This is a great video (how romantic!), a gripping lyrical story, excellent ring walk music (Fernando Vargas!), and a powerful message (“I don’t know how to quit;” “Only God can take my life away;” “I’m not afraid of those ‘lengua larga’ guys.”).
As goofy as it sounds, I’ve been listening to the song excessively since I figured out who it was and what it was about after hearing it for many years on a sports talk radio show during a regular boxing segment (Thanks, Steven St. John!). I love it. Molly thinks I’m a goof. She’s right.
This is a song about the lies we tell others. We also tell them to ourselves.
I’ve been a fan of Glen Phillips since singing “Thank You” in a service of worship many years ago in Kansas City. I’ve been singing that song since the day I first heard it. God’s love is everywhere.
“Nobody’s Gonna Get Hurt” is a song about the power of words and the deceptions that we persist in, the phrases we utter in our attempts to soften, dismiss, minimize, or distort the realities we face. Well meaning lies, whether meant to protect or obscure or outright hide difficult truths, nevertheless do harm, maybe not in the moment they are uttered, but in their corrosive effects over time. Sometimes silence is better, or a simple, “I don’t know.”
“There’s no price to love, there never was” are words that can only be said by someone who has never loved. Love involves sacrifice, and the deepest loves often come at the greatest cost. Look at Jesus.
“If it’s meant to be, it’s easy,” can only be said by someone who has never had to work for something eternally worthwhile. The easy things aren’t the only things that are “meant to be.” Again, look at Jesus.
“Broken hearts always mend” is a half truth. Sometimes the comfort we long for is elusive; we do not find it in this life. For Christians, hope must remain fixed on the day when God wipes away every tear. I find it interesting that in the new heavens and the new earth there will be any tears at all, but I find it more interesting that God will put a hand to cheek and wipe them away. Only afterward will God abolish death and mourning and crying and pain. Whatever caused the tears, the hurt and the pain, it is not dismissed, but met. It is met by God. Then and only then is it resolved and healed.
Our words have power. We must steward them well. Self deception, must be avoided; the first step in doing so is admitting we are prone to believe our own lies. We must also strive to tell the truth. To tell the truth one must know the truth, and be formed in such a way as to become a truthful person. For Christians, such formation is only possible through encounter with the God who is truth, revealed to us in Jesus Christ, truth in the flesh, truth for us.
Metallica’s Black Album is an absolute classic, and I have fond memories of my little brother humorously whispering the bridge of “Enter Sandman.” Virginia Tech likes the tune and has for years. Metallica was a go-to source for pregame tracks in the 90s, and I guess they still are considering how often their sound makes its way into hype videos.
There are many covers of “Enter Sandman,” but none as good as the one I heard this week from Iron Horse. Without further ado, let the pickin’ begin.
Back in 1973 Jerry Jeff Walker recorded Ray Wylie Hubbard’s “Up Against the Wall, Redneck Mother” and included it on his Viva Terlingua album. It’s a classic. But I never knew the story behind it until recently.
“I walked in and there were thirty or forty people drinking, including one old woman,” he recalls. “The jukebox stopped and they all turned and looked at me.” He nervously asked the bartender for a case, and while he waited, he found himself getting baited by the woman and her son. “How can you call yourself an American with hair like that?” she asked. Her son added, “You want me to beat him up?” Hubbard got his beer and fled, but not before eyeing a pickup truck in the parking lot with a gun rack and a redneck bumper sticker. Once he was safely back with his pals, he picked up his guitar, strummed a G, and made up a song on the spot, about a redneck mother whose son was “thirty-four and drinking in a honky-tonk, just kicking hippies’ asses and raising hell.”
In the late 90s and early 2000s I was listening to a bunch of Outlaw and Red Dirt Country music. Singers gave call outs to other singers, and thanks to the magic of the internet, I kept collecting MP3 tracks and discovering music that I hadn’t heard on mainstream radio. That’s how I found Jerry Jeff. I went to see him play live at the Heart O’Texas Fairgrounds with my buddy Justin Newcom under a little tent with maybe five hundred people, and loved every minute of it. I’ve been a fan ever since. Here’s a picture I took back at the 2018 Texas Bash. Molly and I had a blast seeing him live.
I’m still keeping my eye out for a good “Goat Ropers Need Love, Too” sticker. If you see one, let me know.
This is a beautiful song, telling a simple story, allowing much room for imagination. Who is the traveler? Where are they going? Who is the father, mother, and child?
Do we seek the welfare of the stranger? Asking for God’s mercy upon those we do not know, that we only perceive from far away, perhaps only knowing that they are road-weary and in need of rest?
You could apply the imagery in this song to many scenarios, maybe even this one. There are others, not as politically charged, but nonetheless suitable, for wherever we see the stranger traveling the road, we must always remember mercy and never forget that we also were once without a home, without rest, until God chose to grant an everlasting mercy, rest, and hospitality to us.
I’m reading Jeff Tweedy’s memoir Let’s Go (So We Can Get Back Again) because of my decade long listenership to Wilco. The book was a Christmas gift. My fascination with the band began with a friend named Clint Newlan, who was a shift manager and fellow barista with me at Starbucks in 2005-2006. I saw a Wilco show with Clint at the Uptown Theater in Kansas City on March 21, 2006, saw them again at Crossroads KC with my friend Mike Hibit on October 6, 2009, and then went to see them with Molly at Bass Concert Hall in Austin on October 1, 2017. I’m a fan.
In the book Tweedy comments on the purpose of art, and expands his thought by reflecting on art’s restorative power. He writes:
I think that may be the highest purpose of any work of art, to inspire someone else to save themselves through art. Creating creates creators. When I was in the hospital going through treatment for addiction and depression, they would have everyone in my group do art therapy. One of the most beautiful things I’ve ever seen was watching a catatonic sixty-three-year-old woman who had been hooked on heroin for close to thirty years become human again by holding a pencil and being asked to draw. I’m an agnostic by nature, but seeing that made me believe in staying close to the notion of a creator. The one we identify with most easily by finding it in ourselves.
I think that is about right. Art puts us back together; creating heals, connecting us with something that is elemental to being human. Art is not a self-salvation project, as Tweedy suggests, but it does have restorative potential.
There is a theological dimension to Tweedy’s observation as well, one Christian theology affirms. The Apostle’s Creed begins with the words, “I believe in God, the Father Almighty, creator of heaven and earth.” Genesis 1:1 says, “In the beginning God created the heavens and the earth,” and when God gets around to creating humankind in Genesis 1:27, we read, “So God created humankind in his image, in the image of God he created them; male and female he created them.”
While Tweedy is an agnostic, his impressions point him toward a truth that Christians agree with: “Creating creates creators.” Human beings, created in the image of their Maker, make.
The creative impulse is stamped upon us, and creativity takes many forms. When it finds outward expression it is not only revelatory of something within, but also something without–the existence of a Creator who first created, making creatures who then, in turn, create.