good and it could be again. Oh, people will come Ray. People will most definitely come.
There’s much more going on at the core of the film, but I won’t spoil it – you should watch the film. What I want to point out is this sentiment expressed so sweetly through James Earl Jones’ transcendent voice. Throughout many wars and economic depressions baseball has remained because it is a special vessel of goodness. I suppose that’s part of why I love the Tigers so much – they represent this beacon of goodness (among many other great beacons of goodness in Detroit) in the midst of a suffering place.
So this is to you, America! And while I’m not too keen on the cult of the American flag, here’s Ol’ Glory, which stands as a mere symbol for the hopes and dreams—noble and ignoble—of millions of people throughout the last 235 years and in the present. May God bless America, but more importantly, may God continue to bless this struggling world.
Maybe, but I’m suspecting no. [Greg adds: Suspicion was correct.] Readers will no doubt have heard about a Christian group going around, informing the world that 21 May 2011 is the day that God will issue his divine judgment upon the earth. This is said to include an event called the ‘Rapture’, in which Christians will be taken from the earth before God begins a period of judgment that is called the ‘Great Tribulation’ or the ‘Seven Year Tribulation’. Their efforts have spawned a waves of both curious attraction and intense ridicule (which they expect, going up against the ‘Antichrist’ – see 1 John 2:18). One public Facebook event, ‘Post rapture looting’, has, by this afternoon, amassed more than half a million ‘attendees’ prepared to take full advantage of the potential ‘end’ and illegally acquire new stereos in the event of a ‘Rapture’.
If I was going to even begin to really analyse the many facets of this convoluted and heterodox belief system it would take thousands upon thousands of words and I suspect that out of my own personal frustration I’d actually want the world to end after all. I am not trying to pick on these Christians, as I am certain that they truly believe the things that they are preaching, and that if I was convinced the world was going to end on 21 May 2011 I could only hope to demonstrate the passion and fervency to make that fact known like they are. But I really think they’re wrong.
Where do they get these ideas? Well, without getting into the interpretive and mathematical gymnastics required to extrapolate ‘THE END OF THE WORLD IS 21 MAY 2011’ from the Bible, it’s important to know why these people have been looking for this date.
We must begin our brief exploration of this issue in the Book of Revelation, which is probably one of the most misunderstood sections of Scripture. In American Evangelical Christianity (especially within the belief systems called Dispensationalism and Progressive Dispensationalism) there is a widespread view that the Book of Revelation foretells the end of the world in very literal terms. What is meant by ‘literal’, I can’t quite grasp, but it’s some way of applying a particular interpretive method described as ‘literal’ that is a somewhat willy nilly version of what we might understand as literal-minded (according to the OED, ‘having a literal mind; characteristic of one who takes a matter-of-fact or unimaginative view of things’, the term ‘literal’ being used ‘to denote that [an accompanying noun] has its literal sense, without metaphor, exaggeration, or inaccuracy; literally so called.’).
According to this interpretation (and there are many variations), the Book of Revelation is entirely futuristic and eschatological, that is, something that takes place at the end of all things. I’m not interested in exploring the legitimacy of this view right here, right now, but I will say that some startling insights for the Book of Revelation come from reading 1 and 2 Maccabees (considered apocryphal by most Protestant denominations) help illuminate the Second Temple Jewish context of the New Testament and the Book of Revelation and lead to some dramatically different interpretations of things like the ‘Seven Year Tribulation’ and the ‘Antichrist’.
Either way, this literalistic/futuristic view believes that God will bring judgment on the earth according to a complex set of events and periods of time. One of these events, as mentioned earlier, is called the ‘Rapture’. The concept of the ‘Rapture’ is primarily based upon one reference in Scripture, 1 Thessalonians 4:15-18, which states,
For this we declare to you by the word of the Lord, that we who are alive, who are left until the coming of the Lord, will by no means precede those who have died. For the Lord himself, with a cry of command, with the archangel’s call and with the sound of God’s trumpet, will descend from heaven, and the dead in Christ will rise first. Then we who are alive, who are left, will be caught up in the clouds together with them to meet the Lord in the air; and so we will be with the Lord forever. Therefore encourage one another with these words.
This passage provides those who hold to the idea that the Book of Revelation informs us that God will judge this world during a period of ‘Great Tribulation’ with a bit of relief: they won’t have to endure this period of judgment. But in light of the Second Temple Jewish context of the Book of Revelation, I don’t believe in this future ‘Seven Year Tribulation’, and my disbelief is not a result of a lack of faith in God or an interpretation that isn’t ‘literal’ enough. I merely believe that the best understanding of this issue within the Bible would indicate that the great tribulation in the Book of Revelation 4-19 is a reference to the occupation and oppression that the Jews experienced in the Second Temple Period (i.e. the ruler of the Seleucid Empire, Antiochus IV Epiphanes is the ‘beast’ from Revelation 13:5-8; see 1 Maccabees 1:20-28).
While I generally hold to this preteristic (as opposed to futuristic) view of Christian eschatology, I do believe that God will bring about his kingdom in its fullness at some point in the future. I certainly wouldn’t say that these doomsday folk are wrong in believing that there is something significant to come, but I do have trouble with their views on what that looks like and how/when it happens. With regard to the pressing issue of time (being that I may only have 24 hours before the end [15 in Australia!]), the time of God’s full bringing of his kingdom, the end of the authorities of this earth, Matthew’s Gospel (24:36) records Jesus as saying,
But about that day and hour [of my return] no one knows, neither the angels of heaven, nor the Son, but only the Father.
I do not believe that the arithmetic these doomsday folk have derived from the Bible to draw the conclusion that the end of the world is tomorrow is actually faithful in any way to the content and purpose of Scripture. Even if the Bible was explicitly clear about this date, when tomorrow rolls by without the end of the world, God would not be made a liar. God is not the Bible. The Bible is a result of God inviting his people into his story. St Paul writes that no one will know when the end will come, as it will come as a ‘thief in the night’ (1 Thessalonians 5:2)
I don’t think we should waste our time with conjectures about when the unknowable will come to pass. Every Christian generation from the Apostles to our present generation has anticipated the immanent end, but no Christian generation has ever been the Church that loves and serves in the power of God’s Spirit; the Church that fights for the rights of the poor, the oppressed, the marginalised; the Church that extends to all people an open invitation into God’s loving family through the wholly effective death and resurrection of Jesus Christ; the Church that has become what it is called to be. That is our goal and that is our priority. I hope that if tomorrow isn’t the end, these doomsday folk will experience the love and grace of God in a way that will encourage them to divert their incredible faith and energy back to the task at hand.
(Originally posted at Things & Stuff)
(This post also appears at Things & Stuff.)
Good Friday marks the day that Christians remember the crucifixion of Jesus. It is a sombre day of fasting, reflection and repentance. Throughout this week (Holy Week) I have been reflecting on the Passion of Christ with a Palm Sunday sermon entitled ‘Where’s the “triumph” in the triumphant entry?, a short Holy Wednesday homily entitled ‘A cloud of suffering and a cloud of glory‘, and some thoughts on discipleship on Maundy Thursday (the night of the Last Supper). These reflections were all written with the intention of pointing to the significance of the death and resurrection of Christ and some implications for followers of Jesus.
When it all comes down to it, life is extremely difficult. Suffering characterises much of the human experience. Christianity seeks to make some sense of our suffering (and I believe it accomplishes this task) through the cross in that while we toil we look to our crucified God, Christ, who has experienced the bitterness of human suffering on Good Friday. As I wrote in my Palm Sunday sermon, ‘one fundamental part of our orthodox faith of unparalleled import is the belief in both the death and resurrection of Christ’. If Jesus had merely suffered, died, and remained dead, we would have no hope. The Christian faith must look forward to the resurrection on Easter in order to make sense of the present and future annihilation of brokenness in this world. But it being Good Friday, let us pause in order to more fully mediate on the magnitude of the Passion of Christ.
We read the lectionary Gospel reading for today interspersed with James MacMillan’s settings for the three of Jesus’ seven last words from the cross found in John’s Gospel (performed by the Erik Westberg Vocal Ensemble and the Norrbotten Chamber Orchestra).
John 18:1-19:42 (NRSV)
After Jesus had spoken these words, he went out with his disciples across the Kidron valley to a place where there was a garden, which he and his disciples entered. Now Judas, who betrayed him, also knew the place, because Jesus often met there with his disciples. So Judas brought a detachment of soldiers together with police from the chief priests and the Pharisees, and they came there with lanterns and torches and weapons. Then Jesus, knowing all that was to happen to him, came forward and asked them, ‘For whom are you looking?’ They answered, ‘Jesus of Nazareth.’ Jesus replied, ‘I am he.’ Judas, who betrayed him, was standing with them. When Jesus said to them, ‘I am he’, they stepped back and fell to the ground. Again he asked them, ‘For whom are you looking?’ And they said, ‘Jesus of Nazareth.’ Jesus answered, ‘I told you that I am he. So if you are looking for me, let these men go.’ This was to fulfil the word that he had spoken, ‘I did not lose a single one of those whom you gave me.’ Then Simon Peter, who had a sword, drew it, struck the high priest’s slave, and cut off his right ear. The slave’s name was Malchus. Jesus said to Peter, ‘Put your sword back into its sheath. Am I not to drink the cup that the Father has given me?’
So the soldiers, their officer, and the Jewish police arrested Jesus and bound him. First they took him to Annas, who was the father-in-law of Caiaphas, the high priest that year. Caiaphas was the one who had advised the Jews that it was better to have one person die for the people.
Simon Peter and another disciple followed Jesus. Since that disciple was known to the high priest, he went with Jesus into the courtyard of the high priest, but Peter was standing outside at the gate. So the other disciple, who was known to the high priest, went out, spoke to the woman who guarded the gate, and brought Peter in. The woman said to Peter, ‘You are not also one of this man’s disciples, are you?’ He said, ‘I am not.’ Now the slaves and the police had made a charcoal fire because it was cold, and they were standing round it and warming themselves. Peter also was standing with them and warming himself.
Then the high priest questioned Jesus about his disciples and about his teaching. Jesus answered, ‘I have spoken openly to the world; I have always taught in synagogues and in the temple, where all the Jews come together. I have said nothing in secret. Why do you ask me? Ask those who heard what I said to them; they know what I said.’ When he had said this, one of the police standing nearby struck Jesus on the face, saying, ‘Is that how you answer the high priest?’ Jesus answered, ‘If I have spoken wrongly, testify to the wrong. But if I have spoken rightly, why do you strike me?’ Then Annas sent him bound to Caiaphas the high priest.
Now Simon Peter was standing and warming himself. They asked him, ‘You are not also one of his disciples, are you?’ He denied it and said, ‘I am not.’ One of the slaves of the high priest, a relative of the man whose ear Peter had cut off, asked, ‘Did I not see you in the garden with him?’ Again Peter denied it, and at that moment the cock crowed.
Then they took Jesus from Caiaphas to Pilate’s headquarters. It was early in the morning. They themselves did not enter the headquarters, so as to avoid ritual defilement and to be able to eat the Passover. So Pilate went out to them and said, ‘What accusation do you bring against this man?’ They answered, ‘If this man were not a criminal, we would not have handed him over to you.’ Pilate said to them, ‘Take him yourselves and judge him according to your law.’ The Jews replied, ‘We are not permitted to put anyone to death.’ (This was to fulfil what Jesus had said when he indicated the kind of death he was to die.)
Then Pilate entered the headquarters again, summoned Jesus, and asked him, ‘Are you the King of the Jews?’ Jesus answered, ‘Do you ask this on your own, or did others tell you about me?’ Pilate replied, ‘I am not a Jew, am I? Your own nation and the chief priests have handed you over to me. What have you done?’ Jesus answered, ‘My kingdom is not from this world. If my kingdom were from this world, my followers would be fighting to keep me from being handed over to the Jews. But as it is, my kingdom is not from here.’ Pilate asked him, ‘So you are a king?’ Jesus answered, ‘You say that I am a king. For this I was born, and for this I came into the world, to testify to the truth. Everyone who belongs to the truth listens to my voice.’ Pilate asked him, ‘What is truth?’
After he had said this, he went out to the Jews again and told them, ‘I find no case against him. But you have a custom that I release someone for you at the Passover. Do you want me to release for you the King of the Jews?’ They shouted in reply, ‘Not this man, but Barabbas!’ Now Barabbas was a bandit.
Then Pilate took Jesus and had him flogged. And the soldiers wove a crown of thorns and put it on his head, and they dressed him in a purple robe. They kept coming up to him, saying, ‘Hail, King of the Jews!’ and striking him on the face. Pilate went out again and said to them, ‘Look, I am bringing him out to you to let you know that I find no case against him.’ So Jesus came out, wearing the crown of thorns and the purple robe. Pilate said to them, ‘Here is the man!’ When the chief priests and the police saw him, they shouted, ‘Crucify him! Crucify him!’ Pilate said to them, ‘Take him yourselves and crucify him; I find no case against him.’ The Jews answered him, ‘We have a law, and according to that law he ought to die because he has claimed to be the Son of God.’
Now when Pilate heard this, he was more afraid than ever. He entered his headquarters again and asked Jesus, ‘Where are you from?’ But Jesus gave him no answer. Pilate therefore said to him, ‘Do you refuse to speak to me? Do you not know that I have power to release you, and power to crucify you?’ Jesus answered him, ‘You would have no power over me unless it had been given you from above; therefore the one who handed me over to you is guilty of a greater sin.’ From then on Pilate tried to release him, but the Jews cried out, ‘If you release this man, you are no friend of the emperor. Everyone who claims to be a king sets himself against the emperor.’
When Pilate heard these words, he brought Jesus outside and sat on the judge’s bench at a place called The Stone Pavement, or in Hebrew Gabbatha. Now it was the day of Preparation for the Passover; and it was about noon. He said to the Jews, ‘Here is your King!’ They cried out, ‘Away with him! Away with him! Crucify him!’ Pilate asked them, ‘Shall I crucify your King?’ The chief priests answered, ‘We have no king but the emperor.’ Then he handed him over to them to be crucified.
So they took Jesus; and carrying the cross by himself, he went out to what is called The Place of the Skull, which in Hebrew is called Golgotha. There they crucified him, and with him two others, one on either side, with Jesus between them. Pilate also had an inscription written and put on the cross. It read, ‘Jesus of Nazareth, the King of the Jews.’ Many of the Jews read this inscription, because the place where Jesus was crucified was near the city; and it was written in Hebrew, in Latin, and in Greek. Then the chief priests of the Jews said to Pilate, ‘Do not write, “The King of the Jews”, but, “This man said, I am King of the Jews.” ’ Pilate answered, ‘What I have written I have written.’ When the soldiers had crucified Jesus, they took his clothes and divided them into four parts, one for each soldier. They also took his tunic; now the tunic was seamless, woven in one piece from the top. So they said to one another, ‘Let us not tear it, but cast lots for it to see who will get it.’ This was to fulfil what the scripture says,
‘They divided my clothes among themselves,
and for my clothing they cast lots.’
And that is what the soldiers did.
Meanwhile, standing near the cross of Jesus were his mother, and his mother’s sister, Mary the wife of Clopas, and Mary Magdalene. When Jesus saw his mother and the disciple whom he loved standing beside her, he said to his mother, ‘Woman, here is your son.’ Then he said to the disciple, ‘Here is your mother.’ And from that hour the disciple took her into his own home.
After this, when Jesus knew that all was now finished, he said (in order to fulfil the scripture), ‘I am thirsty.’
A jar full of sour wine was standing there. So they put a sponge full of the wine on a branch of hyssop and held it to his mouth. When Jesus had received the wine, he said, ‘It is finished.’ Then he bowed his head and gave up his spirit.
Since it was the day of Preparation, the Jews did not want the bodies left on the cross during the sabbath, especially because that sabbath was a day of great solemnity. So they asked Pilate to have the legs of the crucified men broken and the bodies removed. Then the soldiers came and broke the legs of the first and of the other who had been crucified with him. But when they came to Jesus and saw that he was already dead, they did not break his legs. Instead, one of the soldiers pierced his side with a spear, and at once blood and water came out. (He who saw this has testified so that you also may believe. His testimony is true, and he knows that he tells the truth.) These things occurred so that the scripture might be fulfilled, ‘None of his bones shall be broken.’ And again another passage of scripture says, ‘They will look on the one whom they have pierced.’
After these things, Joseph of Arimathea, who was a disciple of Jesus, though a secret one because of his fear of the Jews, asked Pilate to let him take away the body of Jesus. Pilate gave him permission; so he came and removed his body. Nicodemus, who had at first come to Jesus by night, also came, bringing a mixture of myrrh and aloes, weighing about a hundred pounds. They took the body of Jesus and wrapped it with the spices in linen cloths, according to the burial custom of the Jews. Now there was a garden in the place where he was crucified, and in the garden there was a new tomb in which no one had ever been laid. And so, because it was the Jewish day of Preparation, and the tomb was nearby, they laid Jesus there.
Music has been very close to my heart since I took up violin and heard Weezer’s first record both at age 8. And my list–making obsession dates back just as far. In this post (which may become a series if Greg wouldn’t mind sharing his 2001 ‘Time Capsule’), I’d like to reflect upon some of the music I loved according to a list from 2001, embarrassing admissions and all.
The Beta Band’s Hot Shots II, Bonnie ‘Prince’ Billy’s Ease Down the Road, Andrew Bird’s The Swimming Hour, Björk’s Vespertine, Bob Dylan’s “Love and Theft”, Fugazi’s The Argument, Lift to Experience’s The Texas-Jerusalem Crossroads, Mogwai’s Rock Music, Pinback’s Blue Screen Life, Spiritualized’s Let It Come Down and Spoon’s Girls Can Tell are just some of the many great records released in 2001 that I was completely unaware of at the time. I will say that I frankly disliked The Strokes, Modest Mouse and the Yeah Yeah Yeahs at the time and I still wouldn’t consider myself a fan. Sorry.
Alien Ant Farm ANThology — Since I’m listing these in alphabetical order, I suppose it’s good that I can get the most pathetic pick out of the way immediately. Fourteen was a fortunate age for me: I had outgrown Blink-182’s Enema of the State and Incubus’ Make Yourself, and had not yet given myself entirely over to ‘screamo’ (let alone ‘Christian screamo’). But I was unable to escape a love for Alien Ant Farm. This record made sense to me at age fourteen for the following reasons:
- I loved the album’s packaging – great designs and Photoshopped images of the band members in various historical settings, like a historical ANThology!
- The single ‘Movies‘ captivated my adolescent mind with its catchy chorus and entertaining music video: so many amazing film references (Ghostbusters, Willy Wonka and the Chocolate Factory, The Karate Kid and Edward Scissorhands) and a cameo with Mr Myagi!
- Singer Dryden Mitchell (whose name I always romantically associated with NASA’s Dryden Flight Research Center) had an INVERTED MOHAWK. HOW COULD I RESIST AN INVERTED MOHAWK???
- I was in love with guitarist Terry Corso’s custom Schecter 006 guitar.
Despite all of these excellent reasons, I do not listen to them now.
Converge Jane Doe — 2001 had its lows, but it also had its highs! Converge’s Jane Doe represents one of the highest of the highs. This record revolutionised music for me and remains one of my absolute favourite albums.
Perhaps I found Jane Doe so palatable as a result of conditioning via hardcore and metal bands I was already listening to such as Black Flag, Minor Threat, Black Sabbath, Iron Maiden and Slayer listener. Along with being my gateway to Converge (who is among my Top 20 Bands), Jane Doe spurned my interest in many other great metal/metalcore acts such as Botch, Coalesce, Curl Up & Die, Unearth, Cave In and Daughters. Do I listen to them now? Yes.
The Hives Veni Vidi Vicious — ‘Hate to Say I Told You So’ was the first Hives song I ever heard. It’s simplicity and raw energy enlivened my spirit. Upon further inspection I discovered Veni Vidi Vicious, as well as The Hives’ previous record, Barely Legal.
The Hives were able to channel something primal about rock-and-roll while giving us something accessible and new, and they did it with exquisite pomp and style, complete with matching wardrobes and an excellent stage presence. Their 2004 record Tyrannosaurus Hives demonstrated a great progression, and while 2007’s The Black and While Album proved less strong, it is still a highly enjoyable record. Do I listen to them now? Yes.
Jimmy Eat World Bleed American — ‘Bleed American’ was the first track I heard from this record, and after purchasing the record I found every track to be incredibly enjoyable (especially ‘Sweetness’ and it’s quiet/loud alternation).
After this record (and after seeing the band open for Weezer that year) I developed a great appreciation for their previous records: Jimmy Eat World (1994), Static Prevails (1996) and Clarity (1999). But alas, by the time of their 2004 release, Futures, I had lost interest. Do I listen to them now? No.
Ozma Rock and Roll Part Three — On the coattails of Weezer I happened upon Ozma, a band named after L. Frank Baum’s Princess Ozma from his children’s fantasy novels. Ozma captialised on Weezer’s pioneering geek-rock style and added some Casio, musical complexity and yet-more-wicked guitar licks (compare Rock and Roll with Weezer’s self-titled record from the same year [also known as The Green Album] and you’ll hear a striking difference).
They have since retained a special place in my heart due to their persistence as a pop-rock goldmine with the release of The Double Donkey Disc (2001/2002), Spending Time on the Borderline (2003) and (after a brief hiatus) Pasadena (2007). Do I listen to them now? Yes.
Radiohead Kid A/Amnesiac — For everyone who reached adolescence in the late 90s, ‘Karma Police’ from 1997’s OK Computer was the pinnacle of song, yet Kid A somehow managed to blow that all out of the water. I remember when I first heard ‘Optimistic’ on the radio, which compelled me to buy the record.
I had no idea what I was in store for, considering ‘Optimistic’ would prove to be one of the weaker (though still incredible) tracks on the record. Radiohead’s production had become more complex and experimental and Kid A would come to completely change the way I appreciate, experience and create music from thereon out. This record is still a frequent listen and certainly one of my all-time favourites.
Saves the Day Stay What You Are — As with most other albums on this list, my purchase of Stay What You Are was inspired by the single ‘At Your Funeral’.
Saves the Day’s previous record, Through Being Cool, appealed to my emo and pop-punk tendencies, so it seemed like a good idea to investigate their new record. Upon my first listen I wasn’t very pleased with half of the record, but over time it grew on me and became one of my high school favourites. Their follow-up to Stay What You Are, In Reverie, proved to be more poppy less ambitious and I began to fall out of love with the band before their return to a more pop-punk sound. Do I listen to them now? Occasionally.
Thrice Identity Crisis — Unlike many other albums on this list (the only exceptions being the Converge and Ozma records), I did not learn about Identity Crisis from the radio. In 2001 Thrice was still very much a local act, and fortunately for me, some of my friends had recently seen Thrice in concert. I was told that they were ‘melodic hardcore’, and when I purchased this record I fell deeply in love with their music.
My love for Thrice was only intensified with the 2002 release of Illusion of Safety, which I considered a massive step forward for the band. Unfortunately it was only a matter of time before Thrice would gain radio play, and in 2003 they released The Artist in the Ambulance and my heart was broken upon hearing the single ‘All That’s Left’ on a popular radio station. Thrice had lost their edge and sounded like a dull rock band (though I want to take care not to lower them to the ranks of acts like Nickelback). After Illusion of Safety I never bought another Thrice record and have had a difficult time ‘getting into’ their latest records. While Identity Crisis was groundbreaking to me at the time (and along with Illusion of Safety has a few tracks that I still consider quite good), I no longer consider myself a fan and I do not recall the last time I was hankerin’ for a listen.
Thursday Full Collapse — Ah Full Collapse…thus began my high school interest in ‘screamo’. What could be better than combining the genres of hardcore and emo? Well, many things, and while I was an avid listener to ‘cultured’ bands like Radiohead, screamo occupied another place in my heart and mind. Thursday was at the top of the screamo food chain, and there was certainly something special to me about hearing the screams from ‘Cross Out the Eyes’ playing on MTV in the morning before school.
My fascination with Thursday and screamo didn’t end at Full Collapse. It wasn’t until some point between 2003’s War All the Time (which I loved) and 2006’s A City by the Light Divided (which I had no interest in) that the genre had totally dropped out of my listening queue. Do I listen to them now? No.
The White Stripes White Blood Cells — I recall hearing the track ‘Hello Operator’ from the White Stripes album De Stijl at some point in 2000, but it wasn’t until I heard ‘Fell in Love with a Girl’ that I felt this great compulsion to buy a White Stripes record.
White Blood Cells proved to be an excellent investment, with all of its garage-rock-revival sloppiness (and what Meg White lacked in percussive skill she made up for in keeping time). Every record they produced (as they have officially announced their breakup this year) contained a bit of this genius, the sort of quality that can give us hope in the future of popular music. Do I listen to them now? Yes.
I stand by 60% of these albums now – I wonder whether that is a good or bad sign.
What were your favourite bands/albums in 2001? How have they fared a decade later?
By now this is old news, but we’ll just say I was very busy on St Valentine’s Day (I had a date with Karl Barth). Arcade Fire’s album The Suburbs, which Greg and I placed at numbers three and six in our respective Best Albums of 2010 lists, won Album of the Year at the 53rd Grammy Awards, one of the record industry’s highest honours. Arcade Fire beat out industrial giants Eminem, Lady Antebellum, Lady Gaga and Katy Perry (I’m so tempted to just write ‘Lady Eminem, Lady Antebellum, Lady Gaga and Lady Perry’…) to take their seven little gramophone trophies home.
The indie blogosphere (as well as some very interesting backlash from those who had never heard of Arcade Fire before the 53rd Grammy Awards) has been set ablaze by the news, with the A.V. Club’s Steven Hyden writing,
Who cares about the Grammys? It’s probably the least respected of all the major entertainment awards—which means it’s in the running for least respected institution anywhere—and yet a lot of people are going to be attaching a lot of significance to Arcade Fire winning album of the year honors for The Suburbs Sunday night. […] Does this signify the full-scale “arrival” of indie rock at the center of mainstream music? Has Arcade Fire officially taken over the mantle as this generation’s defining rock band? Does this mean that “we” won? Be prepared to read all kinds of ruminations on these questions and many more in the days ahead.
It’s not my goal to have any groundbreaking things to say about this award, but I do think it’s interesting to point out that The Suburb‘s record sales were not what we may consider modest. They reached number 1 on several international charts, including album charts in Belgium (Vlaanderen), their ‘native’ Canada, Ireland, Norway, Portugal, the UK and America (Billboard 200). In recent history, several independent records have been performing well on the charts (namely Radiohead’s In Rainbows, Vampire Weekend’s Contra and The Decemberists The King is Dead), which gives some hope to those wishing to provide an affirmative answer to the question, ‘Does this mean that [the independent music scene] won?’
But the reality is that at the end of the day Arcade Fire and these other independent bands are selling a lot less music than the other nominees for Album of the Year (Lady Gaga’s The Fame Monster went platinum in 11 countries, eight of which were multi-platinum, and diamond in Poland), which does seem to indicate that the ‘war’ between independent and the mainstream is far from over. But record sales are not the driving force behind independent music, which exists largely in reaction against the massive record industry. There is no war, and as Arcade Fire bandleader and singer Win Butler said in his acceptance speech before the band performed ‘Ready to Start’, ‘We’re going to play another song because we like music.’ Arcade Fire won Album of the Year at the Grammys – that’s wonderful! I’m sure that this will inspire more people to invest in their music, which is a great thing. But in the end, music is about what we like and dare I say, what we love, which has absolutely nothing to do with Grammy Awards.
Here’s a brief Q & A time with the band after the show (via Tom Breihan at Pitchfork):
Despite a popular modern attitude of disparagement regarding cities, placing the urban at odds with that which is natural, the promotion of the urban is one of my greatest interests. A while back on my and Greg’s former blog, Criticism As Inspiration, I decided to write a short series of posts concerning some of my favourite [non-trespassing] adventures from Los Angeles (beginning with parts of Griffith Park with the intention of becoming more unconventional/climactic as the series progressed). I ultimately aborted the series after the initial post because I realised it wasn’t exactly suitable content for the CAI blog. Even so, one of my most favourite pastimes is ‘urban exploration’ – exploring that which is typically overlooked, ignored and shunned for being banal, strictly functional and ugly.
The popularity of urban exploration is on the rise and I suspect that many incredibly curious city-dwellers have been doing this sort of thing for a long time (I’m pretty certain Fagin knew all the good underground routes in London). Among contemporary urban explorers, 32-year-old Steve Duncan is one of the most notable. Duncan is not merely a thrill-seeker, but is deeply concerned with urban history and development (he’s currently working on his PhD in urban history at the University of California, Riverside) and preserving these urban sites he so cherishes.
This past weekend I caught All Things Considered on NPR and was pleasantly surprised by a story about this hero of mine: ‘Into the Tunnels: Exploring the Underside of NYC‘. For this story, NPR’s Jacki Lyden and producer Brent Baughman join Duncan for [most of] a 25-mile excursion beneath New York City, wading through raw sewage, crawling among rats and cockroaches, jumping over third rails and evading police. Duncan, Lyden and Baughman are joined by world-famous Norwegian adventurer, explorer and author Erling Kagge (he’s climbed Everest, hiked to the South Pole, and became the first person to walk alone to the North Pole, just to name a few of his accomplishments).
I strongly urge you to read the article and listen to the 20-minute broadcast if you have not already!
Duncan was also recently joined for an adventure under NYC by HDSLR director/cinematographer Andrew Wonder, which is documented in this 30-minute video entitled ‘UNDERCITY’, which is definitely worth a view.
Every once in a while it is suitable to give a brief update on the inner-workings of the blog and its contributors. November is upon us and autumn is in full swing. While I failed to publish a single post in the month of October, Greg more than made up for it with several excellent posts (including an amazing playlist of music from 2010 thus far and a very interesting and insightful look at Sufjan Stevens’ excellent new record, Age of Adz – thank you Greg for picking up my slack!). But if you’re really thirsty for more discussion on the ‘Hipster Christianity’ theme that Greg has featured in two posts in September (‘“Hipster” “Christianity”: a “review”‘ and ‘Mocking Hipster Faith‘), I have done a book review of Brett McCracken’s book Hipster Christianity for the blog Transpostions which can be viewed here.
Some exciting news from the blog can be found in the address bar of your internet browser: ‘lostinthecloudblog.com‘! Because we so love this conversation with our readers on LITC, we’ve decided to take this up a notch and acquire an official domain name. So update your bookmark menu and the links to our blog that you constantly pass around to your friends (who are we kidding – we know none of you do this…).
As Greg has hinted, we are rapidly approaching the end of 2010, which means one thing here on LITC: MORE LISTS. Concerning music specifically, this has been an excellent year to be an active collector and listener. I can promise that at the end of this year I will be making several significant modifications to my Top 20 Bands and Top 50 Albums lists. As we share our favourites with you, we’d love to hear your favourites (please enlighten us).
Thank you to all who regularly visit and contribute to our blog. It is likely that in our lameness Greg and I would keep doing this blog even if he and I were the only two people who ever looked at it, but all of you really help us to bring these issues—however serious or silly—into a broader conversation, giving us insights and perspectives that we might not have otherwise encountered. And we love it.
The new Deerhunter album, Halcyon Digest, was released this week and I seized the opportunity to purchase it at Avalanche during a quick trip to Edinburgh on Monday. The album as a whole is excellent and it will surely find a place near the top of my favourite records released this year. The artwork is intriguing, with the fold-out insert designed in the fashion of an underground newspaper or zine. All of the lyrics to the individual tracks are written on this insert with an additional bit before the eighth track, ‘Helicopter’. Before the lyrics this short article appears, reprinted in the album artwork with permission from Dennis Cooper:
Dima (real name Dimitry Marakov) was born in 1986 in the town of Nalchik, Russia. From a young age, he dreamed of working in the fashion industry as a designer. Lacking the moral or financial support of his parents, he actively sought out contacts within the industry through the internet. At the age of 14, he became acquainted with a successful fashion photographer in St. Petersburg who invited the boy to come live with him and work as his assistant. Dima accepted the offer and moved in with the photographer. According to friends of Dima, he became the older man’s lover for approximately the next year. He eventually grew dissatisfied with the lack of benefits he had been promised would result from the arrangement. He left the photographer to become live-in lovers with a wealthy man who provided the financial backing for a conglomerate of pornographic gay websites. It was at this point that Dimitry adopted the stage name Dima and, with the help of false documents that corrected his age to the legal 18, began a successful career modeling naked and starring in hardcore sex videos on the gay websites financed by his lover.
Between the age of 15 and 18, Dima was a highly sought after pornographic model and performer. He saved the money he made from modeling to pay for the tuition at a leading college of fashion that he hoped to attend when he reached 18. At a certain point, Dima began supplementing his income by renting himself out as an escort within his lover’s circle of associates and acquaintances. According to friends of Dima, they included several leading figures in the entertainment industry as well as one of the most powerful men in Russia’s world of organized crime. Dima began to express concern to his friends that the organized crime figure had become obsessed with him, but he refused to accept their advice to stop seeing the man because of the large amount of money these dates were earning him. Sometime in 2005, Dima abruptly left his lover, gave up his modeling career, cut off all communication with his friends, and moved in with the organized crime figure. The last public Dima sighting was late that year when his friend Ignat Lebedev, who was also working as a male escort at the time, accompanied a client to a private sex club where he claims to have witnessed a very thin and confused looking Dima being forcibly sodomized by a group of perhaps ten to fifteen men. Lebedev claims his client identified one of the men as the organized crime figure and dissuaded him from speaking to Dima for his own protection.
Lebedev claims he described what he’d seen to Dima’s former lover and was told Dima had been killed the previous week and that he shouldn’t speak of this again. Lebedev reported both incidents to the police, but after interviewing the lover and being told Lebedev had made the story up, they declined to investigate the matter. In 2006, Lebedev persuaded a prominent Russian gay journalist to write an article on Dima’s disappearance, but during the course of investigating the story, the writer was abducted by unknown assailants, beaten, and told he would be murdered if he wrote the story. Dima has not been seen or reliably heard from in three years, although in early 2007 another organized crime figure, Evgeny Ershova, who was awaiting trial on an unrelated murder charge, claimed that in late 2005 he witnessed a young male prostitute matching Dima’s description be pushed out of a helicopter over a remote forest in the north of Russia. Before Dima’s ex-lover died of lung cancer in late 2007, he reportedly confessed to friends that Dima was sold as a sex slave to a man in the Ukraine in late 2005 and had lived until late 2006 when he’d committed suicide.
The actual song—shared in the video below, which was released earlier this month—contains heartbreaking lyrics from the perspective of Dima. Principle songwriter Bradford Cox beautifully delivers these sorrowful words of exploitation, abuse, helplessness, isolation and loneliness, which prove to be all the more sobering when heard in light of the article above.
Dima’s story is incredibly heartbreaking, and while he lost his life at the hands of those who would oppress, Deerhunter reminds us of the unfathomable struggle faced by those around the world that presently experience the horror of human trafficking.
Thank you Deerhunter for speaking for those who have no voice and for doing so in such a creative and effective manner. May we all be challenged to do the same and to seek to protect all people.
1. Bob Dylan
Surprise, surprise – Bob Dylan is my favourite ‘band’. From a critical perspective, Dylan’s monumental place in the history of popular music is indisputable, yet despite his massive popularity and critical enshrinement, he is and has ever been elusive, in a constant state of artistic evolution. In Martin Scorsese’s 2005 documentary No Direction Home, Dylan states, ‘I had ambitions to set out to find…this home that I’d left a while back. … I was born very far from where I’m supposed to be so I’m on my way home.’
In Greenwich Village, the epicentre of the post-McCarthy folk revival in the early sixties, Dylan would pick out which performers were ‘doing it for real’ and then pick up how they were doing it. Dylan states regarding performers he admired, ‘[There] was something in their eyes that said “I know something you don’t know” and I wanted to be that kind of performer.’ He describes the folk scene in the early 60s as divided into two camps: pop music for college kids and intellectual folk music – Dylan considered himself neither. In his 2006 autobiography Chronicles, Volume One he writes,’ There were a lot better singers and musicians around [Greenwich Village] but there wasn’t anybody close in nature to what I was doing.’ (London: Pocket Books, 18)
Eventually Dylan’s uniqueness brought him to the attention of Columbia Records’ John Hammond and although Dylan’s voice was not the standard at Columbia—home to the beautiful voices of those like Tony Bennett and Johnny Mathis—Hammond’s track record for sales convinced the executives at Columbia that Dylan would be worth their investment. It was with Columbia that Dylan’s massive repertoire (over 600 original compositions) would take off and progress over the course of the last half-century.
Throughout his career Dylan’s music has undergone several significant shifts. In 1965 he ‘went electric’ with Bringing It All Back Home. This transition brought about accusations of ‘going commercial’ for money and fame. Famously, one audience member criticised Dylan, exclaiming ‘Judas!’ during a now-infamous performance at Royal Albert Hall in 1966.
In a 1965 interview with the Chicago Daily News, Dylan stated, ‘I’ve never followed any trend, I just haven’t the time to follow a trend. It’s useless to even try.’ Instead, Dylan saw his ‘going electric’ as a natural progression from his earlier style. In No Direction Home, he states, ‘An artist has got to be careful never really to arrive at a place where he thinks he’s at somewhere. … You’re constantly in a state of becoming.’
In 1966, not long after the release of his third electric record, Blonde on Blonde, Dylan was injured badly in a motorcycle accident. ‘Truth was that I wanted to get out of the rat race,’ Dylan writes. ‘Having children changed my life and segregated me from just about everybody and everything that was going on.’ (Chronicles, 114) He refrained from touring for the next eight years, but still wrote and recorded prolifically. During this time he returned to more traditional roots and explored country music with several excellent pieces such as ‘I Dreamed I Saw St Augustine’, ‘Lay, Lady, Lay’, ‘If Not For You’ and ‘Knockin’ on Heaven’s Door’, but had not achieved a significant amount of critical or commercial success—at least anything that could be likened to the success of his earlier material—until the release of Blood on the Tracks in 1975.
Dylan describes Blood on the Tracks as a product of his ‘painting period’ in which the songs were more ‘like a painter would paint’ rather than those a musician would compose. In The Cambridge Companion to Bob Dylan, Carrie Brownstein writes, ‘By examining music from a visual perspective, with colours and lines instead of notes and chords, Dylan laid out on the canvas what would be Blood on the Tracks.’ (Kevin J. H. Dettmar, ed., The Cambridge Companion to Bob Dylan, Part I [Cambridge: Cambridge, 2009], 157).
As can be observed from many of his early influences such as Hank Williams’ ‘When God Comes and Gathers His Jewels’ and Woody Guthrie’s ‘Jesus Christ’, Dylan was not unfamiliar with the usage of religious motifs. He employed them in his own work on a regular basis, as is the case with ‘Masters of War’, ‘With God on Our Side’, ‘All Along the Watchtower’, etc. At the time, these expressions were not so much a matter of Dylan’s personal faith as they were the custom of the tradition he was drawing from and his employment of the language of a largely ‘Christian’-literate American society. But by the mid-seventies Dylan began to gain greater interest in religion and God. In a 1975 interview for People magazine Dylan expressed, ‘I’m doing God’s work. That’s all I know.’ Dylan’s interest in faith continued to grow in the late 70s and he converted to Christianity in 1978. Not long after this he began work on his first ‘born-again’ record, Slow Train Coming. Regardless of however outspoken and off-putting Dylan’s conversion might have been to many fans at the time, the single ‘Gotta Serve Somebody’ earned him his first Grammy Award for ‘Best Vocal Performance’ in 1979.
As Dylan had unwittingly become the spokesperson for the folk elitists in the early sixties, he found himself in a similar predicament with regard to the religious community in the eighties. With his 1983 release, Infidels, Dylan began distancing himself from any explicit avowal of faith and the institutions to which he was inevitably linked. After Infidels, Dylan experienced what may be considered a creative, critical and commercial lull. In 1997 he released his ‘comeback’ album Time Out of Mind, which was followed by a string of successes: “Love and Theft” (2001), Modern Times (2006) and Together Through Life (2009). In No Direction Home, artist, musician and friend of Dylan, Bob Neuwirth comments, ‘I think [Dylan] always made exactly the work he wanted to make at the time he wanted to make it. The audience came to Bob.’
While I can’t deny that his work from the mid-eighties through the early-nineties is not my favourite, the magic of Dylan’s music and his ability to constantly reinvent himself en route to ‘becoming’ have significantly shaped the way I see music and how I both personally and creatively interact with the world. Because of this profound and unparalleled impact in my life he belongs nowhere but in this number one slot.
Three of his records can be found on my Top 50 Albums list (and actually reveal my partiality to his earlier material): The Freewheelin’ Bob Dylan (1963), The Times They Are A-Changin’ (1964) and Blonde on Blonde (1966).
‘Chimes of Freedom’ from Another Side of Bob Dylan, live at the Newport Folk Festival in 1964:
‘Like A Rolling Stone’ from Highway 61 Revisited, live at the Newport Folk Festival in 1965:
In addition to his massive discography, here are some titles of suggested books and films related to Dylan:
- The Bob Dylan Encyclopedia by Michael Gray (London: Continuum, 2006)
- Bob Dylan: The Essential Interviews edited by Jonathan Cott (New York: Wenner Books, 2006)
- The Bob Dylan Scrapbook: 1956-1966 by Bob Dylan (New York: Simon & Schuster, 2005)
- The Cambridge Companion to Bob Dylan edited by Kevin J. H. Dettmar (Cambridge: Cambridge, 2009)
- Chronicles, Volume One by Bob Dylan (London: Pocket Books, 2006)
- Dylan: Behind the Shades Revisited by Clinton Heylin (New York: William Morrow, 2001)
- Lyrics, 1962-2001 by Bob Dylan (New York: Simon & Schuster, 2006)
- Revolution in the Air: The Songs of Bob Dylan, Vol. 1: 1957-73 by Clinton Heylin (London: Constable, 2010)
- Still on the Road: The Songs of Bob Dylan, Vol. 2: 1974-2008 by Clinton Heylin (London: Constable, 2010)
- Tarantula, an experimental novel written by Bob Dylan from 1965-6 (New York: Harper Perennial, 2005)
- Dont Look Back, documentary covering Dylan’s 1965 tour of the UK, directed by D.A. Pennebaker (1967)
- Festival!, documentary of the Newport Film Festival from 1963-5, directed by Murray Lenner (1967)
- I’m Not There, semi-biographical film, ‘Inspired by the music and the many lives of Bob Dylan’, directed by Todd Haynes (2007)
- No Direction Home, documentary on Dylan’s early life and his career prior to his touring hiatus in 1966 following his motorcycle accident, directed by Martin Scorsese (2005)
Top 20 Bands (as of May 2012)
This one should be no shock to my readers. Creed is undeniably the best band in history. Why? There are countless reasons, but I need point you no further than the phenomenal 1999 song ‘What If’:
I’ve said it before and I’ll say it again: any song that repeats its own title 53 times is absolutely brilliant in my book.
No, not really – Creed is wretched. Number one will be published tomorrow and it will most likely be no surprise to faithful LITC readers…
This is worth watching (but I apologise beforehand for some of the language):
Read my real Top 20 Bands posts: