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1. Never Going Back

Never Going Back

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  • Published: 2017-09-16T15:28:35Z

Prod. @rvff-fvrgo Lyrics; Lost my mind again ticking time bombs never wait free and yet explosive, i might fucking blow up in your face i like watching my walls cave claustrophobic and insane most you niggas talk that shit at least I'm honest with my ways. i dont need no medicine keep that shit for the trembling never do the welcoming you can hang onto the questioning who you think you are bitch, go on then, find me something better then i bet you wont 'cus im the only one out here developing. I aint even mad no more shit i dont give a fuck i don't brag no more fuck clout fuck numbers fuck plans fuck whores I've been going in until my right hands sore i feel like the jedi with the gold on my belt you're too worried bout the bitches that be worried bout the wealth having big dreams is really bad for your health i deserve this shit more than anybody else who are you bitch? no one knows your name but your so hell bent on the drugs and the fame bite your tongue until it fucking bleeds and never speak again. Never told a soul all the pain I've been coping with. I've been on my own, get the fuck up out my face bitch. better give me one good reason not to tear your limbs. you don't know my mother fucking story bitch you don't know shit. Open the door never look back, leave me here in hell. Even the score spit on the track, maybe i'm tipping the scale. So you want more, they never ask. This is my cry for help. I told them before don't bring up my past, i might kill myself. Never told a soul all the pain I've been coping with. I've been on my own, get the fuck up out my face bitch. better give me one good reason not to tear your limbs. you don't know my mother fucking story and you don't know shit. so stuck that you cant move really thinking that you're hurt 'cus you want to I've been putting in the work like i got to big dreams in your head are they not true dont you let these mother fuckers try stop you. Don't be a bitch get it like its not hard to. Get up and get it then harm your affiliates show me your hell in your present tense i put the terror in resonance. Never told a soul all the pain I've been coping with. I've been on my own, get the fuck up out my face bitch. better give me one good reason not to tear your limbs. you don't know my mother fucking story and you don't know shit.

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3. Choke, Hope (ft. Hi-Rez) [Prod. Felly]

  • Published: 2014-10-12T20:33:11Z
  • By Rawch
Choke, Hope (ft. Hi-Rez) [Prod. Felly]

she's Marilyn Monroe stuck in the wrong generation Follow me: Produced by Felly Mixing by Danny Garcia (@dannygarcia-4) LYRICS: [Rawch] There's this ballerina blond dime that clouds my mind I think she likes my style and dandy sense of rhyme I'm handy with my tongue sword She just wants to buy the store I'm part of the rap school board We'll hit it right, record the score The way that you are posturing, it's clear that you want more This girl's a real woman Never refer to her as whore Her class derives from TV shows and other inspirations Marilyn Monroe stuck in the wrong generation Let's face it don't be frontin when you next to me Cause the contact of our eyes can turn two I's into a we We was never meant to be together That's what they used to tell me But there's been a change of weather I mean it's only right, imma work until it's better So lately I've been feeling more fresher, upped my swagger These girls gone wanna party, party late and party after But you're the one I want, and I know you feel this rapper Forget these damn distractions Let's stick to the subject matter We can build this thing from scratch My belief is we're a match, and fire can result from that I wanna cover all these bases I'm stepping to the plate to bat, I feel it's going places [Hi-Rez] Is our love engraved in pavement? What's our destination? She hates it that I'm famous, me I hate the accusations I wanna take it back to how it was, was Fuck love No one want us together, but I don't give a fuck bruh Shawty you my girl, it's us against the world We can always lean on each other, like sipping syrup If your love was a disease, I wouldn't look for the cure I wouldn't mind if we were the last people on earth They don't want us together, but I don't give a fuck You might write out a check When I'm down you pick me up We argue and fight at times, and we think we've had enough But we always in the back with each other I guess it's love Making dinner together and drinking wine getting drunk God brought us together, ain't nothing to do with love Let's just get faded and fuck Let's just get faded and fuck Let's just get faded and fuck I said get faded and fuck

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4. {DOWNLOAD RAR!} The Score – Atlas FULL 2017 (SEE LINK BELOW)

  • Published: 2018-01-03T16:47:17Z
  • By EddieCo
{DOWNLOAD RAR!} The Score – Atlas FULL 2017 (SEE LINK BELOW)

The Score – Atlas Full Album leak Download link MP3 ZIP RAR DOWNLOAD LINK HERE - DOWNLOAD LINK HERE - ( Album ZIP RAR ) The Score - Atlas [MP3] { RAR } The Score (2017) Free iTunes Atlas Download Free {Album Leak} The Score - Atlas {Album Leak} Full Album Download The Score [ZIP] Atlas Zip RAR mp3 320 { LEAK ALBUM ZIP } The Score - Atlas For Free {Album} The Score = Atlas [320 kbps] (2017) zip download The Score [Download] Atlas (2017) free album {Full} The Score . Atlas (2017) album zip download {ZIP & Torrent} The Score {Free Album} Atlas .zip download (FULL) The Score | Atlas RAR Download The Score [Free] / Atlas Download [ RAR Album ] The Score (FREE) Atlas (2017) free { Download } The Score - Atlas [FREE] { 2017 } The Score { LEAK ALBUM } Atlas Download Song { RAR } The Score - Atlas [Free ZiP] The Score | DOWNLOAD | Atlas Download Full Album Download MP3 Album The Score - Atlas Album Download [Album] The Score [ZIP] Atlas Full Album Download [2017] The Score Atlas Album zip Download The Score - Never Going Back mp3 download The Score - Legend mp3 download The Score - Only One mp3 download The Score - Tightrope mp3 download The Score - Believe mp3 download The Score - Revolution mp3 download The Score - Who I Am mp3 download The Score - Unstoppable mp3 download The Score - Shakedown mp3 download The Score - Higher mp3 download The Score - Miracle mp3 download The Score - Strange mp3 download Artist: The Score Album: Atlas Style: Indie Pop Year: 2017 Format: MP3 320 Kbps Track list: 01 – Never Going Back 02 – Legend 03 – Only One 04 – Tightrope 05 – Believe 06 – Unstoppable 07 – Who I Am 08 – Revolution 09 – Shakedown 10 – Higher 11 – Miracle 12 – Strange

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5. Listening

  • Published: 2014-08-14T01:20:49Z
  • By Adam Tell

There it is, I finally figured it out Gimme just a second, let me jot it down I won't let another moment slip by It's right here, no more searching anymore It checks out by the happy couple next door They use this answer all the time I'll try it out, it can't be that hard to do The first week, sure, like breaking in new shoes But it won't be long before it's second nature I feel calm. It's given me clarity Shaping all my words and carrying my feet Never been so hopeful of the future I know I've made progress, but I want it to breathe I haven't been sharing it with anybody but me I'm being critical, retuning my strings Don't we all have boxes full of broken things I've got the song, I've found my words I need to open up my ears and do some listening I need to do some listening Stay sharp, and handle yourself with care Search for the truth, and don't chase the dare You can so lost without warning Have faith in the people who taught you well And don't ever stop listening to yourself You both know what's best for your journey So step up, make your case, and take aim Shoot down your guilt, release the blame Cause I'm done with counting the score I think back on the night I took you home And we dragged the fighting to the phones What the hell were we arguing for? I'm taking my heartbreaks and setting them free Cause none of that matters where I'm going to be I'm being critical, retuning my strings Don't we all have boxes full of broken things I've got the song, I've found my words I need to open up my ears and do some listening A little more listening I know you think you've gone too far Too much remorse, too many scars It's such a shame you've been so vain But it's not too late to turn around Backtrack, and take the higher ground Everyone you love is waiting I'm being critical, retuning my strings Don't we all have boxes full of broken things (full of fixable things) I've got the song, I've found my words I need to open up my ears and do some listening I need to do some listening

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6. The Sound Of Friendship

The Sound Of Friendship

It's hard to find a more fruitful meditation on American music than in the compositions of guitarist Bill Frisell. Mixing rock and country with jazz and blues, he's found what connects them: improvisation and a sense of play. Unlike other pastichists, who tend to duck passion, Mr. Frisell plays up the pleasure in the music and also takes on another often-avoided subject, tenderness." - The New York Times "Frisell is a revered figure among musicians - like Miles Davis and few others, his signature is built from pure sound and inflection; an anti-technique that is instantly identifiable." - The Philadelphia Inquirer "I like to have fun when I play and I like comedy - but it's not a conscious thing. I'm basically a pretty shy person and I don't dance or get into fights. But there are all these things inside me that get out when I perform. It's like a real world when I play, where I can do all the things I can't do in real life." - Bill Frisell to The Village Voice Over the years, Frisell has contributed to the work of such collaborators as Paul Motian, John Zorn, Elvis Costello, Ginger Baker, The Los Angeles Philharmonic, Suzanne Vega, Loudon Wainwright III, Van Dyke Parks, Vic Chesnutt, Rickie, Lee Jones, Ron Sexsmith, Vinicius Cantuaria, Marc Johnson (in "Bass Desires"), Ronald Shannon Jackson and Melvin Gibbs (in "Power Tools"), Marianne Faithful, John Scofield, Jan Garbarek, Lyle Mays, Vernon Reid, Julius Hemphill, Paul Bley, Wayne Horvitz, Hal Willner, Robin Holcomb, Rinde Eckert, The Frankfurt Ballet, film director Gus Van Sant, David Sanborn, David Sylvian, Petra Haden and numerous others, including Bono, Brian Eno, Jon Hassell and Daniel Lanois on the soundtrack for Wim Wenders’ film Million Dollar Hotel. This work has established Frisell as one of the most sought-after guitar voices in contemporary music. The breadth of such performing and recording situations is a testament not only to his singular guitar conception, but his musical versatility as well. This, however, is old news by now. In recent years, it is Frisell's role as composer and band leader which has garnered him increasing notoriety. "For over ten years Bill Frisell has quietly been the most brilliant and unique voice to come along in jazz guitar since Wes Montgomery. In light of this, it may be easy to overlook the fact that he may also be one of the most promising composers of American music on the current scene." - Stereophile "Bill Frisell is the Clark Kent of the electric guitar. Soft-spoken and self-effacing in conversation, he apparently breathes in lungfuls of raw fire when he straps on his (guitar)...His music is not what is typically called jazz, though it turns on improvisation; it's not rock'n roll; and it sure ain't that tired dinosaur called fusion. In one of the biggest leaps of imagination since the Yardbirds and Jimi Hendrix, Frisell coaxes and slams his hovering split-toned ax into shapes of things to come...But besides being a guitar genius, he's turned into a terrific songwriter. Like Monk, Frisell's harmonic and melodic ideas form a succinct, seamless mesh with outer sonic and rhythmic ideas about his ax." - Spin "Frisell just has a knack for coaxing the most inviting sounds out of the instrument, and the composition skills to put them in just the right order. Combine a Colorado youth given to soul and C&W with solid jazz training, abetted by a decade-long residency in the heart of NYC's avant scene, multiplied by a fun factor of X (he has scored Buster Keaton's films) and you've got a recipe damn near perfection." - The Mirror Wire, the British music publication has observed: "What's really distinctive is Frisell's feel for the shape of songs, for their architecture; it's a virtuosity of deep structure rather than surface." Bill explains this sensibility to Guitar Player, "For me, it's really important to keep the melody going all the time, whether you are actually playing it or not, especially when it's some kind of standard tune or familiar song form. A lot of people play the melody and rush right into their solo, almost with an attitude of 'Whew - that's out of the way, now let's really play!' Then they just burn on chord changes, and it doesn't relate to the song anymore. I like to keep that melody going. When you hear Thelonious Monk's piano playing - or horn players like Ben Webster, Miles Davis and Wayne Shorter - you always hear the melody in there. Sonny Rollins is the classic example of that - I've read that he thinks of the words while he's playing the sax, so the song really means something to him. It's not just an excuse to play a bunch of licks over chord changes." Much has been made of the uncategorizable nature of Frisell's music and the seamlessness with which his bands have navigated such a variety of styles. "Frisell's pals just happen to be superb musical chameleons, up to every change of gears and genre the guitarist's catch-all music throws at them. The band even comfortably follows the leader onto Country and Western turf, as Frisell often approximates the whine of a lonely steel guitar." Minneapolis Star Tribune. Bill's comments to the same publication: "When I was in Colorado, I never really played that country stuff or even liked it that much, though it was all over the radio. But as I got older, it crept into my music a lot." In fact, the Chicago Tribune observed that "Frisell possesses not only impressive compositional skills but also a remarkable ability to encompass seemingly antagonistic musical genres." Commenting on his eclectic compositional inclinations, Frisell told Down Beat: "When I write something, it just sort of comes out. I'm not thinking, 'Now I'm going to write a cowboy song'. It just happens, then I usually think about what must have influenced it later. When I sit down to write something in a certain style, it doesn't work. I don't know if that's important or something I need to do, or if it doesn't matter. I don't care; I'm just thankful something comes out sometimes." This musical kinship with Miles Davis has been cited repeatedly in the music press. The New Yorker notes: "Bill Frisell plays the guitar like Miles Davis played the trumpet: in the hands of such radical thinkers, their instruments simply become different animals. And, like Davis, Frisell loves to have a lot of legroom when he improvises--the space that terrifies others quickens his blood." On this subject Down Beat has noted: "With his respectful if improbable eclecticism and audible ethnic guitar roots, Frisell is the new music's Ry Cooder...His engagingly droll sense of humor is never far from the surface; no one else's persistent dissonances sound so consistently congenial." Sometimes using delays and distortion and an unmistakably unique touch, Frisell, as Jazz Times once observed "has an airbrushed attack, a stunning timbral palette and a seemingly innate inability to produce a gratuitous note." Musician has described his guitar style as "modern in the best sense of the word, straddling the electronic ambiance and distortion of contemporary rock and the nuances of touch and harmonic sophistication usually associated with jazz." The guitarist won the 1990 Down Beat critics' poll. "The electric guitar sound of the decade - oozing, cloudy enveloping - belongs to jazz renegade Bill Frisell - Like the best artists in any field, Frisell is not a slave to his tools; he's the creator who gives them new validity...His guitar sound is unmistakable - billowing, breathlike, multi-hued, immense at times, almost palpable. Frisell's music is accessible and avant-garde, a lyrical victory of man over machine, of personality over mechanics, of message over mathematics." - Minneapolis Star Tribune Biography / Recordings: Born in Baltimore, Bill Frisell played clarinet throughout his childhood in Denver, Colorado. His interest in guitar began with his exposure to pop music on the radio. Soon, the Chicago Blues became a passion through the work of Otis Rush, B.B. King, Paul Butterfield and Buddy Guy. In high school, he played in bands covering pop and soul classics, James Brown and other dance material. Later, Bill studied music at the University of Northern Colorado before attending Berklee College of Music in Boston where he studied with John Damian, Herb Pomeroy and Michael Gibbs. In 1978, Frisell moved for a year to Belgium where he concentrated on writing music. In this period, he toured with Michael Gibbs and first recorded with German bassist Eberhard Weber. Bill moved to the New York City area in 1979 and stayed until 1989. He now lives in Seattle. "When I was 16, I was listening to a lot of surfing music, a lot of English rock. Then I saw Wes Montgomery and somehow that kind of turned me around. Later, Jim Hall made a big impression on me and I took some lessons with him. I suppose I play the kind of harmonic things Jim would play but with a sound that comes from Jimi Hendrix", Frisell told Wire. Bill also lists Paul Motian, Thelonious Monk, Aaron Copland, Bob Dylan, Miles Davis and his teacher, Dale Bruning, as musical influences. Bill recorded his first two albums as a leader on ECM, both produced by Manfred Eicher. Subdued and lyrical in nature, In Line, the first of the ECM recordings, employed both electric and acoustic guitars in a series of solos (including some overdubbing) and duets with bassist Arild Andersen. Second was Rambler, featuring Kenny Wheeler, Bob Stewart, Jerome Harris and Paul Motian. About Rambler, Fanfare said: "Bill Frisell has built a little masterpiece here - not just a showcase for his own instrumental creativity (of which there is much in evidence), but a clever and poetic whole." Frisell's third album and last for ECM, Lookout For Hope, marked the recording debut of The Bill Frisell Band featuring Hank Roberts, Kermit Driscoll and Joey Baron. Produced by Lee Townsend, the album's diverse material - ranging from country swing to reggae, quasi-heavy metal and backbeat rock with a twist to Monk's "Hackensack" - nevertheless possessed the cohesive and unmistakable personality of a working band on to a sound of its own. High Fidelity called it "the fullest showing of Frisell's ability to date, especially his compositional range." The Chicago Tribune said, "Lookout For Hope offers one of the most hopeful signs that contemporary jazz can evolve with dignity, wit and charm." Before We Were Born, Frisell's debut recording for Nonesuch, featured three musical settings: Peter Scherer and Arto Lindsay produced, co-arranged and performed on three Frisell compositions. "Some Song and Dance", produced by Lee Townsend, is a suite of four pieces performed by Frisell's Band with a saxophone section featuring Julius Hemphill, Billy Drewes and Doug Wieselman. Frisell's "Hard Plains Drifter" is an extended work shaped, produced and arranged by John Zorn and played by the Frisell Band. The New York Times observed: "By following through on the implications of his unfettered sounds, Mr. Frisell has made his best album." Frisell's second Nonesuch album, Is That You?, features nine original Frisell compositions, one by producer Wayne Horvitz and two cover tunes - "Chain of Fools" and "Days of Wine and Roses". With Frisell playing guitars, bass, banjo, ukulele and even clarinet, Is That You? demonstrated with great clarity his pan-stylistic, yet strangely unified musical world. Musician called the album "a very personal vision, tearing down stylistic barriers with delicacy and sudden bursts of emotion." Frisell's third album for Nonesuch, Where in the World?, also produced by Wayne Horvitz, was the band's final recording with cellist Hank Roberts. The Philadelphia Inquirer said: "There is nothing standard about Where in the World?...Frisell is not only a master of an unusual guitar-based sonic tapestry, he's one of the few composers capable of writing for an interactive ensemble." Have a Little Faith, Frisell's 1992 Nonesuch recording, was something of a tribute album. Here, he interpreted the music of a number of American composers whose music had inspired him - Aaron Copland, Muddy Waters, Bob Dylan, John Hiatt, Sonny Rollins, Stephen Foster, Charles Ives, Victor Young, Madonna and John Philip Sousa. The extent to which Bill has made this music his own demonstrates the completeness of its link to his own compositional approach. For this recording Frisell's Band was augmented by Don Byron (clarinet, bass clarinet) and Guy Klucevsek (accordion) and produced by Wayne Horvitz. The San Francisco Bay Guardian said, "Frisell treats each piece with typical earnestness and lyricism, breaking into wrenching distortion and stormy group improv only after breathing the original full of a softly glowing life." This Land, Frisell's fifth Nonesuch recording, consists of all original material with the band and a horn section of Don Byron (clarinets), Billy Drewes (alto saxophone) and Curtis Fowlkes (trombone). Produced by Lee Townsend, the album readily displays the connection between Frisell's own writing and the composers' work to whom he pays tribute on his previous Have a Little Faith. From the standpoint of synthesizing his celebrated composing and arranging talents with exuberant improvising and spirited band interaction, it is a landmark recording, which prompted this description in Rolling Stone: "Strange meetings of the mysterious and the earthy, the melancholy and the giddy, make perfect sense by Frisell's deliciously warped way of thinking. The warpage is catching on and not a moment too soon." In 1994, Frisell recorded a pair of recordings of music that he composed for three silent Buster Keaton films - The High Sign, One Week and Go West. The band premiered this music along with the films to a spirited and sold-out audience at St. Ann's in Brooklyn in May '93. The pairing displayed a natural affinity between work of both artists. Their works together possess an undeniable sense of adventure and penchant for the unexpected that only enhances the warmth and humanity of both the musical elements and the films themselves. It has proven to be the rare case where the whole truly transcends the sum of its parts. Of the "Go West" recording , Billboard noted: "With this set of music for the classic Buster Keaton film, "Go West," Bill Frisell has crafted one of his finest, most evocative albums. Evincing his best qualities as both guitarist and composer, he harvests melancholy Americana from deceptively modest, episodic themes. Coloring the scenes with acoustic as well as his trademark electric, Frisell produces strangely cinematic motifs on guitar, and his rhythm cohorts - longtime bassist Kermit Driscoll and drummer Joey Baron - provide abundant narrative drive." Both albums were produced by Lee Townsend. Frisell's success with the Keaton films has led him to other film-related projects. He scored the music for Gary Larson's "Tales From the Far Side" animated television special and Daniele Luchetti's Italian feature film, "La Scuola." Some of the music from these projects has been adapted and recorded by Frisell on Quartet, Frisell's Nonesuch recording released in April '96. The formation of the Quartet, with Ron Miles (trumpet), Eyvind Kang (violin) and Curtis Fowlkes (trombone), was a new working band for Frisell, who had worked with the telepathic rhythm combination of Kermit Driscoll and Joey Baron for nearly ten years. Frisell told Down Beat: "It’s so different from the traditional guitar-bass-drum thing, even though Joey Baron, Kermit Driscoll and I never played like a typical jazz trio. This group, with violin and brass, can play an orchestral range of sounds. It’s gigantic. It’s given me a chance to write and arrange in an even bigger way." Quartet, was quickly hailed by critics. The New York Times declared: "Quartet may be his masterpiece." Nonesuch released Nashville in April of 1997. Recorded in Nashville and produced by Wayne Horvitz with members of Allison Krauss’ Union Station band - mandolin player Adam Steffey and banjo player Ron Block - the project also features her brother and Lyle Lovett’s bass player Viktor Krauss, dobro great Jerry Douglas, vocalist Robin Holcomb and Pat Bergeson on harmonica. "Comprising acoustic instrumental folk tunes with unpredictable stylistic accents, Nashville boasts a dreamy, seductive grandeur. The backing mandolin/dobro/bass interplay simmers - Frisell himself picks and strings and most of all floats, laying out liquid tones that settle over the melodies like heat haze on a swampy, swimmerless lake." wrote the LA Weekly. The Atlanta Journal-Constitution summed it up simply as, "Frisell’s nod to Nashville is Americana at its best." In January of 1998 Frisell's next project Gone, Just Like A Train came out. On this exceptionally melodic and rhythmically vital instrumental collection of original compositions, Frisell is joined by Viktor Krauss and by Jim Keltner, all star drummer of choice for Bob Dylan, Ry Cooder, T-Bone Burnett, George Harrison, John Lennon and The Traveling Wilburys. The Rocket in Seattle wrote that "Frisell has managed to pull together an ad hoc super trio of musicians from drastically different pasts, and they manage to assemble a machine of colossal proportions: part skewered jazz, part roadside folk blues, part gritty rock..Gone presents Frisell at a creative apex. He's integrated a thoroughly unique understanding of so much American Music. And it's all gift-wrapped in a lean, unimposing trio framework that conveys sheer genius in a million directions. It flies with shining power." Produced by Lee Townsend, the album proved to be one of Frisell's most celebrated and popular to date. Good Dog, Happy Man, brims full of Frisell's shimmering original compositions. Here he is reunited with the Gone Just Like a Train rhythm section of Viktor Krauss on bass and Jim Keltner on drums and joined by Wayne Horvitz on Hammond B3 organ, multi-instrumentalist/slide guitarist Greg Leisz (known for his work with Joni Mitchell, K.D. Lang, Emmy Lou Harris, Beck and Jimmie Dale Gilmore, among others) plus special guest Ry Cooder on the traditional folk song "Shenendoah". Produced by Lee Townsend, Good Dog, Happy Man celebrates Frisell's emergence as a composer who has created a genre unto himself. The Philadelphia Inquirer wrote: "The 12 breathtakingly beautiful originals on Good Dog, Happy Man resist every obvious classification. Frisell's been doing the undefinable for years - creating revelatory music from threadbare accompaniment; finding vital contexts for jazz improvisation that are worlds away from bebop; burying shiny nuggets of melody beneath a gauzy lace-like surface. Frisell manages to evoke big worlds with stark single notes and foreboding sustained tones, conjuring a richly textured atmosphere that is both understated and undeniable. No matter what you call it." "Bill Frisell makes such consistently great records that it would be easy to take the guitarist for granted. That would be sad, since no one refracts age-old Americana through a cutting-edge prism with the warm-hearted, fleet-minded individuality of Frisell. With Good Dog, Happy Man, he has crafted one of his earthiest essays yet. Backed by an ultra-hip band, Frisell has forged originals whose folky melodies and big-sky grooves make them seem like old friends in snazzy new clothes." - Billboard. Bill’s solo album, Ghost Town was called described as "moody, articulate music is a milestone in the career of a true innovator - enchanting as anything he has done and a clear window into his muse" CMJ. With producer Lee Townsend, Frisell has created a sonic tapestry that weaves in and out of original material and cover songs, some recorded in multiple layers, others recorded nakedly solo. According to Billboard, "Ghost Town sounds like a classic already". For Frisell's acclaimed CD Blues Dream, released on Nonesuch in early 2001, the New Quartet of Greg Leisz, David Piltch and Kenny Wollesen is joined by a horn section of Ron Miles (trumpet), Billy Drewes (alto saxophone) and Curtis Fowlkes (trombone). In many ways it represents a culmination of the strands running through many of the recordings in Frisell's catalogue, combining the homespun lyricism of Good Dog, Happy Man, Gone Just Like a Train and Nashville with the orchestral timbres of Quartet and the expanded tonal palette and harmonic sophistication afforded by a larger group (i.e. The Sweetest Punch, This Land and Before We Were Born.) Produced by Lee Townsend, it has been described as "A rich, eclectic masterpiece." Blair Jackson, Mix Magazine. The Autumn of 2001 saw the Nonesuch release of Bill Frisell with Dave Holland and Elvin Jones, on which Bill was joined by two jazz legends to interpret a number of the most enduring compositions from his songbook as well as Henry Manicini’s "Moon River" and Stephen Foster’s "Hard Times" in another Townsend-produced set. "Holland and Jones warm well to the folk-inflected material, complimenting the guitarist’s offbeat charm and unerring taste with their muscular authority." ­ Billboard. The Willies is Frisell’s characteristically inimitable and modern take on bluegrass and country blues with Danny Barnes (from The Bad Livers) on banjo and guitar and Keith Lowe, (known for his work with Fiona Apple, David Sylvian, Kelly Joe Phelps and Wayne Horvitz) on bass. Produced by Lee Townsend and released in June, 2002 on Nonesuch, the material consists of such traditional songs as "Cluck Old Hen", "John Hardy", "Single Girl", "Sugar Baby", "Blackberry Blossom", "Sitting on Top of the World", "Good Night Irene", "Cold, Cold Heart" and a number of Frisell’s original compositions. John Cratchley, in The Wire described it as follows: "This is music that you feel you have known yet you have never heard before, like some treasured memory of an event that hasn’t happened yet . - It is firmly rooted in the simplest of musical gestures yet manages to build, intricate layer by intricate layer into a manifestation of cultural timelessness - . This is composition of the highest order masquerading as back-porch rambling." Frisell’s encounters with such Malian musicians as singer and guitarist Boubacar Traore and percussionist Sidiki Camara, who has played with many of Mali’s most renowned performers, left him eager to further explore the commonalities of African and American roots musics. His grammy-nominated 2003 Nonesuch release, The Intercontinentals, produced by Lee Townsend, is evidence of those impulses. In late 2001, Frisell assembled an intriguing quartet with Brazilian composer, singer, guitarist and percussionist Vinicius Cantuária, Greek-Macedonian musician Christos Govetas on oud, bouzouki and vocals and Mali’s Camara on percussion and vocals. The debut concerts at Seattle's Earshot Festival created quite a stir. Downbeat described the group's music as possessing "fine webs of guitar interlacings, swaying momentum, dense textures and rhythmic urgency." The group was soon expanded to include Greg Leisz (on pedal steel and various slide guitars) and Jenny Scheinman (violin). The material on the album consists of Frisell compositions plus songs by Boubacar Traore, Cantuaria, Gilberto Gil and Govetas. It is an album that combines Frisell’s own brand of American roots music and his unmistakable improvisational style with the influences of Brazilian, Greek and Malian sounds. The Washington Post called it, "A remarkable achievement - a hybrid that somehow both respects and transcends the styles involved..... with a sort of earthy, relaxed feeling - it's country music from the global village." Post Frisell’s 2004 Nonesuch release, Unspeakable, featuring his long-time rhythm section of Tony Scherr and Kenny Wollesen as well as percussionist Don Alias, horn arrangements by Steven Bernstein, and Frisell’s string writing for the 858 strings of Jenny Scheinman, Eyvind Kang and Hank Roberts is "a revisiting of an old friendship that stretches back 20 years: a partnership with producer Hal Willner. Taking fragments of obscure vinyl records as a launching point, the duo traverses a landscape that passes, in an almost hallucinatory way, through myriad styles." - Billboard. The Observer describes it this way: "The brilliant 53-year old guitarist embraces a jazzy kind of post-rock whose most immediate point of reference is the electric Miles Davis. It's a multi-textured, multi-hued disc that never sees Frisell sacrifice his impeccable technique, or neglect the deep structure of his songs, but never sees him forget to have fun either." And the Sunday Independent had this to say about it: Unspeakable radiates the kind of authority that only absolute confidence in the primacy of melody and feel in music can confer." It won a Grammy award in 2005 for Best Contemporary Jazz recording. East/West is a double-live CD featuring Frisell's two working trios. "West" features Bill's trio with Viktor Krauss and Kenny Wollesen and was recorded at Yoshi's in Oakland. "East" features Frisell's other working trio with Tony Scherr and Kenny Wollesen. It was recorded at the Village Vanguard in New York City. Further East/Further West offers additional material by these two trios available in download format only. Produced by Lee Townsend, described it as follows. "The two trios are vastly different. In general terms, the Krauss trio works by accumulation and aims to mesmerize, while the Scherr trio operates much closer to traditional jazz... Wolleson, essentially a groove player in the Krauss trio (and a monstrously good one), becomes an interactive, improvising presence in the Scherr trio..... In both settings Frisell is a wonder.... For any skeptics of modern jazz, this should be required listening... one of the best of his career." His album, Bill Frisell, Ron Carter, Paul Motian (Nonesuch), a collaboration with two musicians who Bill considers to be true mentors and inspirations, represents a personal milestone for him. All About Jazz described it as "A gorgeous, restrained meeting of the minds, this recording embodies fine, subtle improvisations from three of today's most iconic players." History, Mystery, nominated for a Grammy award in Best Instrumental Jazz category and featuring an octet of strings, horns and rhythm section with some of his closest music collaborators, it explores a fuller palette of compositional colors and timbres than any Frisell has previously written for. "The whole album stands as yet another testament to the man's place at the very epicenter of modern American music." - BBC. The recent collection titled The Best of Bill Frisell, Vol 1: Folk Songs is the first in a series of compilations, this one drawn from Frisell's catalog spotlighting his idiosyncratic excursions into country and traditional folk. Disfarmer features long-time colleagues Greg Leisz, Jenny Scheinman and Viktor Krauss and was inspired by the photographer Mike Disfarmer. "Frisell's pacing is magnificent, and the album sweeps along with purpose like a gorgeous, spacious epic. It is full of sounds that suggest settings and characters, including the mysterious eccentric who inspired the recording." - The Houston Chronicle After 22 years of a fruitful relationship with Nonesuch records dating from the late ‘80’s, Frisell has embarked on an exciting new chapter with the Savoy Label Group. For his first album for the label, Beautiful Dreamers features a trio Eyvind Kang on viola and Rudy Royston on drums. The material consists of a number of Frisell originals plus interpretations of such classic songs as “It’s Nobody’s Fault But Mine”, “Tea for Two”, “Goin’ Out of My Head”, “Keep on the Sunnyside” and a rousing rendition of Benny Goodman’s “Benny’s Bugle". “This record doesn’t really sound much like jazz as much as compelling, emotionally resonant, genre-free music. Sure, it swings in places, and there’s some fiery improvisation. But after decades of trodding such a brave and singular path, maybe Frisell deserves his own genre. How about ‘friz’?” Financial Times (London). Frisell’s second album for Savoy Jazz, Sign of Life, with his 858 Quartet featuring Jenny Scheinman (violin), Eyvind Kang (viola) and Hank Roberts (cello) finds him exploring chamber-group dynamics and interplay on a set of all-Frisell original material in a seamless concoction of all composition and improvisation. “Of the many families of musicians that nourish Frisell’s music, the 858 Quartet is among the most satisfying yet least recorded. So make the most of this endlessly varied, gloriously inventive music ... Most of all, it’s music retains that classic Frisell feel of melancholic optimism... and in its humility and generosity stands prouder and than music that swaggers and brags.” Jazzwise (UK) In 2011, Frisell assembled a trusted ensemble consisting of Greg Leisz (guitars), Jenny Scheinman (violin), Tony Scherr (bass) and Kenny Wollesen (drums) to record his take on the classic songs of John Lennon. The project had long been in the works—one could go as far back as the first time he heard the Beatles at the age of 13. Fast forward a few decades and Frisell was asked to put together a performance in honor of Lennon as part of a special event in Paris. The arrangements and interpretations came to fruition with this project on All We Are Saying... (Savoy Jazz) “This is a glorious hymn to the art of playing together, of which Lennon would surely approve." - The Independent (London) Collaborative Projects: Floratone II is Frisell's newest offering to be released in March, 2012, with the cooperative group of the same name featuring collaborators Matt Chamberlain, Lee Townsend and Tucker Martin. Their debut album was described as a "studio-collaged musical masterpiece" - (Guitar Player) and "some of the most riveting music to emerge this year." - NPR Frisell’s collaboration with Brazilian singer-songwriter and multi-instrumentalist Vinicius Cantuaria, Lágrimas Mexicanas (E-one), has been described as “warm, sexy and visionary” All Music Guide. Drawing heavily from Brazilian and Latin rhythms and blending them with contemporary ambient sonic effects, they create a fresh new brew of multi-cultural music. Frisell’s collaborative project with drummer Matt Chamberlain and producers Lee Townsend and Tucker Martine, Floratone (Blue Note), is a groove-based and textural extravaganza, described by Guitar Player as "a modern masterpiece and one of the best recordings of 2007". Frisell’s 2003 recording with Petra Haden, the self-titled Petra Haden and Bill Frisell, is a collection of their interpretations - some sparsely arranged and others more lushly orchestrated - of songs by Elliot Smith, Foo Fighters, Tom Waits, George Gershwin, Henry Mancini, Stevie Wonder, traditional material, as well as songs written by Frisell and Haden. Frisell, who had known and played with Petra’s father Charlie Haden for many years, was captivated when he went to see Petra perform in Seattle. The two began talking, occasionally performing together, and eventually they began work on their CD, produced by Lee Townsend. It has been described as "a gem of an album" by the Star Bulletin. Other projects include a Burt Bacharach - Elvis Costello CD, The Sweetest Punch, on Decca which features Frisell's arrangements of the same 12 tunes Elvis and Burt recorded together on their pop record for Mercury, Painted From Memory. The record was produced by Lee Townsend and features Bill on guitar, Viktor Krauss on bass, Brian Blade on drums and a horn section comprised of Curtis Fowlkes on trombone, Ron Miles on trumpet, Don Byron on clarinet and Billy Drewes on saxophone. Cassandra Wilson and Elvis Costello lend vocals to a couple of tracks. In September 1998 Nonesuch released a duo recording of jazz standards by Frisell and labelmate pianist Fred Hersch entitled Songs We Know. In 2002, Frisell was appointed the musical director of Century of Song by artistic director Gerard Mortier and Chief Dramaturg Thomas Woerdehoff for the 2003-2004 seasons at the Ruhr Triennale Arts festival in Germany. The celebrated series of programs featured guest songwriters, interpreters and performers in collaboration with Frisell not only to investigate their own bodies of work, but to bring a fresh perspective to songs and songwriters that have been influential upon their own music, as well. Guests included Elvis Costello, Suzanne Vega, Van Dyke Parks, Loudon Wainwright III, Rickie Lee Jones, Vinicius Cantuaria, Vic Chesnutt, Ron Sexsmith, Jesse Harris, Petra Haden and Marc Ribot with band members being specially selected for each program. With Lee Townsend producing, the concerts took place in former industrial spaces that have been converted into performance venues in the Ruhr region of Northern Germany. Moviegoers will hear Frisell playing alongside Bono, Brian Eno, Jon Hassell and Daniel Lanois on the soundtrack of Wim Wenders' film, Million Dollar Hotel, starring Mel Gibson with a screenplay by Bono. He is also a featured player on the T-Bone Burnett soundtrack for Walk the Line, the biographical motion picture about Johnny Cash. In addition, Frisell composed the score and performed on the soundtracks of the following productions: The independently produced feature film entitled All Hat directed by Leonard Farlinger; Double Lives, a documentary film directed by Ruby Yang; American Hollow, an HBO documentary special by Rory Kennedy; two Gus Van Sant films - Finding Forrester and the remake of Psycho; La Scuola by Italian filmmaker Daniel Luchetti; Gary Larson's animated television project "Tales From The Far Side." ; and two public radio series - The DNA Files and Stories from the Heart of the Land. Awards Frisell has won numerous awards over the course of his career, a list of which can be viewed at the following link. Here is a timeline of lesser known important musical events leading up to the time when Bill Frisell began to record more extensively in the 80's. This is not meant to be a complete biography - Bill used his not so good memory for most of this. It may not be completely accurate but should give a pretty good approximation. 1951 Born in Baltimore, Maryland, March 18 Moved with his parents to Denver, Colorado 1953 Bill's brother Robert Benjamin was born (June 3) 1955 Built his first guitar out of a piece of cardboard and some rubber bands for strings after being inspired by Jimmy, leader of the Mousekateers on the Mickey Mouse Club TV show. 1960 Began study of the clarinet. Joined the "Gold Sash Band," a marching and concert band he would be involved in for eight years. Studied clarinet privately with Jack Stevens, the band's director. It was here where he really learned the fundamentals of music. Also played clarinet in the Teller Elementary School band directed by Jack Fredrickson. 1962 Bill really looked up to his older friend George Kawamoto, who lived across the street. George was playing guitar by this time and Bill wanted to also. The first things he tried to learn were by the Ventures and the Astronauts. Got his first "real guitar" for Christmas - a 20 dollar archtop. 1963 Bought his first record "Little Deuce Coupe/Surfer Girl", by the Beach Boys, a 45 rpm single. Entered Gove Jr. High School. Played in the school band directed by Charles Fields. Began playing tenor saxophone. 1964 Traveled to New York for the first time to perform at the World's Fair with the "Gold Sash Band." Saw the Beatles on the Ed Sullivan Show. Took some guitar lessons from Bob Marcus at the Denver Folklore Center. This was a fantastic music store, record shop, concert hall, and meeting place for musicians, where he heard about Paul Butterfield, Otis Spann, Junior Wells, Buddy Guy, Elizabeth Cotton, and many others. It was here where he heard Frank Zappa's "Freak Out" album for the first time. 1965 Bought his first electric guitar with money earned on a paper route (Fender Mustang guitar and Deluxe amp) at Happy Logan Music. Went to Herman's Hermits concert (first live concert). Started first band with Greg Jones on drums and Tony Eberhart on guitar ("The Weeds"). 1966 Started going to many more live concerts (Buffalo Springfield, Bob Dylan, Jimi Hendrix, Paul Butterfield, Ravi Shankar, James Brown). Started East High School and continued playing clarinet in the school band directed by Vincent Tagliavore. Other East High students included Philip Bailey, Larry Dunn, and Andrew Wolfolk who were in a band called the "Mellow Mystics." After high school, they all went to Los Angeles and joined "Earth Wind and Fire." 1967 Began clarinet studies with Richard Joiner of the Denver Symphony. Learned Wes Montgomery's "Bumpin On Sunset" and performed it at the all school talent show with Mike Ringler on drums and Bob Chamberlain on bass. This eventually evolved into the "Soul Merchants" with Chauncy Blakely or Victor Cooper on vocals, Keary Nitta, tenor sax, Rick Yamamoto, alto sax, and Ken Wright, trumpet. Played songs by James Brown and The Temptations at school dances and fraternity parties. Went to "Interlochen Arts Academy" for the summer. Went to more concerts: Big Brother & the Holding Company, Sons of Champlin, Electric Flag, Chuck Berry, Canned Heat, Blue Cheer... 1968 Played in the "McDonald's All American High School Band" at the Rose bowl Parade in Los Angeles and the Thanksgiving Day Parade in New York. Went to a Charles Lloyd concert. The band included Keith Jarrett, Ron McClure, and Paul Motian. Heard Gary Burton, Thelonious Monk, Cannonball Adderley, and Dionne Warwick at a jazz festival at Red Rocks Amphitheater. 1969 Began guitar lessons with Dale Bruning who brought to his attention Charlie Parker, Sonny Rollins, Jim Hall, Bill Evans, Charles Ives and so many others for the first time. Bruning helped Bill apply many of the theoretical things he had learned on clarinet to the guitar and opened up the whole world of jazz. His parents moved to South Orange, New Jersey, just outside of New York City. Made his first visit to the Village Vanguard where he would eventually hear Charles Mingus, Roland Kirk, Gary Burton, Thad Jones&Mel Lewis, Elvin Jones, Dexter Gordon, Charlie Rouse, Hank Jones, Freddie Hubbard, Sonny Rollins, and Chick Corea. Went to hear Lou Rawls and Al Kooper in Central Park instead of going to Woodstock. Started studies at the University of Northern Colorado as a music major on clarinet. Played tenor saxophone and guitar in the big bands. 1970 With UNC Jazz band went to intercollegiate jazz festivals in Salt Lake City, Utah and Champaign Urbana, Illinois. Won outstanding soloist awards at both festivals. Judges included Quincy Jones, Gary Burton, Oliver Nelson, Cannonball Adderley, Benny Carter. Continued studies with Dale Bruning. Also studied with Johnny Smith at UNC. Heard Miles Davis Group with Gary Bartz, Michael Henderson, Jack DeJohnette, Airto, and Keith Jarrett. Played in the group "Joshua" with other UNC students - Lyle Waller-trombone, John Sherberg-electric piano, Bob Gillis-trumpet, Keary Nitta-saxophone, Fred Hamilton-bass, Alan Aluisi-drums. 1971 Decided to stop playing clarinet and saxophone and to concentrate on the guitar only. Jim Hall came to Denver to play for a week at the Senate Lounge with Bill's teacher Dale Bruning on bass and guitar. Bill met Jim for the first time there. Attended Berklee College of Music in Boston for one semester. Went to the Jazz Workshop and Paul's Mall in Boston for the first time where he would eventually hear Hubert Laws, Herbie Hancock, Larry Corryell, Jack DeJohnette, Dave Liebman, McCoy Tyner, Anthony Braxton, Sonny Rollins, the Tony Williams Lifetime, Bill Evans, the MJQ, Pat Martino, Ron Carter, Dave Sanborn, B.B. King, James Cotton, Pat Metheny, Stuff, Gary Burton, and others. Heard Jim Hall and Ron Carter Duet at "The Guitar" in New York City. 1972 Studied for eight weeks with Jim Hall in NYC. Heard Sonny Rollins at the Village Vanguard. Moved back to Colorado and continued studies with Dale Bruning. Played in the "Bermuda Brass," a small big band that played Glenn Miller arrangements. The Bill Evans Trio performed for a week at the "Senate Lounge" - Bill was there almost every night and had the opportunity to meet him. Taught guitar lessons at Gordon Close's Melody Music. One of Bill students at the time was Kenny Vaughn, a great guitarist now living in Nashville who plays with Lucinda Williams and many others. 1973-74 Continued teaching, performed jazz gigs around Denver with Bob Gillis and Dale Bruning at places like the Folklore Center, Global Village, Downstairs Lounge. Recorded a few local commercial jingles, went to jam sessions, and played shows with Rod McCuen, Frank Gorshin. Met and played a lot with Mike Miller, a guitarist who influenced Bill a lot at the time. 1975-77 Returned to Boston and the Berklee College of Music where, on the first day, he met Kermit Driscoll. He also met and played with Tiger Okoshi, Pat Metheny, Mike Stern, Vinnie Johnson, Vinnie Colaiuta, Tommy Campbell, Leni Stern, Joe Lovano, Hank Roberts, Lowell Davidson, Donald Rubinstein. Studied jazz guitar with John Damian and arranging and composition with Mike Gibbs and Herb Pomeroy. Played in a top 40 band, "The Boston Connection," with Kermit Driscoll and Vinnie Colaiuta. Played often at "Michael's" and "Pooh's Pub." Heard Michael Gregory Jackson who's way of playing would be very influential. 1978 Moved to Belgium to play in a band with Steve Houben, Greg Badolato, Vinnie Johnson, Kermit Driscoll, resulting in first record, "Mauve Traffic." Began writing his own music. Met Carole D'Inverno who he would marry one year later. Heard Ornette Coleman at the North Sea Jazz Festival. On two separate occasions during the festival Ornette approached Bill and asked, "Where did you get that Coke?" and "What's back here?" Toured England with Mike Gibbs' Orchestra which included Charlie Mariano, Kenny Wheeler, and Eberhard Weber. Recorded on Eberhard Weber's "Fluid Rustle" with Gary Burton for ECM. This is where Bill first met Manfred Eicher. 1979-80 Moved to New Jersey/New York City area. Met and played with D. Sharpe, Bob Moses, Percy Jones, Mike Clark, Dave Samuels, Julius Hemphill, Billy Drewes, Tom Rainey, Scott Lee, Ratzo Harris, Nick Pike... Played club dates, weddings... Played with "Men Working" with Alan Brower. Recorded with Chet Baker in Belgium. Played at NY clubs "7th Avenue South" and "55 Grand St." 1981 On Pat Metheny's recommendation, Bill played with Paul Motian for the first time. Toured Europe as a duo with Eberhard Weber. Met Thomas Stöwsand who worked at ECM at the time and is now Bill's European agent. At ECM he also met Hans Wendl who later worked as Bill's manager and now handles his publishing. First European tour with Paul Motian and recording of Motian's album "Psalm" for ECM. Also recorded "Paths, Prints" with Jan Garbarek. Recorded a track on "Amarcord Nino Rota," his first recording under his own name and first of many collaborations with producer Hal Willner. 1982 Recorded "In Line" for ECM, his first album under his own name. Met John Zorn at the Soho Music Gallery where he was working at the time. 1983 Met Bob Hurwitz who worked for ECM in New York. Bob would later take over Nonesuch Records. 1984 Recorded "Rambler"... Toured with Julius Hemphill 1985 Daughter Monica Jane was born... 1986 Played duet concert with Jim Hall at Walker Art Center in Minneapolis. Started the first band under his own name with Kermit Driscoll, Joey Baron, and Hank Roberts. Recorded "Lookout For Hope," his first band record and first time he worked with Lee Townsend as producer. Lee is now Bill's manager. 1987 Left ECM and began present relationship with Nonesuch Records. Performed at the Knitting Factory in New York playing the music of Robin Holcomb with Doug Wieselman and John Zorn's composition "Hu Die" with Fred Frith and Ruby Chang during the Knitting Factory's first series of concerts. 1988 Bill's friend, Betty Berkin, gave him a John Hiatt record, "Bring the Family" with Jim Keltner, Ry Cooder, and Nick Lowe. He became a big fan of all these guys 1989 Recorded "Is That You?" with Wayne Horvitz as producer for the first time Moved with his family to Seattle. Since then, Bill's work has been very well documented on his many recordings. His performance schedule has been more and more taken up with his own projects. He continues to play with Paul Motian's Trio with Joe Lovano and has also performed with Jim Hall, Don Byron, Ginger Baker, Charlie Haden, David Sanborn, Marianne Faithful, Elvis Costello, Ron Carter, and the Hal Wilner produced tribute to Harry Smith. He performed Steve Mackey's composition "Deal" at Carnegie Hall with the American Composers Orchestra conducted by Dennis Russell Davies and in Los Angeles with members of the L.A. Philharmonic conducted by Esa-Pekka Salonen. As he is also becoming more active as a film composer, Bill's music can be heard in Gary Larson's "Tales from the Farside," Gus van Sant's "Psycho" and "Finding Forrester," Rory Kennedy's documentary for HBO, "American Hollow," and Wim Wenders's "Million Dollar Hotel" (with Brian Blade, Jon Hassell, Bono, Daniel Lanois, Brian Eno, Greg Cohen, and Adam Dorn.) He has also written music for the Frankfurt Ballett and the ACT Theatre's production of "Temporary Help." He has been featured on TV on "Night Music," "The Tonight Show with Jay Leno," and "Sessions at West 54th Street." When he's home, he likes to play at clubs like "The Tractor Tavern". He continues to work with Wayne Horvitz and Robin Holcomb - and it was in the Northwest where he had the opportunity to meet many musicians and artists who have been an inspiration, such as Eyvind Kang, Michael Shrieve, Kevin Sawka, Danny Barnes, Keith Lowe, Christos Govetas, Martin Hayes, Boubacar Traore, Sidiki Camara, the film director Gus van Sant, cartoonists Jim Woodring and Gary Larson, the painter Claude Utley and so many others. Since then, Bill's work has been very well documented on his many recordings. His performance schedule has been more and more taken up with his own projects. He continues to play with Paul Motian's Trio with Joe Lovano and has also performed with Jim Hall, Don Byron, Ginger Baker, Charlie Haden, David Sanborn, Marianne Faithful, Elvis Costello, Ron Carter, and the Hal Wilner produced tribute to Harry Smith. He performed Steve Mackey's composition "Deal" at Carnegie Hall with the American Composers Orchestra conducted by Dennis Russell Davies and in Los Angeles with members of the L.A. Philharmonic conducted by Esa-Pekka Salonen. As he is also becoming more active as a film composer, Bill's music can be heard in Gary Larson's "Tales from the Farside," Gus van Sant's "Psycho" and "Finding Forrester," Rory Kennedy's documentary for HBO, "American Hollow," and Wim Wenders's "Million Dollar Hotel" (with Brian Blade, Jon Hassell, Bono, Daniel Lanois, Brian Eno, Greg Cohen, and Adam Dorn.) He has also written music for the Frankfurt Ballett and the ACT Theatre's production of "Temporary Help." He has been featured on TV on "Night Music," "The Tonight Show with Jay Leno," and "Sessions at West 54th Street." When he's home, he likes to play at clubs like "The Tractor Tavern". He continues to work with Wayne Horvitz and Robin Holcomb - and it was in the Northwest where he had the opportunity to meet many musicians and artists who have been an inspiration, such as Eyvind Kang, Michael Shrieve, Kevin Sawka, Danny Barnes, Keith Lowe, Christos Govetas, Martin Hayes, Boubacar Traore, Sidiki Camara, the film director Gus van Sant, cartoonists Jim Woodring and Gary Larson, the painter Claude Utley and so many others.

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7. Juicy Magazine, Rah Diggah, Jeremy Burnett, S.I.S Panel, and more!

Juicy Magazine, Rah Diggah, Jeremy Burnett, S.I.S Panel, and more!

Celebrity News with Juicy Magazines Taiia Smart Young. Ms. young understands the complex pressures facing teens and young adults.Many youths believe adults are “out of touch” with their lifestyle, music, clothing choices and addiction to sending texts at the dinner table. Taiia Smart Young is a pop culture, media and gadget junkie who’s learned that the best way to connect with youths is to listen to them talk about bullying, depression, violence and fitting in without judging them, dismissing their concerns—or worse, saying something annoying like, “When I was your age…”Unless you grew up with Facebook bullies, Twitter beef and the need for instant gratification via checking the number of likes your latest selfie racked up on Instagram—you were never really their age.Taiia knows today’s teens are different from their parents. Their challenges are different. Their communication tools are different. Their career choices are different. And Taiia is a different kind of youth motivational speaker.She mixes humor, personal stories, pop culture and messages about finding your true identity to motivate youths to make smart choices and take charge of their lives. Taiia mentors and speaks to many young people and has worked with organizations like Year Up, Hip Hop 4 Life, Moving Mountains and Girls Incorporated; and schools such as Community Partnerships Charter School, Achievement First Crown Heights Charter School and Mott Hall Bridges Academy; and colleges such as Pace University and Johnson C. Smith University. She delivered the keynote speech for the Girls Run the World! back-to-school event in 2012. Actor Jeremy Burnett : Jeremy Burnett Actor Recently booked Bravo Network’s newly scripted comedy Odd Mom Out co starring as a Climbing Coach. Recently aired :HBO’s The Leftovers Episode 5 and 7 recurring co-star, Blue Bloods Episode 415 “Open Secrets”, as a Uniform Cop, The Blacklist co-starring as a Strip club worker. S.I.S ( Sisters in Sprit Panel) Vanessa Cunningham is a Huffington Post contributor, nutrition & wellness expert of Unhealthy No More, Inc., best selling author, writer and speaker. A graduate of Pace University, she also studied at the Institute of Integrative Nutrition. She helps busy professional women reduce stress, banish unhealthy cravings, lose weight and increase their energy levels. Through her one-on-one coaching programs, dynamic workshops and scintillating blog posts, she empowers her clients to thrive at work and in life. She has also been featured on U.S. News Travel, CNN iReport, Black Enterprise, Essence, MommyNoire, Everything Girls Love and MindBodyGreen. Her adoring clients have called her a "tell it like it is coach" and a "transformational coach." And when she’s not teaching busy professionals how to live a balanced life and fit healthy living into their hectic schedules, you can find her indulging in self-help books, hanging out with her friends in NYC, or with her family in Long Island. Meet Vanessa and get ready to live a life of vibrant health and happiness instead of living stressed and overwhelmed by visiting her page at Novee Rose: Novia Rose is an Alumna of SUNY Oswego, where she received a Bachelor of Arts in Broadcast / Communications. Sje have worked in NPR, in addition to her involvement with an organization called Northern Belle, LLC. Currently,she is the Associate Entertainment Editor for Yandy Smith’s ‘Everything Girls Love’. The World of Entertainment has always captivated and her passion for it continues to grow as she develop through her experiences with the company. While working in this field continues to bring her many blessings, she have developed another passion, which is highlighting women in the industry. Often times, people do so much and hold many different responsibilities [within major businesses. Unfortunately that doesn’t always come with the proper recognition. That’s what she's here for! We all know and love who is front of the camera, but we should also recognize the people who work tirelessly to make things happen on a daily basis! her ultimate goal is to spotlight all Women In Entertainment! Tania of the Scene: Tania L. Breton, aka “Tania On The Scene,” was born and raised in Springfield Gardens, Queens, NY. While attending York College, Tania worked as a staff writer for the college’s paper, “Pandora’s Box.” After three years of dedicating herself to the craft, she worked her way up to becoming the sports editor. While she did enjoy her experience in her editorial role, she still was not entirely satisfied, and yearned for more, beyond the bounds of print journalism. Eventually, she found herself interning at “Transit, Transit” and “PIX11” during her senior year. Her final year of college was when she discovered her passion: broadcast journalism. She graduated with a Bachelor’s degree in English and a minor in Journalism. From an early age, Tania naturally developed a passion and ease for being in front of the camera as her father hosted the first Caribbean sports broadcast show on television on the QPTV network – “Le Journal Sportif.” As a scion of the trade, Tania honed her persona by seeking to adopt and perfect the nuances of engaging the camera and cultivating a personality that audiences would embrace. She learned how to carefully cultivate her image “on the job”, and benefited tremendously from being under her father’s tutelage. Her wit, dedication, and spunk got her a job offer upon graduation at PIX11. She is currently working at PIX 11 Morning News in NYC as an entertainment/digital producer. She also writes stories for the LIVE show, has been a traffic producer, produced different segments (e.g. Free Friday, or other entertainment segments), medical segments for 15 other affiliate stations throughout the U.S., and has worked as a desk assistant. Additionally, she has had some of her celebrity interviews featured on the PIX11 website. While working at PIX11, Tania is also a feature writer and correspondent for “This Is 50” comedian, Jack Thriller, She was also the Editor-in-Chief of the online magazine, GraeGram, which is a lifestyle magazine that caters to entrepreneurs. Additionally, she also became a correspondent for the online magazine, Fuzion, doing feature pieces and hosting different entertainment events. After some careful deliberation and earnest soul-searching, Tania decided to fully commit herself to embracing her destiny by recently launching her website to promote the on-camera work that she is currently engaged in, with aspirations on broadening her brand. Her focus is on becoming a host and having her own show; she decided to birth a platform for everyone to be able to view all of her interviews that she’s covered, and to witness what she anticipates as just the beginning of her ascent. Rah Digga : One of the most respected and premier mc's - regardless of gender - Rashia Fisher aka Rah Digga, has been legendary. She started off the only female member of New Jersey's acclaimed hip hop group, Da Outsidaz, where she also met future husband, Young Zee. Rah exploded on the music scene when she caught the eye of A Tribe Called Quest's Q-Tip, who introduced Rah to Busta Rhymes, who brought her onboard as the only female member of his Flipmode Squad. It wasn't long before Rah would be featured on some of hip-hop's most ground-breaking and influential projects, from Grammy winners and nominees to platinum juggernauts to gold gems, including: The Fugees' The Score ("Cowboys"); DJ Clue's The Professional, Pt. 2 ("Getting It"); several Busta projects - When Disaster Strikes("We Could Take It Outside"), Genesis ("Betta Stay Up in Your House"); and It Ain't Safe No More ("I Know What You Want"), just to name a few. Following Rah and the Flipmode Squad striking gold with The Imperial Album, and winning the Source Hip Hop Music Award for Best New Group, in 2000 she finally released her solo project, Dirty Harriet. A critically-acclaimed debut, it would produce several chart-topping singles - "Imperial" (featuring Busta), "Tight", "Break Fool" and "Tight The Remix." She also released the hit single, "Party and Bullsh*t" with the heavily spun remix that included Eve and Missy Elliot. Staying true to her roots, Rah has performed consistently on classic "underground" and cutting-edge artist and DJ compilation projects, such as: The Lyricist Lounge Vol. 1 ("Be Ok"); the anti-police brutality Hip Hop For Respect, in memory of Amadou Diallo; Talib Kweli's Reflection Eternal/Train of Thought ("Down for the Count"); DJ Whoo Kid & Lloyd Banks' Money in the Bank ("Party Over Here"), and many others. In addition, Rah has worked with some of hip hop's top producers, including: Rockweilder, Primo, Pete Rock, Scott Storch and Jus Blaze. Over the last ten years she has also revealed yet another great talent - acting. Starring alongside Beyonce and Wyclef Jean, Rah made her debut in MTV's Carmen: A Hip Hopera. She was also able to display her comedy skills as a guest star on FOX's "MAD TV." Though she was featured in two hip hop documentaries, Rah made her acting film debut in Thirteen Ghosts. Now, Ten years after her solo gold solo debut, Dirty Harriet, Rah Digga is going back to her hip-hop roots with her new album "Classic". This album, produced by hip-hop super-producer Knotts, is Rah Digga at her purest, going back to her B-girl roots, with ten of her most hard hitting and lyrically challenging tracks to date. It is what her fans and fellow artists have been waiting ten years to hear. The return of Rah Digga has been long overdue, and it is finally upon us.

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SPIRIT GUN! [Intro thingy] (1x) We out here all my anime niggas assemble We here to fuck y’all bitches That’s real shit Let’s do it I’m fucking amped Let’s go bro Yeah shit Fuck man Where’s the fucking blow (mysteriously cuts off) [Verse #1] (1x) I’m back on a mission I defer facts from the fiction I’m shooting at them like missiles I hope you’re getting the picture I, roll up with my bitches on a Sunday Get fucked up then repeat it all on Monday Woah Niggas ain’t up on my level you might want to check the score, aye I know that the people are craving, I give them more, aye Catch me at your local beach Chilling right by the shore, aye Acquired all these keys now I’m going to open this door, aye That’s so cool, I never thought you’d notice We all go through pain but never show it Standing strong, and standing tall we on it Your smile will illuminate the darkness This is what I wanted, I never could pass it up, nah I can never quit, imma give it all that I got, uh The haters always hating I guess they won’t ever stop, uh Movin like a boss I’m the nigga that’s calling the shots, uh [Hook #1] (2x) So ill let you know, aye Don’t come around you might fuck up the flow, aye Bravo well done you just put on show, aye I’d probably die if I didn’t let go, aye Out here it’s lonely the world is so cold, aye When I’m out here I do not trust a soul, aye Plain as the day, that I might hit the road, aye our little secret so don’t tell a soul, aye [Verse #2] (1x) Spirit gun I’m aiming at all you niggas I always hit my target, you know I won’t ever miss you Otaku gang shoutout to all my niggas I don’t hate, I’m for better living So on that note I’ll take your attention Schooling niggas like it was dentention Bitches call me senpai on the weekends Take a step back you nigga is tweaking, Someone ought to tell them get the hell out my way Someone ought to tell them get the hell out my face Counting every step, every step that I take, uh I ain’t never stressing bout what’s on my plate, uh Niggas act like bitches so cannot relate, uh Time to go hard while them niggas is hating, uh Ima learn from every mistake that I make, uh One leap of faith and that’s all it takes, uh [Hook #1] (2x) So ill let you know, hey Don’t come around you might fuck up the flow, aye Bravo well done you just put on show, hey I’d probably die if I didn’t let go, aye Out here it’s lonely the world is so cold, hey When I’m out here I do not trust a soul, aye Plain as the day, that I might hit the road, aye our little secret so don’t tell a soul, aye

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9. Blind Cat Black - Poetry Scores (Ece Ayhan)

Blind Cat Black - Poetry Scores (Ece Ayhan)

St. Louis çevresinde takılan “Chris King” ve “Poetry Scores” adlı Amerikan şiir taifesi, Ece Ayhan’ın “Bakışsız Bir Kedi Kara” adlı kitabındaki şiirlerin İngilizce çevirilerini besteledi ve çeşitli şiir okumalarıyla da birleştirerek albümleştirdi. Albüm, “Blind Cat Black” adıyla ABD sokaklarında dolaşıyor… Ece Ayhan’ın “Bakışsız Bir Kedi Kara” ve “Ortodoksluklar” adlı kitapları daha önce Murat Nemet-Nejat tarafından İngilizce’ye çevrilmiş ve Amerika’da “Sun & Moon Press” adlı yayınevi tarafından tek bir kitap olarak yayımlanmıştı. Albümün oluşmasında ve kayıtlarda Murat Nemet-Nejat‘ın payı gene çok büyük… Albümün yapımcılarından Chris King, önümüzdeki iki ay içerisinde albümdeki şarkıları, şiir okumalarını ve çeşitli imgesel öğeleri birleştirip özel bir DVD’nin oluşturacağını da belirtti. Ece Ayhan’ın dizelerinden ve şiirlerinden oluşan “Blind Cat Black” adlı albüm 28 parçalık “şarkı ve şiir okuması”ndan oluşuyor. Albümdeki kayıtlarda şu sanatçılar (ve gruplar) yer almış: Pops Farrar, Michael Cooney, Fred Friction, Three Fried Men, Les Murray, Middle Sleep, Heidi Dean, Tim McAvin. Albümün kapak çizimi ise “Julie Doucet” tarafından yapılmış. Chris King’in, “Ece Ayhan – Bakışsız Bir Kedi Kara” hakkındaki makalesine, 28 parçalık albümün oluşum süreciyle ilgili çeşitli ayrıntılara ve albümde yer alan bazı şarkıların MP3′lerine şu adresten ulaşılabilir: BLIND CAT BLACK – Poetry Scores A man named Zafer Yalçınpınar, a Turkish poet from İstanbul, contacted me very late last night. He and his friends are assembling a website for Ece Ayhan, whose great prose poem Blind Cat Black we scored and released in 2006 with an accompanying art invitational. Zafer asked for an image of the cover of our CD and some information about it. I thought, in addition to sending him what he asked for, I would publish it here as well with a link to his site, the first Turkish website devoted to this complex and important modern poet. I prepared this essay for a deluxe CD package that we decided to forego, letting the stark simplicity of Julie Doucet's amazing drawings (above) speak for themselves. Many of the embedded links in this essay will pop up mp3s for the part of the score being discussed that you may enjoy or even download and keep, though the CD remains in print and may be purchased from us directly or at most independent shops in St. Louis. Thanks to Zafer Yalçınpınar and his friends for reminding me that this essay of mine exists and had never been published! * Blind Cat Black as my invisible dog Ten years and nine lives scoring one poem By Chris King This record began when I had no place to be – no job, no home, no binding attachments of any kind, just a battered old Chevy and friends in many places. One such friend, also free to roam, was Pops Farrar, a retired merchant marine. We ended up, one cold, wet night, on the grounds of an abandoned hippie commune, in central Tennessee. In a cabin home, musicians were improvising on instruments they had made themselves – homemade harps, drums, thumb pianos. In the atmosphere of a dream, I thumbed through my satchel and laid my hand on a book of Turkish poetry, translated by a rug merchant. I handed the book to Pops, who delivered the poetry, in his Ozark drawl. Someone had a field deck running, capturing sound on cassette. In this strange way, we recorded the opening piece of what would become this poetry score and also “The Secret Jew,” which ends, in Pop’s reading, with the line “the brother of my Ex-Mistress (my Corpse) who disappeared.” Pop’s voice, and then the music, disappears. There is a page break in the printed text, which Pops apparently didn’t follow, though the poem continues, with a few difficult lines about a “delicate insect-eyed family mask.” I forgot about the part of the poem that Pops forgot about, until I sat down with Adam Long to master this record, nearly ten years later. One rule we set for ourselves, in poetry scores, is to use every line of the poem, in the order written. Something had to be done with that family mask of insect eyes. By then, Pops himself had disappeared, become a corpse. I called Stefene Russell: cryptic poet, cult film heroine, unpretentious friend. Her voice plugged the hole in the poem, crackling through my cell phone on “That Guy,” over blues licks Tom Hall had originally laid down for the poetry score to Leo Connellan’s Crossing America, which never made it onto that particular journey. By the time this vagrant record finally consented to be completed, I had many possessions and attachments – a cell phone, a house, a wife, a baby, a newspaper job. The other principals in Poetry Scores who were on the road together when we met Murat Nemet-Nejat, the rug merchant translator poet – Lij and Matt Fuller – would also be more settled, by the time Adam and I assembled a final sequence. Poetry Scores, our hobo phantom of the heart, would be in the throes of incorporation, as a non-profit. Murat views the poem as an integration narrative, that moves from outcast to citizen, and in fact we followed a similar arc, in the years we wrestled with the score. Some of the poem’s sadness is to be traced, in our productive changes. We cherish our children like the best of fathers, are happy in our homes, and salute the Poetry Scores board, but we miss the days when we wandered the road, with no place to be that was not of our choosing, piled into a car crammed with recording equipment, looking for musicians to breathe sound into poetry. Lij and I plotted, together, our first poetry score, Crossing America. Matt and I composed, together, the next piece, Go South for Animal Index. It perhaps makes sense that Blind Cat Black, the loneliest poem I have ever known, was left alone, mostly, inside one mind, mine. To borrow an image from the poem, it became “my invisible dog.” Yet, black cats did adopt us, along the way. The final work done on the record was a car jam of Adam’s master that Lij and I did during a Sunday morning drive, in the wilds of St. Louis County, to a state park on a river. Lij admired the tonal balancing act Adam had managed in the mastering process. On the drive back to my house, we passed a handmade road sign for a lost cat – of course, a black cat. The next line on the poetry score spinning out of the CD deck in Lij’s space barge of a family mobile was “where he secretly escaped, a new self-sufficiency,” as if the poem had suddenly taken on the burden of telling the tale of this stray, black cat we had seen advertised on the roadside. I fed my invisible dog unlikely scraps, over the years, always trying to finish this thing. Much of the early work was recorded by Meghan Gohil, in a stately St. Louis apartment building. I dragged Pops Farrar and his wheezing concertina over to The Senate, to collaborate with South City raconteur Fred Friction, who doused his cigarette on his tongue as he entered Meghan’s apartment. Tim McAvin wandered through those sessions, then exited my life and stayed gone for years. As we prepared to release Blind Cat Black, ten years later – and, then perform the score, on a Friday the 13th in the haunted month of October – Tim reappeareded in our band, Three Fried Men, a jumble of music and mysteries, with no memory whatsoever of his performances or his one composition you hear on this record. Roy Kasten and I recorded The Fighting Molly McGuires, a sort of transcontinental roots music supergroup that included All-Ireland piper Michael Cooney. In the session at Roy’s apartment, Cooney unspooled a solo pipes tune. It put me back in Soulard (a section of St. Louis so soused, even its name sounds drunk) in the days when Cooney was the town’s house piper, and the night was longer than it is at present. I thought of a phrase from Blind Cat Black, “from the sea of late hours,” as Cooney played his sea-sick tune. “Your poem is welcome to that particular piece of music,” Cooney said with his gentle brogue, sitting beneath a painting of Cesar Vallejo and an orange. Lij trekked back into the heart of Tennessee to record a fanciful band, which soon after disbanded. David Jelema, a sophisticated clarinetist, had gathered Nashville’s local pop stars (Sam Baker of Lambchop, Seth Timbs of Fluid Ounces) into a jazz workshop. Hearing the rough gusto of mostly brilliant amateurs, rather than the nuance of a polished ensemble, Lij arrayed microphones to print a scratchy, archaic sound, in a recording that was vintage on the day it was made. That hazy version of David Jelema’s “Blackberry Wine” sounded, to me, exactly like “the marching band of his friend and of death,” which the poem told us we needed to find. We had found it. I kept a spot in my heart for another phrase from the poem, “bats without wings; wet guns.” I wrote a punk rock melody for it, which I liked, but the poem didn’t like it. After a puzzling series of adventures, involving a baseball mailed back and forth across the Pacific Ocean, I befriended Australia’s unofficial poet laureate, Les Murray. When we two pen pals later met up, at The Metropolitan Museum of Art in New York City, Les gave me recordings the BBC had made of him, including a piece written and performed in what Les calls “bat English.” It was perfect for that part of the poem; now, we only needed a bed of music for it – or, rather, a bar of music, a bar from which to hang a wingless bat, upside down. Matt and I traveled to San Pedro, with the sentimental motive of recording the basic tracks to our next poetry score, Go South for Animal Index, in the town of the late d. boon, bandleader of The Minutemen. We paid a respectful call to Richard Derrick, a former roommate of d. boon’s, who had recently released some of his dead friend’s rarities. As gifts, Richard sent us away with some other unreleased recordings from his personal archive, experimental rock music from Los Angeles in the early 1980s. One of his projects, called Middle Sleep, recorded on Lookout Mountain in Laurel Canyon, had recorded an improvisation that sounded good for hanging a bat upside down from a snippet. That same piece, played at full length, without distraction of bat English, sounded like madness putting on a porkpie hat. So it became that, too. All this while, in a garage in Los Angeles, Matt Fuller was playing guitar and recording his ideas. He was recording the promising parts and mailing them to me, on cassettes, which would go into my car, wherever I was going, and my invisible dog went along with me, too. A rock riff got snagged on “Epitafio.” Country jangle slid down “the sewers of my veins.” A squiggly blues figure seeped into “the muddy music of the ink squid.” Adam liked so much the accidental hiss and frizzle from that home recording of Matt’s, on a cheap guitar with a loose cord jack, that he purposefully mastered the track to make these incidental noises muddier, inkier, more squiddy. Heidi Dean was always on call, whether she knew it or not, contributing the upper register in my mental mix, and eventually in the studio with her own gracious actual person. She drove her two ridiculously well-behaved dogs, Jim and Georgie, down to Nashville, one of the many times we tried to finish this thing. Matt got on a bird from L.A. We all descended on Lij, the only core member of Poetry Scores still making a living off the music industry. Lij was desperately out of sorts with his job, which is our passion. Lij’s musical contributions to Blind Cat Black date from that dispiriting weekend. When we thought we would be finished, but had barely accomplished anything, Lij took a call from the “It” rock band that was holding him in thrall at the time. The singer belligerently informed Lij that there was too much “breath” in his vocal tracks and that he wanted to re-record everything. Lij’s black mood settled into a deep, dark, hopeless blue, as he set up a microphone to record his own whistling solo on “My Son is a Queen.” This performance expresses exactly what the poem requires at this point: the half-hearted outpouring of a shattered soul. None of this, thus far, is particularly Turkish. Nothing wrong with that. No transgression in asking an outcast poem to travel outside of its own culture, to swap spit with other misfits. Murat himself remarked, at the outset of this project, on the odd affinity of Pops’ soft drawl for the opaque English language poetry Murat had so painstakingly carved out of Ece Ayhan’s dense and idiomatic Turkish. Murat’s own furry, mournful, Turkish Jewish voice makes a pair of cameo appearances, on “A flood of first summer” and “Without wings.” Through the Traditional Crossroads record label in New York – run by an Armenian from Fresno with a sacred love for Turkish music – we found Latif Bolat, another Turk, whose Sufi meditations on oud and piano came (again, from Los Angeles, of all place) like a gift from the gods, to establish musically the Navy blue melancholy of the poem’s closing movement, particularly in “This monster traveler in hashish,” “Mitsrayim” and the final piece in the poem, “Ipecacuanha, the emetic.” In the end, we owe it to the Turks, this sad, necessary feeling, of seeing a friend from a vast distance, after a long, hot, tight time together, knowing your time apart will stretch further into the future than the time together trails behind.

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10. Deuteronomy 26-29 (Firstfruits/Tithes, Stones of Witness, Blessing/Cursing & The Covenant Renewed)

Deuteronomy 26-29 (Firstfruits/Tithes, Stones of Witness, Blessing/Cursing &  The Covenant Renewed)

Deuteronomy 26 - Presenting Firstfruits and Tithes A. Instruction for bringing the firstfruits and tithes. 1. (1-4) Bringing the firstfruits to the priest. And it shall be, when you come into the land which the LORD your God is giving you as an inheritance, and you possess it and dwell in it, that you shall take some of the first of all the produce of the ground, which you shall bring from your land that the LORD your God is giving you, and put it in a basket and go to the place where the LORD your God chooses to make His name abide. And you shall go to the one who is priest in those days, and say to him, “I declare today to the LORD your God that I have come to the country which the LORD swore to our fathers to give us.” Then the priest shall take the basket out of your hand and set it down before the altar of the LORD your God. a. When you come into the land: The Promised Land lay just across the Jordan River, and though there were formidable obstacles (such as a Jordan River swollen by Spring floods and the mighty armies of Canaanites), God still assured them that they will come into the land. b. Some of the first of all the produce of the ground: Numbers 18:12 speaks of the firstfruits that must be regularly brought to the priests, but the firstfruits described here in Deuteronomy 26 seem to be a special offering of firstfruits, from the first of the harvest they gain in the Promised Land. c. Set it down before the altar of the LORD your God: Firstfruit giving obviously honored the LORD, because it gave the LORD His portion off the top, before any was used for one’s self. 2. (5-10) The words of thanks and praise at the giving of firstfruits. And you shall answer and say before the LORD your God: “My father was a Syrian, about to perish, and he went down to Egypt and dwelt there, few in number; and there he became a nation, great, mighty, and populous. But the Egyptians mistreated us, afflicted us, and laid hard bondage on us. Then we cried out to the LORD God of our fathers, and the LORD heard our voice and looked on our affliction and our labor and our oppression. So the LORD brought us out of Egypt with a mighty hand and with an outstretched arm, with great terror and with signs and wonders. He has brought us to this place and has given us this land, ‘a land flowing with milk and honey’; and now, behold, I have brought the firstfruits of the land which you, O LORD, have given me.” Then you shall set it before the LORD your God, and worship before the LORD your God. a. And you shall answer and say before the LORD your God: This wonderful confession of thanks remembered the history of Israel from the time of Jacob and his family in the land of Canaan, to the family’s going down into Egypt, and to the eventual deliverance and Exodus into the Promised Land. b. He went down to Egypt and sojourned there: Israel spent some 400 years in Egypt. Yet in the course of God’s eternal plan, it was nothing more than a sojourn. We can often focus so much on our own time of trial or misery that we think that it defines our whole life; God saw Israel’s experience in Egypt as a sojourn. c. Few in number; and there he became a nation, great, mighty, and populous: This was the major reason God had for sending Jacob and his family on their sojourn in Egypt. When they lived in Canaan, there was great risk of the family just assimilating with the wicked, pagan peoples around them. To prevent this, and to allow the nation to grow, God sent them down to Egypt, which was a very racist society, and who would not intermarry with Israel. Therefore, they could go down there few in number; and there he became a nation, great, mighty, and populous. d. And now, behold, I have brought the firstfruits of the land: This initial giving of firstfruits when Israel came into the Promised Land was an appropriate way to say “thank you” to the LORD. This giving, and all giving done with the right heart, is a proper way to worship before the LORD your God. 3. (11) So you shall rejoice. So you shall rejoice in every good thing which the LORD your God has given to you and your house, you and the Levite and the stranger who is among you. a. Rejoice in every good thing which the LORD your God has given to you: When we receive from the LORD, and give back to Him, it makes us rejoice. It is the proper response of a creature to his Creator, who has supplied him with all good things. 4. (12-15) The prayer for the giving of the tithe. When you have finished laying aside all the tithe of your increase in the third year; the year of tithing; and have given it to the Levite, the stranger, the fatherless, and the widow, so that they may eat within your gates and be filled, then you shall say before the LORD your God: “I have removed the holy tithe from my house, and also have given them to the Levite, the stranger, the fatherless, and the widow, according to all Your commandments which You have commanded me; I have not transgressed Your commandments, nor have I forgotten them. I have not eaten any of it when in mourning, nor have I removed any of it for an unclean use, nor given any of it for the dead. I have obeyed the voice of the LORD my God, and have done according to all that You have commanded me. Look down from Your holy habitation, from heaven, and bless Your people Israel and the land which You have given us, just as You swore to our fathers, ‘a land flowing with milk and honey.’ “ a. When you have finished laying aside all the tithe: The tithe was required of Israel every year, but every third year, the tithe was given not only to the Levites for their support (as was instructed in Numbers 18:21-24), but was to by shared by the Levite, the stranger, the fatherless, and the widow, so they may eat within your gates and be filled. b. Then you shall say: The prayer described here shows that the giving was done with the right kind of heart. God not only wants us to give, but to give with the right heart. i. Right giving is done according to God’s Word: According to all Your commandments which you have commanded me. ii. Right giving is done within the context of a whole life of obedience: I have not transgressed Your commandments, nor have I forgotten them. iii. I have not eaten any of it . . . nor have I removed any of it: Right giving genuinely sets aside what is to be given unto the LORD. iv. Nor given any of it for the dead: Right giving is not done superstitiously; “Putting food in a grave with a dead body was a common Egyptian and Canaanite practice, which is most likely what the Israelites were not to emulate.” (Kalland) v. Look down from Your holy habitation, from heaven, and bless Your people: Right giving is done with the expectation of blessing. B. Moses’ exhortation to Israel. 1. (16) A call to complete obedience. This day the LORD your God commands you to observe these statutes and judgments; therefore you shall be careful to observe them with all your heart and with all your soul. a. This day the LORD your God commands you to observe these statutes and judgments: Deuteronomy 4:1 began this long section with the words Now, O Israel, list to the statutes and the judgments which I teach you to observe. From Deuteronomy chapter 4 through chapter 26, Moses has reminded Israel of God’s commands. Now he exhorted them to keep the commands. b. therefore you shall be careful to observe them: Sometimes we need to be instructed regarding the law of God; sometimes we need to be reminded regarding the law of God. But most often, we need to be exhorted regarding the law of God. We know what to do, but we need to be encouraged to actually do it. 2. (17) Israel’s proclamation. Today you have proclaimed the LORD to be your God, and that you will walk in His ways and keep His statutes, His commandments, and His judgments, and that you will obey His voice. a. Today you have proclaimed the LORD to be your God: Israel was to proclaim two things. First, that the LORD to be their God. Second, that they will walk in His ways and keep His statutes. The two go together, because the identity of our God is always demonstrated by the direction of our obedience. 3. (18-19) God’s proclamation. Also today the LORD has proclaimed you to be His special people, just as He promised you, that you should keep all His commandments, and that He will set you high above all nations which He has made, in praise, in name, and in honor, and that you may be a holy people to the LORD your God, just as He has spoken. a. The LORD has proclaimed you to be His special people: Israel’s obedience to the LORD would be more than rewarded. God promised that He exalt an obedient Israel, to set them high above all nations which He has made, in praise, in name, and in honor. Deuteronomy 27 - Stones of Witness A. A special altar. 1. (1-8) The command to set up a special altar. Now Moses, with the elders of Israel, commanded the people, saying: “Keep all the commandments which I command you today. And it shall be, on the day when you cross over the Jordan to the land which the LORD your God is giving you, that you shall set up for yourselves large stones, and whitewash them with lime. You shall write on them all the words of this law, when you have crossed over, that you may enter the land which the LORD your God is giving you, ‘a land flowing with milk and honey,’ just as the LORD God of your fathers promised you. Therefore it shall be, when you have crossed over the Jordan, that on Mount Ebal you shall set up these stones, which I command you today, and you shall whitewash them with lime. And there you shall build an altar to the LORD your God, an altar of stones; you shall not use an iron tool on them. You shall build with whole stones the altar of the LORD your God, and offer burnt offerings on it to the LORD your God. You shall offer peace offerings, and shall eat there, and rejoice before the LORD your God. And you shall write very plainly on the stones all the words of this law.” a. Keep all the commandments which I command you today: Moses finished his preaching to the people of Israel, so there was nothing more to say, other than the simple encouragement to do what God commanded. It isn’t enough for Israel to be hearers of the word; they must also be doers of the word. b. There you shall build an altar: When Israel came into the Promised Land, they were to build a special altar. It was to be made of natural stone, with no iron tool used to carve the stones. With these whole stones making up the altar, they were also to write very plainly on the stones all the words of this law. i. This was a special altar. It was clearly to be used for sacrifice (You shall offer peace offerings), but it was also to be a memorial of the law of Moses, and his great sermon to Israel in the book of Deuteronomy. ii. This command was obeyed by Joshua in Joshua 8:30-32; there, at Mount Ebal, in the Promised Land, Joshua in the presence of the children of Israel . . . wrote on the stones a copy of the law of Moses, which he had written. iii. Probably, what was written was the summation of the law contained in the Ten Commandments. c. An altar of stones; you shall not use an iron tool on them: This was commanded because God did not want the glory of the stone carver to be the center of attention at His altar. God, at His altar, will share glory with no man - the beauty and attractiveness would be found only in the provision of God, not in any fleshly display. d. You shall whitewash them with lime: So the words could be easily seen, they were to whitewash them with lime. Anything we can do to make God’s word more accessible to others is a good thing, as long as the integrity of God’s word is preserved. i. Any time God’s word is presented, it must be presented very plainly. Every preacher and teacher must endeavor to make the Word of God plain. 2. (9-10) This day you have become the people of the LORD your God. Then Moses and the priests, the Levites, spoke to all Israel, saying, “Take heed and listen, O Israel: This day you have become the people of the LORD your God. Therefore you shall obey the voice of the LORD your God, and observe His commandments and His statutes which I command you today.” a. Then Moses and the priests, the Levites, spoke to all Israel: Much of the book of Deuteronomy is written after the same pattern as ancient agreements between kings and their subjects. Here, the idea is clear: God is the king, and the people of Israel are His subjects. He has told them what He expects of them, and what they may expect from Him. b. This day you have become the people of the LORD your God: Now that the agreement was settled and this could be said to Israel. The contract was signed and Israel willingly submitted itself to the LORD God, recognizing Him as their king. c. You shall obey the voice of the LORD your God, and observe His commandments and His statutes: If the LORD is our king, then it is fitting that we obey Him this way. Moses, and all the leadership of Israel simply declared a fact that was obvious to everyone. B. The command to announce the curses from Mount Ebal. 1. (11-13) The division of the tribes between the two mountains. And Moses commanded the people on the same day, saying, “These shall stand on Mount Gerizim to bless the people, when you have crossed over the Jordan: Simeon, Levi, Judah, Issachar, Joseph, and Benjamin; and these shall stand on Mount Ebal to curse: Reuben, Gad, Asher, Zebulun, Dan, and Naphtali.” a. These shall stand on Mount Gerizim . . . and these shall stand on Mount Ebal: When Israel came into the Promised Land, they were to separate the tribes according to these two groups. One group would gather on Mount Gerizim, and they would bless the people. The other group would stand on Mount Ebal and they would curse those who disobeyed the law of God. b. To bless the people . . . to curse: This dramatic scene was fulfilled in Joshua 8:32-35. In Joshua’s day, it happened after a bitter defeat, then a dramatic repentance and recovery at Ai (Joshua chapters 7 and 8). After the victory at Ai, Joshua wanted to do everything he could to walk in obedience, so he led the nation in obedience to this command in Deuteronomy 27. i. In this, Joshua was showing himself to be a man of the Book, and Israel a people of the Book; they would order their lives after God’s Word. This was done even at some cost or inconvenience; the distance from Ai to Ebal and Gerizim was not small distance to move all the tribes of Israel (from 20 to 25 miles). ii. The rest of the chapter declares the curses; but where is the declaration of blessing? “The absence of a list of blessings may simply mean that they were omitted, since they would have corresponded with the curses except that they negatived everyone in turn. Those who were blessed did not offend in the areas in which those who were cursed did.” (Thompson) c. These shall stand on Mount Gerizim . . . and these shall stand on Mount Ebal: God commanded this “open-air-audience-participation-sermon” to happen at Mount Gerizim and Mount Ebal for several important reasons. i. This would be a beautiful place to do this. The whole nation could hear this reading of the Law, because the area has a natural amphitheater effect because of the contour of the hills. ii. Because Gerizim and Ebal were in the geographic middle of the Promised Land, Israel had to control the middle of Canaan and the highlands to have the luxury of such an assembly at these mountains. iii. Finally, the mountains themselves were pictures of blessing and cursing: “On all hands it is allowed that Gerizim abounds with springs, gardens, and orchards, and that it is covered with a beautiful verdure, while Ebal is as naked and barren as a rock.” (Clarke) 2. (14-26) The declaration of the curses. And the Levites shall speak with a loud voice and say to all the men of Israel: “Cursed is the one who makes a carved or molded image, an abomination to the LORD, the work of the hands of the craftsman, and sets it up in secret.” And all the people shall answer and say, “Amen!” “Cursed is the one who treats his father or his mother with contempt.” And all the people shall say, “Amen!” “Cursed is the one who moves his neighbor’s landmark.” And all the people shall say, “Amen!” “Cursed is the one who makes the blind to wander off the road.” And all the people shall say, “Amen!” “Cursed is the one who perverts the justice due the stranger, the fatherless, and widow.” And all the people shall say, “Amen!” “Cursed is the one who lies with his father’s wife, because he has uncovered his father’s bed.” And all the people shall say, “Amen!” “Cursed is the one who lies with any kind of animal.” And all the people shall say, “Amen!” “Cursed is the one who lies with his sister, the daughter of his father or the daughter of his mother.” And all the people shall say, “Amen!” “Cursed is the one who lies with his mother-in-law.” And all the people shall say, “Amen!” “Cursed is the one who attacks his neighbor secretly.” And all the people shall say, “Amen!” “Cursed is the one who takes a bribe to slay an innocent person.” And all the people shall say, “Amen!” “Cursed is the one who does not confirm all the words of this law.” And all the people shall say, “Amen!” a. The Levites shall speak with a loud voice: This would make a remarkable impression. The Levites declared curses upon those who break the covenant, and people answered Amen! to every declaration. i. It is good to remind ourselves that the word Amen! means something. It means “so be it.” Every Amen! was a conscious agreement with the declaration of a curse. b. Cursed is the one who: he Levites declare, and the people agree to, curses upon those who break God’s law. i. Curses upon idolaters (the one who makes any carved or molded image). ii. Curses upon those who dishonor their parents (the one who treats his father or his mother with contempt). iii. Curses upon those who steal (the one who moves his neighbor’s landmark). iv. Curses upon those who are simply cruel (the one who makes the blind to wander off the road). v. Curses upon the one who perverts the justice due the stranger, the fatherless, and widow. vi. Curses upon those who disobey God’s sexual standards (regarding incest and bestiality). vii. Curses upon the violent (the one who attacks his neighbor secretly). viii. Curses upon those who cheat the courts (the one who takes a bribe to slay an innocent person). c. Cursed is the one who does not confirm all the words of this law: Finally - if one believes they have escaped these curses - there was a curse pronounced upon the one who does not conform to all the words of this law. Even if somehow we have escaped all the previous curses, none can conform to all the words of this law. i. When all are found guilty before the law, and it is clear that they cannot conform to all the words of this law, there is still hope. A clue to this hope is found in the beginning of the chapter, where God declared that an altar be built - not upon Mount Gerizim, the mountain of blessing, but upon Mount Ebal, the mountain of cursing. We need the covering and atoning sacrifice exactly at the point where our sin and failures are revealed and God’s curse is pronounced on our sin. ii. It is important to recognize that we, in Jesus Christ, do not have an Old Covenant relationship with God. We expect to be blessed, not because of our obedience, but because of our position in Jesus. The curse we deserved was laid upon Him (Galatians 3:10-14). Though there may be an inherent curse of consequences in our disobedience, or even the correcting hand of God, under the New Covenant, He does not punish us or curse us - because all that we deserved, past, present, and future, was poured out upon Jesus. Deuteronomy 28 - Blessing and Cursing A. Blessings on obedience. 1. (1-2) Overtaken by blessing. Now it shall come to pass, if you diligently obey the voice of the LORD your God, to observe carefully all His commandments which I command you today, that the LORD your God will set you high above all nations of the earth. And all these blessings shall come upon you and overtake you, because you obey the voice of the LORD your God: a. If you diligently obey the voice of the LORD: The word “if” looms large. In this chapter, Moses exhorted the nation with choice. The covenant God made with Israel contained three major features: The law, the sacrifice, and the choice. i. The idea behind the choice is that God was determined to reveal Himself to the world through Israel. He would do this either by making them so blessed that the world would know only God could have blessed them so; or by making them so cursed that only God could have cursed them and cause them to still survive. The choice was up to Israel. ii. As a literary form, this chapter is similar to ancient treaties between a king and his people; this is God the King, making a covenant with His people, Israel. iii. “In the ancient Near East it was customary for legal treaties to conclude with passages containing blessings upon those who observed the enactments, and curses upon those who did not.” (Harrrison) b. That the LORD your God will set you high above all nations of the earth: Therefore, if Israel would obey the LORD, He would set them high above all nations of the earth, and the blessings would be so powerful that they would come upon you and overtake you. They wouldn’t be able to escape the blessings. 2. (3-14) God will richly bless Israel’s obedience to the covenant. Blessed shall you be in the city, and blessed shall you be in the country. Blessed shall be the fruit of your body, the produce of your ground and the increase of your herds, the increase of your cattle and the offspring of your flocks. Blessed shall be your basket and your kneading bowl. Blessed shall you be when you come in, and blessed shall you be when you go out. The LORD will cause your enemies who rise against you to be defeated before your face; they shall come out against you one way and flee before you seven ways. The LORD will command the blessing on you in your storehouses and in all to which you set your hand, and He will bless you in the land which the LORD your God is giving you. The LORD will establish you as a holy people to Himself, just as He has sworn to you, if you keep the commandments of the LORD your God and walk in His ways. Then all peoples of the earth shall see that you are called by the name of the LORD, and they shall be afraid of you. And the LORD will grant you plenty of goods, in the fruit of your body, in the increase of your livestock, and in the produce of your ground, in the land of which the LORD swore to your fathers to give you. The LORD will open to you His good treasure, the heavens, to give the rain to your land in its season, and to bless all the work of your hand. You shall lend to many nations, but you shall not borrow. And the LORD will make you the head and not the tail; you shall be above only, and not be beneath, if you heed the commandments of the LORD your God, which I command you today, and are careful to observe them. So you shall not turn aside from any of the words which I command you this day, to the right or the left, to go after other gods to serve them. a. Blessed shall you be: An obedient Israel would be blessed everywhere: In the city . . . in the country . . . when you come in . . . when you go out. An obedient Israel would be blessed in their homes and in their farms, and in their kitchens (the fruit of your body . . . the produce of your ground and the increase of your herds . . . Blessed shall be your basket and your kneading bowl). b. They shall come out against you one way and flee before you seven ways: An obedient Israel would be blessed in warfare. This degree of blessing speaks of a clearly Divine blessing. c. The LORD will establish you as a holy people to Himself: Perhaps the best blessing had to do with Israel’s own relationship with God. God would separate and obedient Israel unto Himself, speaking of a special relationship. If not for this, all the material blessings described previously would be empty. d. All the peoples of the earth shall see that you are called by the name of the LORD . . . the LORD will make you the head and not the tail; you shall be above only, and not be beneath: God’s purpose in blessing Israel was greater than just enriching the nation for its own sake. He intended to glorify Himself through blessing them. i. When Israel walked after the LORD, these blessings were real; one example of this is when the Queen of Sheba came to Solomon and saw a nation so blessed, she knew it had to be of God (1 Kings 10:1-13). B. Curses on disobedience. 1. (15) Introduction to the curses. But it shall come to pass, if you do not obey the voice of the LORD your God, to observe carefully all His commandments and His statutes which I command you today, that all these curses will come upon you and overtake you: a. If you do not obey the voice of the LORD your God: The covenant’s aspect of the choice was a sword with two edges. Obedience would carry great blessing, but disobedience would carry terrible curses. b. All these curses will come upon you and overtake you: Like the blessings for an obedient Israel, the curses for a disobedient Israel would be inevitable. c. All these curses: The rest of the chapter is almost overwhelming. “Actually, a logical analysis of the chapter is almost impossible, since the final aim was not to be logical but to build up a vivid impression by presenting picture after picture until the hearer could see and feel the import of the preacher’s words.” (Thompson) 2. (16-68) The curses upon Israel’s disobedience. Cursed shall you be in the city, and cursed shall you be in the country. Cursed shall be your basket and your kneading bowl. Cursed shall be the fruit of your body and the produce of your land, the increase of your cattle and the offspring of your flocks. Cursed shall you be when you come in, and cursed shall you be when you go out. The LORD will send on you cursing, confusion, and rebuke in all that you set your hand to do, until you are destroyed and until you perish quickly, because of the wickedness of your doings in which you have forsaken Me. The LORD will make the plague cling to you until He has consumed you from the land which you are going to possess. The LORD will strike you with consumption, with fever, with inflammation, with severe burning fever, with the sword, with scorching, and with mildew; they shall pursue you until you perish. And your heavens which are over your head shall be bronze, and the earth which is under you shall be iron. The LORD will change the rain of your land to powder and dust; from the heaven it shall come down on you until you are destroyed. The LORD will cause you to be defeated before your enemies; you shall go out one way against them and flee seven ways before them; and you shall become troublesome to all the kingdoms of the earth. Your carcasses shall be food for all the birds of the air and the beasts of the earth, and no one shall frighten them away. The LORD will strike you with the boils of Egypt, with tumors, with the scab, and with the itch, from which you cannot be healed. The LORD will strike you with madness and blindness and confusion of heart. And you shall grope at noonday, as a blind man gropes in darkness; you shall not prosper in your ways; you shall be only oppressed and plundered continually, and no one shall save you. You shall betroth a wife, but another man shall lie with her; you shall build a house, but you shall not dwell in it; you shall plant a vineyard, but shall not gather its grapes. Your ox shall be slaughtered before your eyes, but you shall not eat of it; your donkey shall be violently taken away from before you, and shall not be restored to you; your sheep shall be given to your enemies, and you shall have no one to rescue them. Your sons and your daughters shall be given to another people, and your eyes shall look and fail with longing for them all day long; and there shall be no strength in your hand. A nation whom you have not known shall eat the fruit of your land and the produce of your labor, and you shall be only oppressed and crushed continually. So you shall be driven mad because of the sight which your eyes see. The LORD will strike you in the knees and on the legs with severe boils which cannot be healed, and from the sole of your foot to the top of your head. The LORD will bring you and the king whom you set over you to a nation which neither you nor your fathers have known, and there you shall serve other gods; wood and stone. And you shall become an astonishment, a proverb, and a byword among all nations where the LORD will drive you. You shall carry much seed out to the field but gather little in, for the locust shall consume it. You shall plant vineyards and tend them, but you shall neither drink of the wine nor gather the grapes; for the worms shall eat them. You shall have olive trees throughout all your territory, but you shall not anoint yourself with the oil; for your olives shall drop off. You shall beget sons and daughters, but they shall not be yours; for they shall go into captivity. Locusts shall consume all your trees and the produce of your land. The alien who is among you shall rise higher and higher above you, and you shall come down lower and lower. He shall lend to you, but you shall not lend to him; he shall be the head, and you shall be the tail. Moreover all these curses shall come upon you and pursue and overtake you, until you are destroyed, because you did not obey the voice of the LORD your God, to keep His commandments and His statutes which He commanded you. And they shall be upon you for a sign and a wonder, and on your descendants forever. Because you did not serve the LORD your God with joy and gladness of heart, for the abundance of everything, therefore you shall serve your enemies, whom the LORD will send against you, in hunger, in thirst, in nakedness, and in need of everything; and He will put a yoke of iron on your neck until He has destroyed you. The LORD will bring a nation against you from afar, from the end of the earth, as swift as the eagle flies, a nation whose language you will not understand, a nation of fierce countenance, which does not respect the elderly nor show favor to the young. And they shall eat the increase of your livestock and the produce of your land, until you are destroyed; they shall not leave you grain or new wine or oil, or the increase of your cattle or the offspring of your flocks, until they have destroyed you. They shall besiege you at all your gates until your high and fortified walls, in which you trust, come down throughout all your land; and they shall besiege you at all your gates throughout all your land which the LORD your God has given you. You shall eat the fruit of your own body, the flesh of your sons and your daughters whom the LORD your God has given you, in the siege and desperate straits in which your enemy shall distress you. The sensitive and very refined man among you will be hostile toward his brother, toward the wife of his bosom, and toward the rest of his children whom he leaves behind, so that he will not give any of them the flesh of his children whom he will eat, because he has nothing left in the siege and desperate straits in which your enemy shall distress you at all your gates. The tender and delicate woman among you, who would not venture to set the sole of her foot on the ground because of her delicateness and sensitivity, will refuse to the husband of her bosom, and to her son and her daughter, her placenta which comes out from between her feet and her children whom she bears; for she will eat them secretly for lack of everything in the siege and desperate straits in which your enemy shall distress you at all your gates. If you do not carefully observe all the words of this law that are written in this book, that you may fear this glorious and awesome name, THE LORD YOUR GOD, then the LORD will bring upon you and your descendants extraordinary plagues; great and prolonged plagues; and serious and prolonged sicknesses. Moreover He will bring back on you all the diseases of Egypt, of which you were afraid, and they shall cling to you. Also every sickness and every plague, which is not written in this Book of the Law, will the LORD bring upon you until you are destroyed. You shall be left few in number, whereas you were as the stars of heaven in multitude, because you would not obey the voice of the LORD your God. And it shall be, that just as the LORD rejoiced over you to do you good and multiply you, so the LORD will rejoice over you to destroy you and bring you to nothing; and you shall be plucked from off the land which you go to possess. Then the LORD will scatter you among all peoples, from one end of the earth to the other, and there you shall serve other gods, which neither you nor your fathers have known; wood and stone. And among those nations you shall find no rest, nor shall the sole of your foot have a resting place; but there the LORD will give you a trembling heart, failing eyes, and anguish of soul. Your life shall hang in doubt before you; you shall fear day and night, and have no assurance of life. In the morning you shall say, “Oh, that it were evening!” And at evening you shall say, “Oh, that it were morning!” because of the fear which terrifies your heart, and because of the sight which your eyes see. And the LORD will take you back to Egypt in ships, by the way of which I said to you, “You shall never see it again.” And there you shall be offered for sale to your enemies as male and female slaves, but no one will buy you. a. In the city . . . in the country . . . when you come in . . . when you go out: A disobedient Israel would be cursed everywhere. b. The fruit of your body . . . the produce of your ground and the increase of your herds . . . Cursed shall be your basket and your kneading bowl: A disobedient Israel would be cursed in their homes, their farms, and in their kitchens. c. Plague . . . consumption . . . fever . . . the boils of Egypt . . . the scab . . . the itch . . . madness and blindness and confusion of heart: A disobedient Israel would be cursed in their health. d. Your heavens . . . shall be bronze . . . the LORD will change the rain of your land to powder and dust: A disobedient Israel would be cursed in their weather. e. To be defeated before your enemies: A disobedient Israel would be cursed in warfare. f. You shall betroth a wife, but another man shall lie with her . . . Your ox shall be slaughtered before your eyes, but you shall not eat of it . . . Your sons and your daughters shall be given to another people: A disobedient Israel would be cursed by simple, terrible injustices and tragedies. All of these tragedies would bring a terrible result: you shall be driven mad because of the sight which your eyes see. g. The LORD will bring a nation against you from afar: A disobedient Israel would be attacked and conquered by a nation of fierce countenance, and they would fight until they have destroyed you. i. You shall eat the fruit of your own body: This became horribly true in the days of the later kingdom. 2 Kings 6:24-30 describes a famine so severe in a besieged Israelite city that there was a fight between two women over eating their children! A terrible fulfillment of the promise, he will not give any of the flesh of his children whom he will eat. Lamentations 4:1-11 vividly describes the horrors of the siege of Jerusalem. h. The LORD will scatter you among all the peoples, from one end of the earth to the other: In the end, Israel would be dispersed. We find that because of their disobedience, these curses became the history of the nation of Israel. i. Of course, many of these horrible curses upon a disobedient Israel were fulfilled in the years of history recorded in the Old Testament; but their fulfillment did not end with the end of Bible history, Old or New Testament. ii. For example, around 68 A.D. the Romans finally had enough of the rebellious Jews in their province of Judea, so they laid siege to Jerusalem. At the time, the Jews fervently expected the coming of the Messiah to save them and conquer the Romans, based on God’s promise to destroy the armies laying siege to Jerusalem in Zechariah 12:1-9. Sadly, the Jews of that time refused to fulfill Zechariah 12:10 which described their humble, repentant embrace of a pierced Messiah. ii. Nevertheless the Jews of that day were so confident of Messiah’s coming that their factions actually fought each other and burned each other’s food, trying to be the most powerful group when the Messiah came. According to Josephus, it was “as though they were purposely serving the Romans by destroying what the city had provided against a siege and severing the sinews of their own strength” (Wars 5.24). “Through famine certainly the city fell, a fate which would have been practically impossible, had they not prepared the way for it themselves.” (Wars 5.26) iii. When the Roman general Vespasian came to Jerusalem, the Jewish factions were busy fighting each other. His staff urged him to attack immediately, but he knew that an attack would instantly unite the Jews. So he held back and let them destroy each other for as long as possible. He said that God was a better general than he, and that He was delivering the Jews into the hands of the Romans. Before Jerusalem was attacked, Vespasian became emperor, and he put his son Titus in charge of the attack. iv. In contrast, Christians in Jerusalem heeded the words of Jesus in Luke 21:20-24, in which He told people to flee Jerusalem when it was surrounded by armies, because the days of vengeance were at hand. v. In this siege of Jerusalem hunger became so great that many tried to escape the walls and forage for food. Five hundred or more were captured and crucified daily. “The soldiers out of rage and hatred amused themselves by nailing their prisoners in different postures; and so great was their numbers, that space could not be found for the crosses nor crosses for the bodies.” (War 5.451) More than 600,000 died from starvation, and their dead bodies were dumped over the walls of the city. In total more that a million died and 97,000 were captured, with most of the captives being shipped as slaves to Egypt. The promise of Deuteronomy 28:68 was tragically fulfilled: you shall be offered for sale to your enemies as male and female slaves, but no one will buy you. This happened as too many Jewish slaves glutted the Egyptian slave market, and no one could buy all the available slaves. vi. After the conquest the Jews still living in Judea were continually subjugated and humiliated by the Romans. The Romans continued to collect the temple tax from the Jews, even though their temple had been completely destroyed. So the Romans took the temple tax and used it to support their pagan temples. vii. After some years of this, the Jews of Judea rebelled against the Romans again in 132 A.D. with a man named bar-Kochoba leading the fight. He was proclaimed messiah by the rabbis who supported the revolt. But after the bar-Kochoba rebellion, Rome finally and utterly crushed the Jewish population of Judea. Josephus said that as a result of the many battles, the once beautiful land was destroyed, and that it could not even be recognized. viii. But the curse for Israel had not ended. Now, tragically, the church and Christians turned on the Jews. It was as if the branches of the tree attacked their own root. As the church gained in political power and became the official religion of the Roman Empire, the decided to attack the Jews. ix. They did this in part as retribution for the distant early years of Jewish persecution of the Christians. It was also because the current Jewish rejection of Jesus as Messiah was thought so offensive. But the greatest motivation was a bizarre evangelistic strategy. Christians thought, “The Jews are cursed because they have killed their Messiah. The curses are meant to turn the heart of the nation back to God. We will help God by being His instrument to curse the Jewish people.” x. For centuries, the worst enemies Jews ever had were the Christians who thought they could help God by cursing the Jewish people. At one time in Medieval Rome, the Pope commanded a procession of the Jews through the city, where they presented a scroll of the Old Testament to the Pope. He received the scroll and said, “Beautiful law; wretched people.” The shameful history of the Church against the Jews is recorded in the story of the Crusades, the slaughters, and the ghettos. xi. This helps to explain the great corruption and lack of spiritual power in the church through the Dark Ages. God promised to Abraham and his covenant descendants, the Jewish people, I will bless those who bless you, and curse him who curses you (Genesis 12:3). Satan’s clever, and powerful strategy to curse the church was effective: Curse the church by inspiring them to curse the Jewish people. Just as God judged Assyria, Babylon, Rome, and Germany for their mistreatment of the Jewish people, so the church was cursed as long as it persecuted the Jews. The church ignorantly disregarded the words of Jesus in Matthew 18:7: For offenses must come, but woe to that man by whom the offense comes! If the Jewish people were to be cursed, it was God’s business, not the Church’s business! xii. “They have, it is true, grievously sinned; but, O ye Christians, have they not grievously suffered for it? Is not the stroke of God heavy enough upon them? Do not then, by any unkind treatment or cruel oppression, increase their miseries. They are, above all others, the men who have seen affliction by the stroke of his rod.” (Adam Clarke, 1811) xiii. Gloriously, the curse was not and is not the end of God’s plan for the Jewish people. As Ezekiel 37 describes, God will - and has begun to - revive the Jewish people as back from the dead, and prepare them to be used in these last days. God is not done with Israel, and the curse will not be their final legacy. i. You shall become an astonishment, a proverb, and a byword among all nations where the LORD will drive you: Even as with the blessings, God’s purpose in cursing Israel would be greater than just immediately punishing them for their sin. It was to be a witness to the nations. i. God would do this for His glory, and because it would glorify Him, it can even be said that He would rejoice in the work: just as the LORD rejoiced over you to do you good and multiply you, so the LORD will rejoice over you to destroy you and bring you to nothing. ii. “For though he doth not delight in the death of a sinner in itself, yet he doth doubtless delight in the glorifying of his justice upon incorrigible sinners, seeing the exercise of all his attributes must needs please him, else he were not perfectly happy.” (Poole) Deuteronomy 29 - Renewal of the Covenant A. God’s mighty works for Israel. 1. (1) The covenant in the land of Moab. These are the words of the covenant which the LORD commanded Moses to make with the children of Israel in the land of Moab, besides the covenant which He made with them in Horeb. a. These are the words of the covenant: Some 40 years before this, at Horeb (Mount Sinai), Israel made a covenant with God: Then he took the Book of the Covenant and read in the hearing of the people. And they said, “All that the LORD has said we will do, and be obedient.” And Moses took the blood, sprinkled it on the people, and said, “This is the blood of the covenant which the LORD has made with you according to all these words.” (Exodus 24:7-8) b. Besides the covenant which He made with them in Horeb: For the most part, the people who had the blood of the covenant sprinkled upon them had died in the wilderness. The generation of unbelief had died, now it was an opportunity for the generation of faith. So, Moses will reconfirm the covenant with the new generation. 2. (2-4) Israel saw wonders, but did not see them. Now Moses called all Israel and said to them: “You have seen all that the LORD did before your eyes in the land of Egypt, to Pharaoh and to all his servants and to all his land; the great trials which your eyes have seen, the signs, and those great wonders. Yet the LORD has not given you a heart to perceive and eyes to see and ears to hear, to this very day. a. You have seen all that the LORD before your eyes: Israel saw great wonders from the hand of God since coming from Egypt. They saw the plagues, they saw the death of the firstborn, they saw the Red Sea parted, they saw the Egyptian armies destroyed, they saw victories won by prayer, they ate the manna, they drank the miraculously provided water, and they saw miracle after miracle. b. Yet the LORD has not given you a heart to perceive: The miracles in and of themselves could not accomplish anything in the heart of Israel. If God did not send His Spirit to change their hearts, then the greatest wonder imaginable would not make a difference. i. Some people today think the greatest help to evangelism would be to see more miraculous events. After all, who could not believe in the face of such displays of spiritual power? But seeing great wonders accomplishes nothing apart from a supernatural work of God in someone’s heart. 3. (5-9) God’s great works for Israel in the wilderness. And I have led you forty years in the wilderness. Your clothes have not worn out on you, and your sandals have not worn out on your feet. You have not eaten bread, nor have you drunk wine or similar drink, that you may know that I am the LORD your God. And when you came to this place, Sihon king of Heshbon and Og king of Bashan came out against us to battle, and we conquered them. We took their land and gave it as an inheritance to the Reubenites, to the Gadites, and to half the tribe of Manasseh. Therefore keep the words of this covenant, and do them, that you may prosper in all that you do. a. And I have led you forty years in the wilderness: During their forty years in the wilderness, their clothes did not wear our, their sandals did not wear out, and though they had no bread to eat or wine to drink, their needs were provided for. Israel conquered over their enemies, and they took their land. i. Plainly, these are remarkable miracles. Clothes and sandals simply do not last 40 years of hard marching in the wilderness apart from a miracle. The wilderness does not provide enough food and water to meet the needs of some two million people apart from a miracle. A nation of slaves for 400 years does not conquer standing nations and take their land apart from a miracle. ii. Each of these great wonders (each proof in themselves of God’s power and love for Israel) has a spiritual counterpart in our lives. · In the wilderness of this world, God provides clothes for us (Revelation 3:18) · He gives us shoes (Ephesians 6:15) · He gives us bread and wine to drink (1 Corinthians 11:23-26) · In Him we conquer our enemies (Romans 8:37) · We can take the land of our spiritual enemies (2 Corinthians 10:4-5) b. Therefore keep the words of this covenant: Seeing these great works of God, there is one logical response. Knowing the greatness of God’s love and power should make Israel more committed than ever to His covenant. B. Renewing the covenant. 1. (10-15) The parties to the covenant. All of you stand today before the LORD your God: your leaders and your tribes and your elders and your officers, all the men of Israel, your little ones and your wives; also the stranger who is in your camp, from the one who cuts your wood to the one who draws your water; that you may enter into covenant with the LORD your God, and into His oath, which the LORD your God makes with you today, that He may establish you today as a people for Himself, and that He may be God to you, just as He has spoken to you, and just as He has sworn to your fathers, to Abraham, Isaac, and Jacob. I make this covenant and this oath, not with you alone, but with him who stands here with us today before the LORD our God, as well as with him who is not here with us today a. All of you stand today before the LORD your God: This meas that the covenant was made with the entire nation. This included the leaders, the men, the women, the children, and even the servants. b. That He may establish you today as a people for Himself: All of Israel was included in God’s desire to enter into covenant, to be the people for Himself. He wasn’t just looking for a few prominent and talented people, or for just one spiritual tribe like the Levites. God wanted the whole nation to be this people for Himself. c. As well as with him who is not here with us today: But the covenant extended beyond those who stood before the LORD and Moses on that day. It also included him who is not with us here today. The descendants of this nation assembled before the LORD and Moses were also included in the covenant. i. “The covenant demand is here extended to those who were yet to be born. Future generations were one with that early Israel who took the oath at Sinai.” (Thompson) 2. (16-20) The promise of judgment against the covenant-breaker. (for you know that we dwelt in the land of Egypt and that we came through the nations which you passed by, and you saw their abominations and their idols which were among them; wood and stone and silver and gold); so that there may not be among you man or woman or family or tribe, whose heart turns away today from the LORD our God, to go and serve the gods of these nations, and that there may not be among you a root bearing bitterness or wormwood; and so it may not happen, when he hears the words of this curse, that he blesses himself in his heart, saying, “I shall have peace, even though I follow the dictates of my heart”; as though the drunkard could be included with the sober. The LORD would not spare him; for then the anger of the LORD and His jealousy would burn against that man, and every curse that is written in this book would settle on him, and the LORD would blot out his name from under heaven. a. You saw their abominations and their idols which were among them: Israel had seen the abominations and . . . idols of their pagan neighbors. God promised that anyone who turns away from the LORD our God, to go and serve the gods of these nations, should never presume on a sense of peace in his heart. b. He blesses himself in his heart, saying “I have peace”: Perhaps one who has turned from the LORD and to idols hears the curses against the covenant-breaker, yet thinks he has escaped any penalty. So, he blesses himself in his heart, saying “I have peace.” He may have an immediate sense of peace at the moment, but it is the peace of the blind, the peace of the ignorant, who cannot see the peril of coming judgment. i. A rank sinner may feel confident in his own heart, having a marvelous sense of “peace.” But this peace is an illusion. It is the peace of the blind, of the unknowing. If a bomb is on a plane, most everyone on the plane is at peace the moment before the bomb explodes. But their peace is based on their ignorance. In the same way, a sinner may be completely untroubled in his heart. But this is only because he is blind. ii. As though the drunkard could be included with the sober: The drunkard may be happy when he is drunk, but his happiness is based on a illusion. God warns against including the peace of the righteous with the peace the wicked might seem to have. c. The LORD would not spare him: This truth is plain “There is no peace,” says the LORD, “for the wicked.” (Isaiah 48:22) The score may be settled on either side of eternity, but it will be settled. No one can forsake the LORD and escape the consequences. 3. (21-28) The purpose for judgment against the covenant-breaker. And the LORD would separate him from all the tribes of Israel for adversity, according to all the curses of the covenant that are written in this Book of the Law, so that the coming generation of your children who rise up after you, and the foreigner who comes from a far land, would say, when they see the plagues of that land and the sicknesses which the LORD has laid on it: “The whole land is brimstone, salt, and burning; it is not sown, nor does it bear, nor does any grass grow there, like the overthrow of Sodom and Gomorrah, Admah, and Zeboim, which the LORD overthrew in His anger and His wrath.” All nations would say, “Why has the LORD done so to this land? What does the heat of this great anger mean?” Then people would say: “Because they have forsaken the covenant of the LORD God of their fathers, which He made with them when He brought them out of the land of Egypt; for they went and served other gods and worshiped them, gods that they did not know and that He had not given to them. Then the anger of the LORD was aroused against this land, to bring on it every curse that is written in this book. And the LORD uprooted them from their land in anger, in wrath, and in great indignation, and cast them into another land, as it is this day.” a. And the LORD would separate him from all the tribes of Israel for adversity: There is an obvious reason to punish the covenant-breaker for his own sake. But God has a purpose beyond the reason of individual covenant. b. So that the coming generation of your children who rise up after you, and the foreigner who comes from a far land: God’s purpose in bringing judgment against a covenant-breaking Israel was also for the sake of the coming generation of your children . . . and the foreigner. When they see the devastation that comes from breaking God’s covenant, when they see what happens to the land which the LORD overthrew in His anger and wrath, they will be warned to obedience. i. We can also learn from the calamity that comes on the lives of others when they break God’s covenant. We can learn that the price of disobedience is not worth it. We can learn that the commands of God are good, and protective in our lives. c. All nations would say: God’s purpose in bringing judgment against a covenant-breaking Israel was also for the sake of all nations. When they see what happens to a nation who forsakes the LORD, they will be warned to obedience. 4. (29) God’s revelation to Israel. The secret things belong to the LORD our God, but those things which are revealed belong to us and to our children forever, that we may do all the words of this law. a. The secret things belong to the LORD our God: In the midst of this encouragement to obedience, Moses pauses to give a principle of how God speaks to us. First, God never declares everything to man:. There are secrets God has, and will always have. He has the right to have secrets, because He is God. i. God is bigger and smarter than us and always will be. We must simply accept this. “For My thoughts are not your thoughts, nor are your ways My ways,” says the LORD. “For as the heavens are higher than the earth, so are My ways higher than your ways, and My thoughts than your thoughts.” (Isaiah 55:8-9) b. Those things which are revealed: Second, God does reveal some things to man. Since God is there, and He is not silent, we must do all we can to pay close attention to Him. c. Those things which are revealed belong to us: Third, God’s revelation is meant to say something to us. God did not speak just to blow our minds or to amuse us; there is a message which belongs to us. While we cannot perfectly understand God’s revelation, it is perfectly understandable. d. To us and to our children: Fourth, God’s revelation is trans-generational. Yes, God had a specific message for Moses’ generation, but the message goes beyond its original audience to speak to all generations which follow. e. To us and our children forever: Fifth, God’s revelation is eternal. His word not only lasts forever, it is forever relevant. God’s word is more relevant than any new fad or interest which might sweep through the world or the church. g. That we may do all the words of this law: Finally, God’s revelation must matter to us. He has not spoken to us merely to satisfy our curiosity about spiritual things. He has spoken to us to affect the way we live. If we are only hearers of the word, and not doers also, then we have not really received His word.

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11. Judges 15-16 (Samson Against the Philistines & Samson’s Disgrace and Death)

Judges 15-16 (Samson Against the Philistines & Samson’s Disgrace and Death)

Judges 15 - Samson Against the Philistines A. Retaliation back and forth. 1. (1-3) Samson’s rage at discovering that his wife is given to another. After a while, in the time of wheat harvest, it happened that Samson visited his wife with a young goat. And he said, “Let me go in to my wife, into her room.” But her father would not permit him to go in. Her father said, “I really thought that you thoroughly hated her; therefore I gave her to your companion. Is not her younger sister better than she? Please, take her instead.” And Samson said to them, “This time I shall be blameless regarding the Philistines if I harm them!” a. I really thought that you thoroughly hated her: It’s hard to know why Samson’s father-in-law thought that Samson hated his wife. Perhaps this was just an excuse to explain why he did what he did; or perhaps Samson’s Philistine wife poisoned her father’s opinion of Samson (Judges 14:16). b. Samson said to them: Even though Samson was angry with his wife’s father, the real root of the problem was the bad choices Samson made in love. He had no business allowing himself to fall in love with an ungodly, pagan woman. i. No wonder Proverbs 4:23 tells us: Keep (literally, guard or protect) your heart with all diligence, for out of it spring the issues of life. Failure to guard our heart can result in great trouble. c. This time I shall be blameless regarding the Philistines if I harm them! God used Samson’s ungodly anger for His purposes. As Psalm 76:10 says, Surely the wrath of man shall praise You. This doesn’t justify Samson’s anger, but it shows the glory and power of God to use all things to His purposes. 2. (4-5) Samson strikes out against the Philistines by burning their crops. Then Samson went and caught three hundred foxes; and he took torches, turned the foxes tail to tail, and put a torch between each pair of tails. When he had set the torches on fire, he let the foxes go into the standing grain of the Philistines, and burned up both the shocks and the standing grain, as well as the vineyards and olive groves. a. Samson went and caught three hundred foxes: Samson seemed to act like a juvenile delinquent. Yet God used it all for His purpose of fighting against the Philistines. b. Put a torch between each pair of tails: Some object that Samson could not have captured 300 foxes. Yet the word translated foxes probably refers to a jackal, not a fox, and jackals are known to run in large packs, sometimes up to 200. Second, there is nothing that says Samson did this all by himself. Third, there is nothing that says he did it all in one day. 3. (6-7) The Philistines retaliate by killing Samson’s wife and family. Then the Philistines said, “Who has done this?” And they answered, “Samson, the son-in-law of the Timnite, because he has taken his wife and given her to his companion.” So the Philistines came up and burned her and her father with fire. Samson said to them, “Since you would do a thing like this, I will surely take revenge on you, and after that I will cease.” a. So the Philistines came up and burned her and her father with fire: God used all this to advance His plan for Israel and redemption. Yet because of Samson’s disobedience, it all happened at great personal cost to Samson. It is fair to suppose that if Samson were obedient, God would have furthered His plan in a way that blessed Samson. b. I will surely take revenge on you, and after that I will cease: We have here the bitter story of retaliation - of trying to avenge wrongs done to us. Retaliation is a never-ending story, and one that never wins in the end. Those who trust in God must be able to say, “Retaliation belongs to God. I’ll let Him settle the score.” i. Much of the war, disaster, deep-seated hatred, and pain in our world come from this instinct to retaliate. But Jesus told us to not retaliate an eye for an eye, but to take control of the situation by giving even more (Matthew 5:38-42). When we do this, we act like God, who did not retaliate against man for his sin and rebellion, but instead gave His only Son to die for man. 4. (8) Samson repays the Philistines for the murder of his wife. So he attacked them hip and thigh with a great slaughter; then he went down and dwelt in the cleft of the rock of Etam. a. He attacked them hip and thigh: This is an expression for a cruel, unsparing slaughter. Samson was a one-man army against the Philistines. b. Dwelt in the cleft of the rock of Etam: Samson had no more family and could trust virtually no one. He lived like a fugitive, alone in a cave. B. Samson slays one thousand Philistines. 1. (9-13) Judah surrenders Samson to the Philistines. Now the Philistines went up, encamped in Judah, and deployed themselves against Lehi. And the men of Judah said, “Why have you come up against us?” So they answered, “We have come up to arrest Samson, to do to him as he has done to us.” Then three thousand men of Judah went down to the cleft of the rock of Etam, and said to Samson, “Do you not know that the Philistines rule over us? What is this you have done to us?” And he said to them, “As they did to me, so I have done to them.” But they said to him, “We have come down to arrest you, that we may deliver you into the hand of the Philistines.” Then Samson said to them, “Swear to me that you will not kill me yourselves.” So they spoke to him, saying, “No, but we will tie you securely and deliver you into their hand; but we will surely not kill you.” And they bound him with two new ropes and brought him up from the rock. a. We have come up to arrest Samson, to do to him as he has done to us: The fact that soldiers from the tribe of Judah gave up Samson to the Philistines shows just how much they were under the oppression of the Philistines. They would rather please their oppressors than support their deliverer. i. This is a strangely common phenomenon. Often, when someone stands up to evil, people are angrier at the one who stood up to the evil than they are angry at the evil itself. b. Do you not know that the Philistines rule over us? Samson didn’t want to hear this or recognize it. As far as he was concerned, the Philistines should not rule over the people of God. c. They bound him with two new ropes and brought him up from the rock: It seems that Samson submitted to this. Assuming this was true; it showed great faith on Samson’s part. He was willing to put himself in a difficult position and to trust God to take care of him. 2. (14-17) Samson uses the jawbone of a donkey to kill a thousand Philistines. When he came to Lehi, the Philistines came shouting against him. Then the Spirit of the Lord came mightily upon him; and the ropes that were on his arms became like flax that is burned with fire, and his bonds broke loose from his hands. He found a fresh jawbone of a donkey, reached out his hand and took it, and killed a thousand men with it. Then Samson said: “With the jawbone of a donkey, Heaps upon heaps, With the jawbone of a donkey I have slain a thousand men!” And so it was, when he had finished speaking, that he threw the jawbone from his hand, and called that place Ramath Lehi. a. He found a fresh jawbone of a donkey, reached out his hand and took it, and killed a thousand men with it: Samson was unique among the judges because he was a “one-man army” against the Philistines. Other Judges of Israel led armies against their enemies, but Samson fought alone. i. With this remarkable victory, “We are conscious of what he might have done had he been wholly yielded to that ‘Spirit of Jehovah’ who came mightily upon him, instead of being so largely governed by the fires of his own passion.” (Morgan) b. With the jawbone of a donkey, heaps upon heaps: Samson’s bold declaration of victory has a poetic touch that is difficult to render in translation. One effort goes like this: “With the jawbone of an ass I have piled them in a mass!” c. And called that place Ramath Lehi: This name essentially means “Jawbone Hill.” It was an obviously appropriate name for this place of Samson’s great victory. i. One preacher came up with a five-point sermon on the jawbone of an ass, likening it to the weapon of the gospel: · It was a novel weapon · It was a most convenient weapon · It was a simple weapon · It was a ridiculous weapon · It was a successful weapon 3. (18-20) God provides for Samson miraculously. Then he became very thirsty; so he cried out to the Lord and said, “You have given this great deliverance by the hand of Your servant; and now shall I die of thirst and fall into the hand of the uncircumcised?” So God split the hollow place that is in Lehi, and water came out, and he drank; and his spirit returned, and he revived. Therefore he called its name En Hakkore, which is in Lehi to this day. And he judged Israel twenty years in the days of the Philistines. a. Then he became very thirsty: Samson needed this thirst to remind himself of his own weakness and need right after such a great victory. After a great victory we need to remember our mortality. i. “It is very usual for God’s people, when they have had some great deliverance, to have some little trouble that is too much for them. Samson slays a thousand Philistines, and piles them up in heaps, and then he must needs die for want of a little water!” (Spurgeon) ii. Matthew Poole comments on Samson’s great thirst: it was “partly sent by God, that by the experience of his own impotency he might be forced to ascribe the victory to God only, and not to himself.” b. God split the hollow place that is in Lehi, and water came out, and he drank; and his spirit returned, and he revived: This is an example of the principle that God’s work, done God’s way, will always be provided for by God. Here the Lord showed His faithfulness to Samson by supplying the needs of His servant. i. In his sermon The Fainting Hero, Charles Spurgeon pointed out that the believer can look at heaps upon heaps of defeated enemies: Heaps of your sins, heaps of your doubts and fears, heaps of our temptations, heaps of many of your sorrows. Yet, despite all these victories, fresh challenges will come, even as a deadly thirst and fatigue overcame Samson. Through this all, Samson could count on the fact that the past victory was a promise of future deliverance. ii. “With that simple minded faith which was so characteristic of Samson, who was nothing but a big child, he turned his eye to his heavenly Father, and cried, ‘O Jehovah, thou hast given me this great deliverance, and now shall I die for thirst? After all that thou hast done for me, shall the uncircumcised rejoice over me because I die for want of a drink of water?’ Such confidence had he, that God would interpose on his behalf.” (Spurgeon) iii. “Be of good courage, fainting warrior! The God who made thee, and has used thee, knows thy frame, and what thou needest before thou askest.” (Meyer) Judges 16 - Samson’s Disgrace and Death A. Samson and Delilah. 1. (1-3) Samson and the harlot at Gaza. Now Samson went to Gaza and saw a harlot there, and went in to her. When the Gazites were told, “Samson has come here!” they surrounded the place and lay in wait for him all night at the gate of the city. They were quiet all night, saying, “In the morning, when it is daylight, we will kill him.” And Samson lay low till midnight; then he arose at midnight, took hold of the doors of the gate of the city and the two gateposts, pulled them up, bar and all, put them on his shoulders, and carried them to the top of the hill that faces Hebron. a. Saw a harlot there, and went in to her: Samson was in obvious sin here. This is a clear example of how a man so used of God can also sin and sin blatantly. i. Samson wanted to be used by God, but he also yielded to the deceitfulness of sin. He kept the external features of his Nazirite vow zealously, while at the same time sinning blatantly with a prostitute. ii. Samson did what we nearly all do when deceived by sin. He put his life into categories, and figured that some categories God cared about, and some categories God did not care about. Understanding that Jesus has claim over our entire life is a radical change of perspective. b. Put them on his shoulders, and carried them to the top of the hill: Despite his sin, God still gave Samson supernatural strength to escape from the Philistines. God did this because God’s purpose was bigger than Samson himself, and because God used Samson despite Samson’s sin, not because of it. 2. (4-5) Delilah agrees to betray Samson. Afterward it happened that he loved a woman in the Valley of Sorek, whose name was Delilah. And the lords of the Philistines came up to her and said to her, “Entice him, and find out where his great strength lies, and by what means we may overpower him, that we may bind him to afflict him; and every one of us will give you eleven hundred pieces of silver.” a. He loved a woman…whose name was Delilah: Samson fell in love again, and fell for a woman completely wrong for him. This is another example of the pain and ruin that came into Samson’s life because he did not guard his heart. b. Every one of us will give you eleven hundred pieces of silver: Delilah was also deeply in love; but she was in love with money, not Samson. 1,100 shekels made up more than 140 pounds (63 kilograms) of silver. 3. (6-9) Samson lies to Delilah about the source of his strength. So Delilah said to Samson, “Please tell me where your great strength lies, and with what you may be bound to afflict you.” And Samson said to her, “If they bind me with seven fresh bowstrings, not yet dried, then I shall become weak, and be like any other man.” So the lords of the Philistines brought up to her seven fresh bowstrings, not yet dried, and she bound him with them. Now men were lying in wait, staying with her in the room. And she said to him, “The Philistines are upon you, Samson!” But he broke the bowstrings as a strand of yarn breaks when it touches fire. So the secret of his strength was not known. a. Please tell me where your great strength lies: The source of Samson’s strength was not obvious. This means that he probably was not a large, heavily muscled man like a modern day bodybuilder. He may have looked small and skinny, and unlikely to have such strength. b. And with what you may be bound to afflict you: Delilah knew that Samson was strong; yet she also knew that he could be bound with something, and this was indeed true of Samson. One might say that the honest answer to her question would be, “I may be bound with the attention and affection of an ungodly yet attractive woman.” c. And she bound him: Samson could have easily seen Delilah’s heart by the way she immediately tried to bind him with what he deceptively said he could be bound with. The fact that he did not tell her the truth proved that he knew she had a dangerous intention. 4. (10-12) Samson lies to Delilah about the source of his strength a second time. Then Delilah said to Samson, “Look, you have mocked me and told me lies. Now, please tell me what you may be bound with.” So he said to her, “If they bind me securely with new ropes that have never been used, then I shall become weak, and be like any other man.” Therefore Delilah took new ropes and bound him with them, and said to him, “The Philistines are upon you, Samson!” And men were lying in wait, staying in the room. But he broke them off his arms like a thread. a. Now, please tell me what you may be bound with: It would seem that romantic attraction made Samson lose all sense. There was no good or rational reason Samson continued this relationship with Delilah or entertained her prying into the secret of his strength. Samson is a good example of how an ungodly relationship can warp thinking. b. Delilah took new ropes and bound him: Samson allowed this bondage because he refused to escape the situation. Many today are in similar places of sin, compromise, and bondage - and refuse to escape the situation. 5. (13-15) Samson lies to Delilah about the source of his strength for the third time. Delilah said to Samson, “Until now you have mocked me and told me lies. Tell me what you may be bound with.” And he said to her, “If you weave the seven locks of my head into the web of the loom”; so she wove it tightly with the batten of the loom, and said to him, “The Philistines are upon you, Samson!” But he awoke from his sleep, and pulled out the batten and the web from the loom. Then she said to him, “How can you say, ‘I love you,’ when your heart is not with me? You have mocked me these three times, and have not told me where your great strength lies.” a. Tell me what you may be bound with: Delilah obviously cared nothing for Samson. His continued commitment to her is a remarkable testimony to the power of blind, irresponsible love. b. How can you say, “I love you,” when your heart is not with me? Tragically, Samson’s heart was with Delilah. Her accusation was a manipulative projection of her own heart, which was not with Samson. 6. (16-19) Samson finally betrays the source of his strength. And it came to pass, when she pestered him daily with her words and pressed him, so that his soul was vexed to death, that he told her all his heart, and said to her, “No razor has ever come upon my head, for I have been a Nazirite to God from my mother’s womb. If I am shaven, then my strength will leave me, and I shall become weak, and be like any other man.” When Delilah saw that he had told her all his heart, she sent and called for the lords of the Philistines, saying, “Come up once more, for he has told me all his heart.” So the lords of the Philistines came up to her and brought the money in their hand. Then she lulled him to sleep on her knees, and called for a man and had him shave off the seven locks of his head. Then she began to torment him, and his strength left him. a. When she pestered him daily with her words and pressed him, so that his soul was vexed to death, that he told her all his heart: Earlier Samson gave into the nagging of his Philistine wife (Judges 14:15-18). Now he yielded to the nagging of Delilah. She certainly sinned by using such terrible manipulation, but Samson also sinned by yielding to that manipulation. i. Her previous complaint that Samson’s love for her was empty and a hollow protest. Delilah had no love for him, and she expected Samson to destroy himself and his service for God to “prove” his love for her. b. He told her all his heart: When Samson did this, it was a very sad scene. He had to know what was to come. He faced the choice between faithfulness to his God and continuing an ungodly relationship. i. In this we see the strongest man in the world weak under the power of an ungodly relationship. Perhaps Samson figured that because he was strong in one are of his life, he was strong in all areas. In this he was desperately wrong. c. Then she lulled him to sleep on her knees: No doubt, Delilah used sweet words to lull Samson to sleep. Her pretended love for Samson for the sake of money is deeply troubling. i. “As long as he is consecrated he is strong; break that, he is weak as water. Now there are a thousand razors with which the devil can shave off the locks of a consecrated man without his knowing it. Samson is sound asleep; so clever is the barber that he even lulls him to sleep as his fingers move across the pate, the fool’s pate, which he is making bare. The devil is cleverer far than even the skillful-barber; he can shave the believer’s locks while he scarcely knows it.” (Spurgeon) d. Then she began to torment him: This was fitting. We might say that Delilah began to torment Samson long before this. e. And his strength left him: There was nothing magical in Samson’s hair. We might also say that Samson began breaking his Nazirite vow before this. Yet there came a time when Samson finally had to reckon with his rejection of God’s mercy. i. “Not that his hair made him strong, but that his hair was the symbol of his consecration, and was the pledge of God’s favor to him. While his hair was untouched he was a consecrated man; as soon as that was cut away, he was no longer perfectly consecrated, and then his strength departed from him.” (Spurgeon) ii. “In the opinion of some persons Samson looked much improved when his matted hair was gone. He was more presentable; more fit for good society. And so in the case of churches, the notion is that they are all the better for getting rid of their peculiarities.” (Spurgeon) B. Samson’s arrest and death. 1. (20) Samson is seized by the Philistines. And she said, “The Philistines are upon you, Samson!” So he awoke from his sleep, and said, “I will go out as before, at other times, and shake myself free!” But he did not know that the Lord had departed from him. a. I will go out as before: Samson didn’t know things were different. He lived in compromise for so long that he thought it would never make a difference. i. “The story is one to fill the soul with holy fear. The possibility of going on in an attempt to do the work of God after God has withdrawn Himself, is an appalling one.” (Morgan) ii. This is a tragic example of wasted potential and rejection of God’s warnings. Samson thought he could “get away” with sin and escape its consequences. He misinterpreted the merciful delay of God’s judgment or correction as a sign that He really didn’t care. He therefore presumed on God’s mercy and continued on in his sin, making things far worse. b. He did not know that the Lord had departed from him: Samson’s strength was not in his hair, it was in his relationship with God. He worked against that relationship to the point where God finally departed from him, in the sense that He no longer blessed Samson with supernatural strength. 2. (21-22) Samson’s Philistine imprisonment. Then the Philistines took him and put out his eyes, and brought him down to Gaza. They bound him with bronze fetters, and he became a grinder in the prison. However, the hair of his head began to grow again after it had been shaven. a. Then the Philistines took him and put out his eyes: It was fitting that Samson was first blinded in his imprisonment. He was attracted to ungodly relationships through his eyes. His failure to restrain this attraction to women brought him into bondage. b. They bound him with bronze fetters: Samson didn’t humble himself in obedience before God - he insisted on the “freedom” of doing what he wanted to do. This left him with no freedom at all. i. “There is nothing perhaps in the sacred writings at once more pathetic tragic than the vision of Samson with his eyes put out, grinding in the prison house of the Philistines. It is a picture and a parable needing no enforcement of exposition to make it powerful.” (Morgan) ii. Sin has its wages, and this was Samson’s payday. His sin left him blind, in bondage, and a slave. Before Samson’s blindness, bondage, and slavery were only inward, but they eventually became evident outwardly. c. The hair of his head began to grow again: God gave Samson hope in the midst of a dungeon. His hair began to return and we can suppose that his heart also began to return. i. “I wonder why these Philistines did not take care to keep his hair from growing to any length. If cutting his hair once had proved so effectual, I wonder that they did not send in the barber every morning, to make sure that not a hair grew upon his scalp or chin. But wicked men are not in all matters wise men: indeed, they so conspicuously fail in one point or another that Scripture calls them fools.” (Spurgeon) ii. “When Samson’s hair began to grow, what did it prophesy? Well, first, it prophesied hope for Samson. I will be bound to say that he put his hand to his head, and felt that it was getting bristly, and then he put his hand to his beard, and found it rough. Yes, yes, yes, it was coming, and he thought within himself, ‘It will be all right soon. I shall not get my eyes back. They will not grow again. I am an awful loser by my sin, but I shall get my strength back again, for my hair is growing. I shall be able to strike a blow for my people and for my God yet.” (Spurgeon) 3. (23-25) Samson is mocked by his enemies. Now the lords of the Philistines gathered together to offer a great sacrifice to Dagon their god, and to rejoice. And they said: “Our god has delivered into our hands Samson our enemy!” When the people saw him, they praised their god; for they said: “Our god has delivered into our hands our enemy, the destroyer of our land, And the one who multiplied our dead.” So it happened, when their hearts were merry, that they said, “Call for Samson, that he may perform for us.” So they called for Samson from the prison, and he performed for them. And they stationed him between the pillars. a. Our god has delivered into our hands Samson our enemy! When Samson pursued his ungodly relationships he might have justified it to himself by thinking that the only harm was done to himself. Yet here we see that his disobedience led to giving glory to false gods. Samson became a trophy for worshippers of false gods. b. When they people saw him, they praised their god: The message preached by the followers of Dagon was clear. They said, “Our god is stronger than the God of Israel, because we have conquered Samson.” Often the disobedience of God’s leaders leads others to deny God. 3. (26-31) Samson’s bittersweet death. Then Samson said to the lad who held him by the hand, “Let me feel the pillars which support the temple, so that I can lean on them.” Now the temple was full of men and women. All the lords of the Philistines were there; about three thousand men and women on the roof watching while Samson performed. Then Samson called to the Lord, saying, “O Lord God, remember me, I pray! Strengthen me, I pray, just this once, O God, that I may with one blow take vengeance on the Philistines for my two eyes!” And Samson took hold of the two middle pillars which supported the temple, and he braced himself against them, one on his right and the other on his left. Then Samson said, “Let me die with the Philistines!” And he pushed with all his might, and the temple fell on the lords and all the people who were in it. So the dead that he killed at his death were more than he had killed in his life. And his brothers and all his father’s household came down and took him, and brought him up and buried him between Zorah and Eshtaol in the tomb of his father Manoah. He had judged Israel twenty years. a. Samson said to the lad who held him by the hand: The Philistines continued to mock Samson. At this large demonstration, they used a boy to guard him. i. This makes us think all the more that Samson was not a muscle bound man who was naturally strong. His strength was truly supernatural, not natural. b. That I may with one blow take vengeance on the Philistines: Samson’s end was both bitter and sweet. God answered his last prayer, and he achieved his greatest victory against the Philistines at the cost of his own life. i. In this Samson is a picture of the believer in disobedience. God used him, but he did not benefit from it. His life ended in personal tragedy, shadowed by the waste of great potential. c. Let me die with the Philistines: This was suicide, but different from suicide in the strict sense in that his purpose really wasn’t to kill himself, but to kill as many Philistines as he could. There is a sense in which Samson was like modern suicide-bombers. i. Samson was a hero, even mentioned among the heroes of faith in Hebrews 11 (Hebrews 11:32). Yet there is no glorification of Samson and his end; he was not a glorious hero to be emulated, as modern suicide bombers are glorified by some. Instead, Samson was a tragic hero, whose life should have ended much differently. ii. We can also say that Samson’s suicide and killing of others was not sought out; the opportunity came to him tragically. iii. Suicide is clearly sin, the sin of self-murder. Yet we are wrong if we regard it as the unforgivable sin. Most all who commit suicide have given in to the lies and deceptions of Satan, whose purpose is to kill and destroy (John 10:10). d. And he pushed with all his might, and the temple fell on the lords and all the people who were in it: This could only happen with God supernaturally empowering Samson. This shows that God never forsook Samson, even when he was disobedient. God’s mercies were there for Samson even in a Philistine prison. All Samson had to do was to turn his heart back towards God and receive them. i. We could say that Samson was restored with self-renunciation. This last great victory came only has he was broken, humiliated, and blind. He could no longer look to himself. Prior to this we don’t see Samson as a man of prayer, but here he prayed. He was humbled enough to allow a little boy to help him. ii. In summary, Samson shows the danger of underestimating our own sinfulness. He probably figured he had things under control with his own fleshly lusts, but his desire for love, romance, and sex led directly to his destruction. Samson was the great conqueror who never allowed God to properly conquer him. iii. Samson had to be deceived to keep going back to tempting and dangerous places. It seemed that just about every time he went to the land of the Philistines, he fell into moral compromise. He should have learned from this. Instead of putting himself in tempting situations, he should have fled from youthful lusts (2 Timothy 2:22) like Joseph did (Genesis 39:12). “Rather than break his relationship with Delilah, he allowed it to break him.” (Wolf) iv. Samson also shows the danger of being a loner as a leader. Everything Samson did he did alone. He judged for 20 years and never sought or used help from others. v. Most of all, Samson is a powerful picture of wasted potential. He could have been and should have been one of the greatest men of God in the Old Testament; but he wasted his potential. vi. “The Old Testament biographies were never written for our imitation, but they were written for our instruction. Upon this one matter, what a volume of force there is in such lessons! ‘See,’ says God, ‘what faith can do. Here is a man, full of infirmities, a sorry fool; yet, through his childlike faith, he lives. ‘The just shall live by faith.’ He has many sad flaws and failings, but his heart is right towards his God; he does trust in the Lord, and he does give himself up as a man consecrated to his Lord’s service, and, therefore, he is saved.’ I look upon Samson’s case as a great wonder, put in Scripture for the encouragement of great sinners.” (Spurgeon)

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12. We're all Giants: SF Giants World Series documentary #SanFranciscoCrosscurrents #SoundsofSF

  • Published: 2012-03-20T01:46:48Z
  • By KALW
We're all Giants: SF Giants World Series documentary #SanFranciscoCrosscurrents #SoundsofSF

HANA BABA: Sports aren’t for everyone. And baseball, in particular, can be a hard sell. The baseball season has 162 games, and these games feel like they last forever – the players always seem to do a lot of standing around and spitting, never much actual playing. So why is it the national pastime? Any fan might tell you it’s about the skill of the game – strategy combined with athleticism. But it’s more than that. JON MILLER: My dad was a baseball fan, a sports fan, and in those days the games were on the radio. And he always had a ballgame on the radio. CELINA HARRINGTON: I’ve played sports since the third grade. Used to go to baseball games with my father. Baseball is something that families and friends can share with one another, regardless of whatever else may be going on in their lives. It’s something that parents enjoy with their kids, passing down their love and loyalty for a team to the next generation. KYLE TREFNY: From when I first went to one of their games, and it was really fun there. I got a ball, and Tim Lincecum signed it. And since then, I’ve really become a Giants fan. But the Giants’ magical World Series win in 2010 wasn’t just a victory for lifelong fans, or even sports fans – it was special for everyone. Their World Series run was a great story. It gave everyone in the Bay Area a reason to high-five strangers in the street, even if they’d never watched a baseball game before. CHILDREN (chanting): Let’s go Giants! (fans cheer) This is a story about what it means for everyone. For the homegrown fans who have worn orange and black since before they could walk… JON MILLER: 1962 is when I saw my first game. BRUCE JENKINS: I've been around here since ‘66, and I’ve followed them extremely closely, so I do go back quite a few years. ALAN FARLEY: I mean, I haven’t been a Giants fan for 54 years like some people. Only what – 23 years? That’s practically nothing. …for the transplants who swore off their old home teams when they moved to the Bay. For the bandwagoners, who couldn’t help but get swept up in Giants mania. ERIN TREFNY: Mmm, well, it was fun. They won. And everybody else was excited, so why shouldn’t I? DANI DUNLEVY: I saw the hair attached to the Lincecum wigs and the panda hats. It was all of those different items that made me fall in love with the Giants. ROBERT CARTER: I’m really not a Giants fan, but this year you couldn’t help but be a Giants fan. We’re going to have some help to tell this tale: BRUCE JENKINS: My name is Bruce Jenkins. I'm a sports columnist with the San Francisco Chronicle. JOE BURKE: My name is Joe Burke, morning announcer here on KALW. DAVINCI: My name is DaVinci, and I’m from here, my home, San Francisco Bay Area. And I’ve been rapping for about six years. Feel me? GRANT BRISBEE: My name is Grant Brisbee, and I write for McCovey Chronicles. ALAN FARLEY: My name is Alan Farley, and I’m a producer and announcer at KALW radio. ASHKON DAVARAN: My name is Ashkon Davaran. And I’m an entertainer. JON MILLER: My name is Jon Miller. I broadcast Giants baseball on radio and television. And we’ve got some help from you – the fans – the people who came together, whether they cared about baseball or not. This is the story of the underdog team that was always pushing the envelope when it came to fashion, to nicknames and to hairstyles … on their faces! It’s the story of a ragtag group of veterans, rookies, and relative nobodies who rose to the occasion to bring home their first World Series trophy. This is the story of the San Francisco Giants. So who are the San Francisco Giants? Let’s go ahead and meet them as they take the field for Game 5 of the World Series. Manager Bruce Bochy has made a makeshift lineup in practically every playoff game, and Game 5 is no exception. JON MILLER: “This is the lineup for the epic Game 5.” Along with the music they walk up to the plate with, here are your San Francisco Giants: JON MILLER: “Andres Torres, leading off, in right field.” A 31-year-old rookie, who languished 10 years in the minor leagues. But he is fast. BRUCE JENKINS: Andres Torres is basically a track runner. When you watch him run with the pumping of the arms he looks exactly like an Olympic sprinter. A great athlete, incredibly humble, very, very grateful to have had a rebirth in the game. He's extremely grateful to be where he is and he's made the most of it. A real, real burst of energy from that guy, on the field and off. Batting second… JON MILLER: “Freddy Sanchez, 2nd base.” An oft-injured former batting champ who never played for a winning team. BRUCE JENKINS: Freddy Sanchez grew up as a Dodger fan. A real intense Dodger fan. And when he came to the Giants it was against his will – he was traded. It wasn't a free agent choice that he made. It freaked him out, it really did. He had a really hard time believing that he was wearing the other team’s uniform, the Giants uniform. The dreaded Giants. The hated Giants. And he gradually got over that, and by the end of the season, he was as valuable hitter as they had on the team. JON MILLER: Buster Posey. We didn’t know it then, but he was Rookie of the Year. I think we felt like we knew it. He was the catcher, hitting third. BRUCE JENKINS: For this kid to arrive in such a fashion so early in his career and basically take over … he took over the team in the sense that if you'd ask guys "Who's the one guy you'd want up there in the top of the ninth, and you're down two with two guys on,” most of the guys, if not all, would've said, “Posey.” They would’ve thought about it and they would’ve gone… GRANT BRISBEE: Buster Posey. Just because you can really kind of separate the season into before Buster Posey was the starting catcher, and after. And after Buster Posey was the starting catcher, the Giants were amazing. BRUCE JENKINS:And then he goes behind the plate and catches this, this pitching staff. You know it's a complex assignment. So he's in charge of that and then he comes up with this cannon-throwing arm where he shuts down this other team’s running game. It was dreamlike. And you know he's a very humble guy. So he's basically not real, I would say. That's not a real person. Batting fourth… JON MILLER: Cody Ross, in left field, hitting cleanup. The man who began the postseason hitting seventh, eighth in the order, hitting cleanup for the first time as a Giant. Quite a turnaround. Ross was waived – basically fired – mid-season by the Florida Marlins. BRUCE JENKINS: Yeah, Cody Ross was crushed to be leaving Florida because it was a team that he, not necessarily embraced as the team he wanted to play for for the rest of his life, but just that the team had given up on him. And he went right into the, to the front offices and confronted a couple, I don't know if it was the general manager, but he said basically, "You have made a huge mistake here." And he actually started crying. Not like sobbing, but tears were coming out of his eyes. “You've made a huge mistake here.” And they did. They did make a huge mistake. He's a guy who, he's completely fearless. He wanted to be a rodeo clown, or be in the rodeo. And he really did, you know he just wanted to get out there and have a horse buck him four rows deep into the seats. JON MILLER: “Juan Uribe, 3rd base, hitting fifth.” BRUCE JENKINS: Juan Uribe is absolutely invaluable. He's a real cheerful guy. He's so in love with the game, he loves everything about it. He loves getting there early and hanging out with the guys, telling jokes. He was a big, uh, really one of the kingpins of the Hispanic group, which is huge – they have probably 10 or 12 Hispanic guys on the team. Played wherever, whenever, at whatever moment. JON MILLER: “Aubrey Huff, at 1st base, hitting sixth.” The team’s leading power hitter and wearer of the red rally thong – no kidding. BRUCE JENKINS: He's still a real salty guy. I mean he's the guy with the uh … with the thong. You know he'll light up a cigarette every now and then, you know. And uh, he grew up in a trailer in Texas for heaven's sake, you know, but man is he a good hitter. He has just got a sweet left-handed swing and uh, you always need the sort of the old hand there to kind of keep guys in line and uh, and Huff proved to be that guy. JON MILLER: “Pat Burrell, the designated hitter, hitting seventh.” Another mid-season pickup who was sitting on his couch when the Giants called. Pat Burrell. Pat “The Bat.” BRUCE JENKINS: Pat Burrell really had a rebirth here. He's a local guy, obviously a high school hero. And went to the Phillies, which can be a real nasty town if you're a streak hitter who strikes out a lot. And he struck out a ton when he first got there, and they just about booed him out of town. He went to Tampa Bay and didn't have a good experience there. He's a little quiet, but he proved to be a real leader on the team. You know, he was playing in his hometown, they were winning, he was doing great things, and that sense of belonging really got a hold on his soul and his personality. Brought out the best in him. Again, another unlikely story that proved to be invaluable. JON MILLER: “Edgar Renteria, at shortstop, batting eighth.” Ah, the oft-injured Renteria. BRUCE JENKINS: Edgar Renteria, yeah. He was … he was just, uh … he talked about retiring I think in, like, late August. The feeling was, “Well if you leave now that would be okay. You might as well – you're hurt, you're not playing much.” JON MILLER: It was like his 34-year-old body, or whatever he was – when I say 34 it always seems like he can’t be 34, he must be 39 or something. But it looked like his body was 39 or 40 years old. It really at one point seemed like if he played three or four days in a row, he was going to break down. And I think that was probably more often than not the case. And Edgar hit three home runs the whole season. BRUCE JENKINS: But he's got so much pride. He's done so many important things for winning teams. He's a guy who ended a World Series with a single up the middle, for heaven’s sake. That was when he played for the Florida Marlins, 13 years earlier, in 1997. JON MILLER: “Aaron Rowand, in centerfield, batting ninth.” In 2010, he had the worst batting average of his 10-year career, by far. BRUCE JENKINS: But he was a guy who, again, another guy who's been on a World Series team. He's done a lot of winning. He loses his job to Torres, and the fans are down on him. They're wondering, he shouldn't even be on the post-season roster. You know he kept his head up, he totally got was going on in that clubhouse. And he sure as heck wasn't gonna be the one to bring it down by grousing about his own situation. And it was real genuine, I don't think he was faking it. He really felt like this team was going somewhere. “Maybe I'll sneak in there...” And sure enough, who was the center fielder in Game 5? Aaron Rowand. JON MILLER: And the pitcher for the Giants, in this big game, the biggest game in San Francisco Giants history as it turned out – Tim Lincecum. Just the man you’d want out there for a big game. And very much the symbolic leader of the pack. BRUCE JENKINS: Tim Lincecum. I saw him leaving the clubhouse one day, and he's dressed in all black and he's got this little weird black hat on. And he's walking his, his boxer dog to the clubhouse. He looked like Patti Smith in 1982. (laughs) Who is this guy? Who is Tim Lincecum? I mean, he's a little tiny guy who can throw a ball through a wall. He's … I don't even know where to start with Lincecum. He's such a trip. I mean he's basically a chill kind of stoner guy from Seattle and uh, he can strike out anybody in the game at will. Lincecum’s baseball credentials are unmatched – after three full seasons, he’s a three-time strikeout king and two-time Cy Young Award winner as the best pitcher in the National League. But his personal history is a little more ... pedestrian. During the off-season, he picked up his first citation for possession of marijuana (which makes some of the hometown fans love him all the more). BRUCE JENKINS: In all the years I've been here this was the team more than any that every one could relate to, just from a spiritual standpoint. Altogether, your San Francisco Giants were called… DANA COHEN: A lot of weird guys and castoffs. DANI DUNLEVY: A bit of a motley crew and a bunch of misfits. Not just by recent Australian immigrant Dani Dunlevy and local fan Dana Cohen. But by their own manager, Bruce Bochy, who also called them “castoffs and misfits.” Somehow, these players – this team – made it to the game’s grandest stage. And they brought their city with them. BRUCE JENKINS: It was a different star every night and people related to that in a really deep and intense manner. So here we are, November 1, 2010. Game 5 of the World Series. The Giants lead the Texas Rangers, three games to one. They’re one win away from bringing their first championship back to San Francisco. Millions of fans are watching, from where the game is taking place in Arlington, Texas, to a house party near San Francisco’s Ocean Beach. And we are there. LEAH ANDERSON: My name is Leah Anderson. ISAAC ANDERSON: Isaac Anderson. I’m seven-and-a-half. JASON ANDERSON: Jason Anderson. OMAR ANDERSON: My name is Omar Anderson. I’m five-and-a-half. BEN TREFNY: My name is Ben Trefny. ERIN TREFNY: My name is Erin Trefny. I’m eight years old. FRANCES TREFNY: My name is Frances Trefny. KYLE TREFNY: My name is Kyle Trefny. I’m eight years old. ETTA BUDD: My name is Etta Budd. I’m eight years old. SUSAN ROBINSON: My name is Susan Robinson. OLIVER BUDD: My name is Oliver Budd. I’m six years old. MATT ALEXANDER: My name is Matt Alexander. NOLAN ALEXANDER: My name is Nolan Alexander. I’m eight years old. LAURA HODDER: My name is Laura Hodder. BEN ALEXANDER: Ben Alexander. I’m eight years old. Across the Bay, a crowd has come together at Ben ‘n Nick’s Bar in Oakland. We’re with: HANNIBAL DEIZ: Hannibal Deiz. I am a Bay Area native, I’ve grown up here, been here my whole life. And thousands gathered before a giant projection screen set up in San Francisco’s Civic Center plaza. JON MILLER: In that final game, the clinching game of the World Series, it was as if Tim Lincecum said, “This is who I am. I was born to do this. I’ve been looking forward to this night my entire life.” It would be a big challenge – he was facing Texas Rangers’ star pitcher Cliff Lee. JON MILLER: The world was focused on Cliff Lee as the guy for the postseason – the king of the postseason. HANNIBAL DEIZ: This guy, you know, he’s a big deal. JON MILLER: …the king of the postseason. Going into the World Series, Cliff Lee had won seven postseason starts. And he’d never lost. Lee was so good that before the series began, Sports Illustrated breathlessly reported that: ACTOR (reading from Sports Illustrated): “The lefthander is more than the central character of this series. Helooms above it like the sun above the earth. There are only the days that Lee is scheduled to pitch, and the day spent waiting for him to get the ball again.” Lee was that good. That is, until he got pounded by the Giants in Game 1. But game 5 would be different. JON MILLER: This game, the clinching game, was an old time, an old timey pitching duel, between two great pitchers. ALAN FARLEY: It was pitch for pitch, pitcher for pitcher. I mean, it was a very tight close game. It was exciting, but it was unpredictable. JON MILLER: The kind of a game that you expect you’ll see in the World Series, where you got the best of the best. We’ll pick up the action in the top of the seventh, but now, let’s return to Game 5 of the 2010 World Series. Here’s the Giants’ Hall of Fame broadcaster Jon Miller. JON MILLER: “Going into the seventh inning, Cliff Lee, back on the hill for the Rangers. Tim Lincecum has thrown six shutout innings. Nothing to nothing score as Lee goes to work against the Giants here in the seventh.” Cody Ross gets a base hit. JON MILLER: Now the Giants get the leadoff man on. Juan Uribe follows with a single. So, two on, no out. JON MILLER: This calls for a bunt. It’s a nothing to nothing game! But a bunt’s probably not coming, because the next guy up is Aubrey Huff. JON MILLER: And Aubrey Huff doesn’t bunt! He hasn’t bunted for a sacrifice in nine years. And, much less, he’s the Giants’ home run and RBI guy, he’s their leading hitter. But today is different. JON MILLER: He bunts. ASHKON DAVARAN: He bunted! I couldn’t believe it. JON MILLER: It was incredible! ALAN FARLEY: His first bunt! JON MILLER: The last thing you’d ever expect. ALAN FARLEY: Incredible! JON MILLER: Number one, Aubrey Huff had not bunted at any time the whole year. ALAN FARLEY: It’s one of the truisms I’ve heard and it happens. Virtually every game you can see something you’ve never seen before, it’s so unpredictable. JON MILLER: And I think that rattled Cliff Lee a little bit. Pat Burrell, one of the Giants’ best power threats, comes to the plate. And the mighty Burrell … well, he struck out. ASHKON DAVARAN: So frustrated when Burrell struck out. ALAN FARLEY: Well, he wasn’t the last out, though. Shortstop Edgar Renteria steps to the plate. JON MILLER: Renteria was swinging a very hot bat in that postseason and had already taken the Rangers deep. BRUCE JENKINS: Well, when you're watching Renteria from anywhere, in my case from the press box, the last thing you're thinking is he's going to hit a home run. It's just not, not part of the deal. JON MILLER: They obviously, with Cliff Lee, were not going to walk him intentionally, but to try to get him to go out of the strike zone and chase a bad ball. And if you end up walking him – hey, you’ve got a base empty. But he threw one to the outside and it cut in over the plate. He made a mistake. And BOOM! BRUCE JENKINS: I remember when he hit the ball I remember saying to myself very quietly because you can't be very loud in the press box. I just said, "No." JON MILLER: “Way back, Hamilton’s back.” FRANCES TREFNY: Oh, that’s a fly. That’s what we needed before! JON MILLER: “At the warning track. At the wall. And…” (fans cheer) MARTINA CASTRO: And I uh screamed, and they’re like, “What’s going on, what happened?” BRUCE JENKINS: It was just … it was too good to be true. JOE BURKE: And that home run went over the fence, and that's when 53 years of pent-up frustration and being a Giants fan and never winning - it all came through and I was laughing and crying at the very same time. BRUCE JENKINS: It was just one of those surreal moments that you, that you'll remember your whole life. BEN ALEXANDER: And I’ll always almost remember this, I feel like that. BEN TREFNY: MVP! MVP! MVP! JON MILLER: The most memorable home run, the most decisive home run, the biggest home run in the history of the San Francisco Giants, and it came from Edgar Renteria! And the Giants had the three run lead, suddenly. Not a ground ball for a single and a run, but three runs in one swing of the bat! ERIN TREFNY: Why did they show all the Giants fans? FRANCES TREFNY: They’re all at the Civic Center. Thousands of people are cheering the homer at San Francisco’s Civic Center Park. ALLISON CROW: Home run! That was really good! I’m Allison Crow. I live in Oakland, and I just started following the Giants a little last season, but this season I really got into it. And I think I was good luck, this is awesome. Jason Cardona is part of the celebration. He’s been a Giants fan… JASON CARDONA: Since I was a little boy. I grew up in San Jose. The night the San Francisco Giants could clinch their first World Series championship, neither Crow nor Cardona could imagine being anywhere but right here. ALLISON CROW: It’s exciting, it’s really fun that everyone came out. JASON CARDONA: It brings on camaraderie, it’s good, it’s fun. And look at the backdrop. The backdrop is beautiful, isn’t it? ALLISON CROW: It’s getting dark now and City Hall is lit up in orange… JASON CARDONA: …all lit up in orange to commemorate the moment when the Giants ... It’s good, it’s nice, it’s beautiful. It stands out. It’s like a beacon of light, right? Orange light in the night. San Francisco Rapper DaVinci is one of many Bay Area artists featured on the song “Black and Orange.” It’s one of many songs inspired by the Giants World Series run. DaVinci’s love for the team started more than a decade earlier, when he went to Candlestick Park as a kid, and the tickets were a little bit cheaper. DAVINCI: The tickets used be like a dollar, and they used to all take us at the Park and Rec across the street from my house, right on Fell Street. And in the summer time we’d go on field trips to the Giants game and we’d only have to pay one dollar. So ever since then I’ve been sportin the black and orange, the SF hat, you know what I’m sayin’? Alright – back to the game. It’s the bottom of the seventh inning. JON MILLER: “Tim Lincecum back to work now. For the first time, pitching with a lead here in Game 5. 3-0 Giants as the Rangers come up to bat.” The things I thought about there were simply: there’s nine outs to go, and Lincecum’s been great. But this is a very good park in which to hit, and the Rangers have some guys, and if they can get a couple men on, they’ve got several guys capable of popping one. Rangers right fielder Nelson Cruz promptly hits one out of the park. HANNIBAL DEIZ: Oh, they got one, they got one. JON MILLER: Nelson Cruz hit a solo homer. HANNIBAL DEIZ: Only a solo, though. JON MILLER: …and that just sort of underscored the fragile nature, and now they just needed one guy on base, and the tying run, the possible tying run comes to the plate. GRANT BRISBEE: You know, a walk, a broken bat single, a home run, the Rangers … you know, just baseball can happen so quickly. For many Giants fans, a late lead in a World Series game actually brought back bad memories. Just eight years earlier in 2002, they led the Anaheim Angels three games to two. One more win, and they’d be the champs. They took a 5-0 lead in the seventhinning. And then … well … this is Giants baseball. JOE ESKENAZI: I’m Joe Eskenazi. I’m the online news editor at SF Weekly. I’ve been a Giants fan since 1985. DANA COHEN: I remembered for a long time that I liked that they were a losing team. There’s something, you know, endearing about the underdog. JOE ESKENAZI: I’ve always said it bothers me how much it bothers me, regarding the way that I watch the Giants and the way that it matters so much. And I’m not a screamer … it just eats you up. NOLAN ALEXANDER: It’s kind of stressful, and really exciting too because I know they have such good players, and I’m like “They can do this thing! They can do it!” JOE BURKE: ‘Cause I knew then that barring some completely ridiculous thing like had happened against the Angels in 2002, we were actually going to win it. JOE ESKENAZI: You know, it was years, years, that I didn’t think about Game 6 every day, just in some fleeting moment when you’re not thinking about anything else. GRANT BRISBEE: I didn't want to believe it, but in the back of my head I was doing cartwheels. But I was doing that in 2002 as well, before the Angels came back, so… JOE BURKE: I still didn't think they were going to win it, just because the experience is for 53 years, they find a way to lose like 2002, when they had a five run lead with seven outs to go. (sighs) JON MILLER: …just a few outs to go, where you’re counting the outs. GRANT BRISBEE: And at this point I'm thinking, what do I do – do I get champagne now? Do I wait till it's over and then get champagne? Is that anticlimactic? Should the champagne be chilled already? Boy, I'm thinking, “How do I celebrate this?” BRUCE JENKINS: I needed to have a column done at the end of the game, more or less. And so I'm writing, writing away this flowery, "Giants, they've finally done it. They've got a big lead," and how Barry Bonds and Jeff Kent, and this erases all the heartbreaks of the past and, you know, I'm writing this column and as we all were. We were all writing the same kind of thing. ALAN FARLEY: The Giants have got this nailed. BRUCE JENKINS: And it slowly starts to unravel. ALAN FARLEY: And then it slipped away. And it was just gut-wrenching. BRUCE JENKINS: And you're watching this column just evaporate into space to the point that where it was worthless. You had to throw it out and start over. JOE BURKE: Ugh. That was so frustrating. ALAN FARLEY: Just gut-wrenching, the loss. GRANT BRISBEE: It's hard to imagine a team getting that close to a championship and not winning it. CELINA HARRINGTON: Everyone was so sad. Celina Harrington. GRANT BRISBEE: It just doesn’t happen that often. It was that close. CELINA HARRINGTON: It was the worst day ever. Because it felt like you lost. I mean you’re a fan, but you still feel like a part of the team, even though you’re not on the field with them. BRUCE JENKINS: You know that was a shattering … I mean we felt the shattering experience in the press box that the team was feeling, that the fans were feeling. It really did seem over. Even though there was another game to go. ALAN FARLEY: I couldn’t even watch the next game, because I just knew the Giants were not going to come back. They did not come back. JON MILLER: So that’s when I started thinking about this idea of the disappointment of a Giants fan. Cause I really was disappointed. JOE ESKENAZI: In 2002, after Game 6, I think every true fan new that that was it. And I called up my best friends, who I had led into Giants fandom in the ‘80s, with just my sheer enthusiasm. I told him, “I’m sorry I got you into this.” JON MILLER: “Top of the 8th inning, the Giants ahead 3-1, now. And I’m sure Tim Lincecum, as strong as he’s been, wouldn’t mind if the Giants got another run or two here.” But they didn’t. The score remained the same. And for old Giants fans, those memories of failures past just kept on coming. And it wasn’t just 2002 – there were many, many more. Like Game 7 of the 1962 World Series against the New York Yankees, when Hall of Famer Willie McCovey came up to bat with two outs, the Giants down 1-0 and Mattie Alou on 3rd base and Willie Mays on 2nd. A hard hit ball could have won the game, and McCovey hit a ball hard. Except he hit it right at 2nd baseman Bobby Richardson. The Giants lost the World Series. And the beat-downs went on and on. BRUCE JENKINS: I watched Sandy Koufax pitch a no-hitter against the Giants, which you know the rivalry has always been fierce. It was extremely intense in those times, and this was the Giants of Mays and McCovey, and just a tremendous hitting team. And Koufax was the guy they had to beat and to get no hit by him was really quite humbling. But as the years went on, it got far worse. JON MILLER: I remember back as a kid in 1965, when Juan Marichal – there was this bad blood between the Giants and Dodgers, and Marichal ended up in a fight with Johnny Roseboro, the catcher of the Dodgers, and hitting him over the head with his bat. And brutal, just horrifying to see. To this day I always felt that incident ended up costing the Giants a trip to the World Series. The Giants played against the Oakland A’s in the 1989 World Series. BRUCE JENKINS: I was thinking about 1987, the playoff series they had against the St Louis Cardinals. JON MILLER: Remember, they went to St. Louis ahead three games to two, needing one game more... BRUCE JENKINS: Then the earthquake happened. ALAN FARLEY: The earthquake sort of threw things off kilter, and there was sort of a disastrous World Series for the Giants. BRUCE JENKINS: And so there's just this whole sequence of negative events. So I mean every, basically every time the Giants ever got to the postseason, it always ended badly. So that's just a few of them, there's more. JOE BURKE: Just year after year it was just, you know, stuck in second place. Finding a way not to succeed in the end. Cause I mean golly, look at the Giants over the last 53 years here in San Francisco – Hall of Fame players all over the place. JON MILLER: Willie Mays all by himself would make you a fan. JOE BURKE: Mays, McCovey, Cepeda, Juan Marichal, Gaylord Perry – all these great players and good teams. The lists go on and on! Barry’s dad Bobby Bonds… JON MILLER: There’s Bobby Bonds, wow! He came along, hit a grand slam in his first game as a big leaguer when I was in high school! And he can hit home runs, he can steal bases, he’s a gold-glove outfielder … Wow! ASHKON DAVARAN: Jeffrey Leonard, Chili Davis… JOE BURKE: … Will Clark, Jeffrey Leonard, Jack Clark... JON MILLER: …the Ripper, Jack the Ripper. ALAN FARLEY: Matt Williams and Will Clark… ASHKON DAVARAN: Will Clark was definitely always my favorite player growing up. The game-face. The whole thing. JON MILLER: Barry Bonds at that time, there was nobody more exciting or more dramatic than Barry Bonds. He was doing things that nobody in the history of the game had ever done. JOE BURKE: And they didn't ever win! How do you not have at least one championship with as many good times as we had in San Francisco? JON MILLER: Always being good, but never quite good enough. JOE BURKE: It was almost as though we had a bad omen, bad mojo, wasn’t going to happen. JON MILLER: And now there’s almost a dark cloud that hangs over it all. JOE ESKENAZI: Now I have a foreign-born wife who has taken to following the Giants because of my enthusiasm. And it was a deep fear of mine that the team would falter on the moment of triumph, and I would introduce another person to the darkness of what it is to be a Giants fan. JON MILLER: “Last of the eighth inning. Six outs away from their first World Championship as the San Francisco Giants. Lincecum back to work leading 3-1.” PAUL SHROEDER: Well, Lincecum is up, he’s pitching. It’s the eighth inning, they need six more outs and then they win the world championship. My name is Paul I’m from San Francisco. I’m from here. Paul Shroeder. I remember I was out here in 2002, in a scene just like this, it was right by the Metreon here in the city, it was a crowd like this. We were watching the big screen, and they were six outs away, and they lost it all. It was a very hurtful moment for everyone here. But uh, everyone is looking for redemption, we all need that moment. We all need that moment. I should probably stop talking, I’m on the verge of tears … Yeah, it’s a big deal huge. JOE BURKE: It was only nerve wracking because it was baseball and you have to get those last three outs. LAURA HODDER: Nerve-wracking. JON MILLER: Duane Kuiper comes on our little roundtable discussion on the radio after the game. Former San Francisco pitcher Duane Kuiper who broadcasts Giant games with Jon Miller. JON MILLER: “I came up with a new slogan for the Giants: ‘Giants Baseball – It’s Torture.’” LAURA HODDER: It’s constant torture. ISAAC ANDERSON: I thought the Rangers were gonna score a couple runs, but I didn't think they were gonna blow it really. LEAH ANDERSON: My memory is that you had to walk out of the room. In fact, outside onto the fire escape, because you were so nervous that they were gonna blow it. You couldn't watch the game. ISAAC ANDERSON: I don’t really remember that. JON MILLER: And I think that kind of … the Giants, the powers that be, as time went on, because this kept being repeated because there were more and more games like that. The Giants were a little uptight about it from a marketing standpoint. The marketing people were like, “It’s not torture, it’s dramatic! What are you talking about, torture?” ASHKON DAVARAN: So many heart attacks throughout the year. JON MILLER: And the fans sort of had this wry comment that they were making about the Giants, “It’s torture, and we love it! Torture is fun!” And so on and so forth. The fans took that themselves and turned that into a positive. Which, when you go to game 5 in the World Series, and the whole World Series in general, I think ... how did that happen? Where did this Giants team come from? All of a sudden a Giants team had emerged which was methodical, it was smooth, it did everything right. Where was the torture? The torture didn’t exist! The Giants were just good! And they were clearly the best team on the field, in the league championship series and in the World Series. And it was like the Giants had graduated to something more and something better than we’d seen all year long by the end. “Top of the ninth inning, and the Giants still maintaining a 3-1 lead over the Rangers.” So what made this San Francisco Giants team different from those others that got so close, but couldn’t finish? A story that columnist Bruce Jenkins shares from the season provides some insight. BRUCE JENKINS: Well one, one night, I went back to Chicago for a big series in September and they lost the game. Every loss in September is a bad loss, and every loss that's ever gone down brings the same reaction in the clubhouse. It's very, very quiet. It's morgue-like. There's no music. There's no laughter. It's just … that's not only the way they feel – that's the way you sort of have to act. And we're going around getting horrible quotes from one player to another, and all of the sudden here comes Aubrey Huff, walking through the middle of the pack – and there's women in there and you know women reporters and everything – wearing only that red thong that he became famous for. And he's got a bandage on his right leg and he's got tattoos on his arms. And it was just hysterical! I was interviewing Brian Wilson at the time and he goes, "There goes our clubhouse atmosphere. It just walked by. There it goes. Did you see it?" A great line. And it was just, there always that sense of levity around the team. There's always somebody there to pick ‘em up when they're down. But it was an extremely genuine family feeling to that team, which is very rare in sports. JON MILLER: “Last of the ninth inning. Three outs away from a World Series championship, and Brian Wilson to come in and try and save this one for Tim Lincecum." BRUCE JENKINS: I don't know where he comes from. He comes from a different place. When I first started watching him, he's got this shirt unbuttoned and the Mohawk, I didn't even want to talk to this guy. You know, "Shape up." You know. Button the shirt, the haircut’s kinda lame. And then you start listening to him night after night and he's a like a beacon of intelligence and perspective in the clubhouse. He's absolutely a guy you go to, win or lose, to hear his view on the thing and put it in perspective. He's borderline genius really. He can do the New York Times crossword puzzle in like 10 minutes. You can't beat him in chess. He's a he's really a fascinating guy. Brian Wilson’s first batter is American League Most Valuable Player Josh Hamilton. Hannibal Diez is watching the game in Oakland. HANNIBAL DEIZ: I think he’s focused. He knows that he’s three outs away from a title. And this is his job. This is what they pay him for. To do this. DOUG OLSON: My name is Doug Olson, I’m from Oakland about a block and a half away from here. We’re at Ben ‘n Nick’s on College. My favorite Giant? Well considering how the last time I shaved was in 1975, I like Brian Wilson. Fear the beard! Wilson strikes Hamilton out, looking. JOE BURKE: And Wilson came in in the ninth it was, yeah. It was fun. It was good. Former MVP Vladimir Guerrero steps in. He grounds out to short. UNIDENTIFIED WOMAN: Stand up everybody, we’re about to win the World Series! FANS: Let’s go Giants! (clapping) Two outs. Nelson Cruz comes up to bat. He hit a home run in the seventh inning. It’s a battle. KYLE TREFNY: Well, whenever I watched Brian Wilson, he does a full count just to make things a bit more exciting. And when he did a full count there, I was like, “Oh, he's gonna strike that guy out.” LAURA HODDER: I was feeling calm because I feel like when the game’s in Brian Wilson’s hands, he’s going to make it exciting, he’s going to push it to the edge… NOLAN ALEXANDER I was like, “He's not gonna blow it. There’s no way he can.” BEN ALEXANDER: I really hope he doesn’t blow it. Full count. BEN ALEXANDER: I was like, “Oh, he’s gonna strike that guy out.” Here’s the pitch. Strike three. Game over. DANA COHEN: It was a Brian Wilson strikeout. A perfect close. UNIDENTIFIED WOMAN: Oh my god, he just won! We just won! JON MILLER: “The Giants, for the first time in 56 years, and their first time ever as the San Francisco Giants, are the champions of the baseball world.” FANS: Let’s go Giants! (cheering) BRUCE JENKINS: That was like my 25th World Series for the Chronicle. The more of those things you watch, you try to watch as many of the things that are going on as you can. I just remember, the thing that really struck me was sort of that three-way hug between, among the infielders. Sanchez, Uribe and Renteria. That was beautiful. They just sort of naturally gravitated toward each other. And I remember Huff's glove 20 feet in the air. So many things. The look on Lincecum's face as they had him up on their shoulders. DANA COHEN: Buster Posey ran out from behind home plate and ran and jumped into Brian Wilson's arms and they embraced, and I think a lot of people in the bar around me followed suit. Lots of hugging and shrieking and screaming. Lots of "I can't believe it!" ERIN TREFNY: And when the Giants won I heard such a loud noise, like, “Whoooo!” JON MILLER: “The Giants at long last have brought a World Series Championship to San Francisco. Let the celebration begin.” BRUCE JENKINS: I just wanna stand down here and just soak this up for, you know, until dawn. CELINA HARRINGTON: It was crazy, it was madness. Everybody was popping bottles of champagne. ALAN FARLEY: And here it was – I was trying to drink in every moment of it. CELINA HARRINGTON: People were throwing beer around like if we just won, like if we were the actual players. JOE BURKE: We popped a bottle of Champagne and sat there and you know, if anybody who's ever watched any sort of sports thing that your team wins, if you're not outside honking your horn or driving around the streets… DANA COHEN: Oh, the honking started immediately. (cars honking) JOE BURKE: You're watching the highlights for like an hour after the game. And you replay the homerun. KYLE TREFNY: “2 and 0, the count. Lee pitches. Edgar Renteria hits a high drive into left center field!” ERIN TREFNY: “David Murphy going back! He’s at the wall.” NOLAN ALEXANDER: “Count, 2 and 0! Cliff Lee pitches! High fly ball! David in center field!” KYLE TREFNY: “Murphy’s going back, he’s at the warning track…” ERIN TREFNY: “…at the wall. It’s goneeeeeee!!!!” KYLE TREFNY: “It’s goneeeeeee!!!!” NOLAN ALEXANDER: “It’s goneeeeeee!!!! Edgar Renteria has hit a three-run homer, which might lead to a Giants World Series victory!” JOE BURKE: But it was like that. You need that reassurance that it actually did happen. So you have to watch it again several times. DANA COHEN: We all sort of went outside and all started jumping up and down on the street, on the sidewalk and high-fived cars passing by. I didn't know how many people in the city owned Giants flags but there they were driving around the city waving their flags out the car. I've never high-fived so many people in my life. The Giants’ World Series win brought people from all over the Bay Area together. And as the celebration continued, memories that would last a lifetime began to unfold in real-time. CHRIS ROTHACHER: My name is Chris Rothacher. I’m from Berkeley, California, born and raised. Chris Rothacher manages a pizza place in Emeryville. CHRIS ROTHACHER: I just, I always loved the Giants. They’ve always been underdogs and I’m so happy it actually happened this year! This is amazing. Absolutely amazing. It’s also amazing how much this Giants fan looks like a certain starting pitcher. CHRIS ROTHACHER: A little bit just because, people, just… UNIDENTIFIED MAN 1: Timmy! CHRIS ROTHACHER: I walk down the streets and everyone is like, “Oh my God! Tim Lincecum!” This night would prove to be not only one of Tim Lincecum’s favorites … but also one of Chris Rothacher’s. CHRIS ROTHACHER: San Francisco!! World Series!! UNIDENTIFIED MAN 2: Great pitching man, great pitching!! UNIDENTIFIED MAN 1: Number one hung over city tomorrow!!!! CHRIS ROTHACHER: I’m not … I don't want to treat it like… UNIDENTIFIED WOMAN 1: Timmy!! Oh Timmy!! MARTINA CASTRO: Oh my God, they totally treat you like you were him! UNIDENTIFIED WOMAN 1: Number one, Timmy! CHRIS ROTHACHER: Giants! Whoo! I mean, I don't want to say that I am him… MARTINA CASTRO: No, you’re not! Obviously not! But it’s… CHRIS ROTHACHER It’s just … yeah, Giants! Whooooo! It’s entertainment, it’s hilarious… UNIDENTIFIED WOMAN 2: Can I get a photo with you? CHRIS ROTHACHER: Yes, you absolutely may. San Francisco’s Dana Cohen had an equally memorable, if a bit more painful, experience, the night the Giants won the World Series. She was partying in the city’s Mission District… DANA COHEN: People are lighting off fireworks and all of a sudden someone has grabbed a mattress which had been laying against a wall, abandoned, and starts to light that on fire. Five minutes later a fire truck pulls up and puts it out… But that only added to the revelry. DANA COHEN: At least 50 people, jump on top of the fire truck and are dancing and cheering, and everyone below them is cheering. Somehow I found myself to be one of those people on top of the fire truck... With thousands and thousands of like-minded fans. DANA COHEN: So then, a phalanx of motorcycle cops pulls up on either side of the fire truck and everyone on top sort of panics and realizes – okay, it's time to get down. Somehow, I just landed wrong on my heel, and it turns out I broke my heel disembarking the fire truck. So the memory carried on. DANA COHEN: I knew I was going to want to decorate the cast; the doctor told me I was going to be in a cast for six weeks, and I knew I wanted to decorate it in some way. And it seemed only appropriate that it be Giants related. So I had a friend draw on it and she drew an enormous portrait of Tim Lincecum on the side of my cast. And hence it became Tim Lincecast. For others, San Francisco’s World Series season was literally life changing. Like for singer-songwriter Ashkon Davaron, who repurposed the well-loved Journey song “Don’t Stop Believin’” as an anthem for the Giants’ playoff run. ASHKON DAVARAN (singing from “Don’t Stop Believin – Giants 2010 Anthem”): Just a loyal fan / trying to do the best I can...” I mean, the ride from the first day that we dropped the video … and I mean to have the Giants continuously winning at the same time – it was just such a complete dream world. It was so crazy. The day we dropped the video, we released the video – it was Game 3 of the NL Division series with the Braves – it was right after that game. And we wanted initially to have it done before Game 3, but it was having trouble uploading to YouTube. There was some glitch, it just kept failing and failing! And so the game starts. That game was like the whole frikkin’ thing right there. You had Sanchez on this 1-0 gem. I remember at one point the video finally had uploaded, and the other guys, they were ready to drop it, they were like, “We just gotta do it!” We were starting to get worried that we had put in all this work and who knows – we weren’t even going to have any time for anyone to see it, the season’s going to be close to over. Who knows! So anyway, we’re clinging onto this 1-0 lead, they’re like, “Should we drop it??” I’m like, “We can’t drop the video now! Sanchez is throwing a no-hitter! Come on! You’re tacky! We gotta wait! Can’t jinx it!” All of that. So we end up holding on, holding on. Eighth inning, 1-0. And Hinske hits that homer, the two-run shot off of Romo. And I’m just – I mean, everything sunk. Everything sunk. It was, “Here we go again. What did I do to deserve this? I guess this is just how it is. I guess this is going to be my life as a sports fan, as a life, as an individual. You know, I don’t know what I’ve done, but maybe there’s some lesson behind this.” You know, it was all that, all over again. So, so, so much pain. And then … and then the ninth. Down to two outs. And I … I run downstairs, and I grab my rally thong from the video. I’m like, “Come on Aubrey! Let’s go!” Man, sure enough, he fists that thing to right field, and then hits the ball through Conrad’s legs. And then – phew – the rest is history. So we win that game, and immediately after that game, I pressed “click.” “Giants 2010 Playoff Anthem – Don’t Stop Believin’.” BRUCE JENKINS: All these tremendously heartfelt, emotional stories about what the Giants meant to them … I can't think of too many sports stories – and again, I've experienced these in all these towns, and all these great things that happened to other people. When it happened here, I tell you, we didn't get cheated. We had it as good as it gets. When people are just so moved by that, and even if they didn't care about the team necessarily, in their lives day-to-day … all of a sudden they did. And it just meant something. Literally families were drawn together by the spectacle. They're watching it together – you know the little kids, mom and dad, grandparents, whatever. JOE ESKENAZI: What I decided this year is that, this is who I am, and I’m not gonna try and be different. ALAN FARLEY: I couldn’t believe it. ASHKON DAVARAN: They actually did the whole damn thing, and it’s unreal. ALAN FARLEY: It finally happened. I’m getting choked up just thinking about it. DAVINCI: Just to bring that type of attention to the Bay Area makes, ya know, the energy go up a couple of notches, ya know what I mean? Like all across the board, just from going out-the nightlife, just to people on the streets in the daytime – everbody’s a lot more friendly, they’re a little more proud to say they live and they from San Francisco at this time. DANA COHEN: If you were in the city during the postseason, you know the spirit and energy and fervor with which people celebrated this team. So I think when a lot of people hear that I was on top of a fire truck, celebrating, they understand. BRUCE JENKINS: Everybody embraced this story. And I think that story brought in more sort of non-baseball fans or casual in-and-out fans because riveted to this story because it was just so cool. It was like watching your kid’s little league team. You know you're really … there was an emotional involvement in this team that was really unsurpassed. DAVINCI: And in San Francisco, I consider anybody and everybody who was there, damn-near like my family. If you was rooting for the Giants at that time, we all kinda felt like family. JOE BURKE: I had friends who are Dodgers fans who are just absolutely, they hate the Giants as much as I dislike their team, and they were just, they were congratulating, and that was good, that was good baseball. BRUCE JENKINS: The 1993 team that got eliminated on the last day. The 2002 team that lost in the World Series – they were so revolving around Bonds, particularly in 2002, that it was a more difficult team to embrace, a more difficult icon to embrace. JOE BURKE: But I'm much happier that this team won, cause this was like a real team and not just a superstar and a bunch of role players. This was a team effort all the way. You don't find this a lot in baseball. BRUCE JENKINS: And the great thing about that is that it was absolutely true. I mean I've been in clubhouses since 1972 and this was easily one of the four or five best clubhouses I've ever had the pleasure of, of working. ALAN FARLEY: The thing about this whole postseason also that impressed me was that everything went the Giants way. All the bad calls did not go against the Giants. The bad mistakes didn’t hurt the Giants. The weather was great, even down to the weather for the parade. Everything went right. It just had to happen, it was just destined to happen. JOE ESKENAZI: It was a relief that I no longer have to follow the games as if it was a matter of life and death, and I can just enjoy them for what they are, and I don’t have to worry about all the failure adding up and adding up and adding up, and I can just enjoy the games from now on. It’ll still mean a lot, but it’ll be healthier I think. That’s what the World Series meant to me. JOE BURKE: Oh gosh, yeah. Oh gosh, yeah. And to tell you the truth, I don't care if they never win another baseball game as long as I live. (laughs) ‘Cause we got this one, we got a championship, and that's all anybody ever asked for. ALAN FARLEY: The World Champion San Francisco Giants. JOE BURKE: All the people who who aren’t around anymore. You know, friends from school. I'm that old ... friends from school who aren't around anymore. My parents, my grandparents. I wish they were here to see this because they would've ... It would've been fun. JON MILLER: There were so many people, and so many people in a mood to celebrate. DANA COHEN: I went to the parade on crutches and in a splint and got in the front row and was very pleased. JON MILLER: The cheering was so loud, like it was a constant ovation from these hundreds of thousands of fans lining the streets, from Montgomery Street on to Market Street, and down Market Street for what I guess was a mile and a half before we got to City Hall. ALAN FARLEY: I mean I thought I’d heard cheering at the ballpark, but when you get that crowd at Civic Center, that was incredible. I’ve never heard anything like it. I don’t know how many hundreds of thousands of people were there, but it was incredible. BRUCE JENKINS: A million people all with the same look on their face. [laughing] ASHKON DAVARAN: Nothing was as unfamiliar and out of this world and beyond me than that World Series parade. When I found out that they had a spot for me in the parade, I was so excited and, I mean … can you imagine that from a fan’s perspective? You know, Freddy Sanchez – “Hey man, I love the song!” And Ross was such a nice guy, and Tim was so cool. He was so cool! JON MILLER: For me, what was great was, is how the sort in the larger picture. The Giants were a means to bring everyone together, in short of shared purpose, which was to root the Giants along, but also to sort of savor the success that they were having. And this was not just fathers and their children, who, you know ... we parents and our children, how many things do we have in common? Sometimes it’s just a ballclub that we can talk about and share. So it was a great day in the community, and I think wasn’t just the city of San Francisco, I think was the whole Bay Area that shared in the joy and the experience so … in that regard, the Giants and baseball sort of transcended their standing as a game that has a season to become a great moment in the history of the community. Okay, take a deep breath. It’s over. The 2010 season that is. As for the celebrating...well it’smostly over, at least the dancing on fire engines is! However, the memory you have of the Giants winning it all – maybe it’s Brian Wilson getting that final out, Edgar Renteria’s homerun, or hugging that total stranger at 16th and Guerrero when you’d realized we’d finally won it – whatever moment it is for you that captures it all: well that’ll be around for awhile. Whether you’re a homegrown fan, a recent convert to the black and orange, or you just came along for the parade, it doesn’t matter: in 2010, we were all Giants. Where were YOU when the Giants won? Share your stories in the comments section.

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13. Dump and Change - Remediation Project

Dump and Change - Remediation Project

*Disclaimer. All music and sound effects are credited to the original artists. Thanks to Rae Sremmurd and ILOVEMAKONNEN for the music. All media properly used under the Fair Use Law* Hello hockey fans, and welcome to today's edition of Dump and Change the podcast, brought to you by Eastin hockey. Eastin hockey, dress like the pros. As always, I'm Quinn Skalka, and I'm joined today in the studio by longtime friends Mitch Beckman and Troy Schott, both of whom grew up playing hockey in the greater Lansing area. They are here today to help me tackle today's topic on superstitions in hockey. So, thanks for coming out guys, its gonna be a great show, cant wait to get started. Mitch how about you give us a little bit of an introduction. Woe, woe, woe, what the hell? Why does he get to go first? He's more important? Like Quinn said, I'm Mitch Beckman, I played some years of youth hockey for the Lansing Capitals and high school hockey for the Okemos Chiefs. I was a defenseman, all league honorable mention senior year. Woe, woe, woe, alright a little plug. What were you Troy? Nice, nice, what about you Troy? What was your career like? Yeah, actually mitch and I played with the Lansing Capitals together growing up, then high school, I played for Dewitt St Johns, across town from Mitch. Yeah, same league, so we saw each other pretty frequently. Alright, thanks guys, and thanks again for being on the show. Now that we've got introductions all squared away, let's get going here on the first period of today's Dump and Change the podcast. (Music) Ok so I just wanted to get things started off here by asking the two of you, you know, what kind of superstitions or routines did you guys have, you know, growing up, playing the game, you know, any pregame routines, rituals, you know, or anything you maybe did after the game that's kind of interesting, superstition wise. We can start with Troy this time, you know, I know he was offended we started with Mitch in the intro. I'll be the bigger man about it. You'll allow it. I won't get defensive about it. Alphabetical, I'm sure. Ok, yeah, yeah alphabetical, we'll say it was alphabetical. But, uh, yeah so Troy, any sort of routines or superstitions? Yeah, I mean, everybody's got their routine, you know, I like to get to the rink a couple of hours early, just kind of chill by myself. I'll have the locker room to myself for an hour or so, just kind of listen to music and just doing nothing playing around with the puck or something. Then you know, about an hour to go before the game, you round up the guys, people start getting to the rink, you go do stretches, dynamic warm ups, whatever. From there, that's where people really got into their own personal routines. Some guys would sit and chat, others, you know, would be looking at system stuff, or we had game film sometimes up in the lockerroom. Me, probably, I like to get dressed, put on my bottoms. You know, pants, shinpads, skates, what not. I would take care of that stuff, I would just hang out, kind of sit there by myself, music in, earbuds, just kind of in the zone. I would say, my big thing, my superstition, I had to tape my stick every game. For hockey players, that is the most important thing, that's how you score goals is the stick, you know, you got to have a good tape job. But mitch wouldn't know anything about that. Scoring 3 goals in 4 years of high school hockey I think so. Please, more in one year than you had in your career. Oh bud, look at the numbers. What's that phrase you like, numbers don't lie. Check it bud. Yeah, yeah, yeah regression, you'll regress. Yeah no, I had to have the tape job right, you got to, there's a lot of focus actually, you got to get the lines just right, you wax afterwards, its a whole process, takes about 10 minutes if you do it right. But yeah, no, that was just my way to focus in, kind of tune out from everybody and get my mind in the game. Yeah I mean, black or white? Black, black. Black, definitely black. Mitch, black or white? It varied man, I wasn't all that religious with my tape. Ok, yeah i mean, what were your kind of things? Well, Mitch liked to, before the game, go out and rub his hands on the bench, you know, he liked to warm that up. Maybe get those heaters going. Letting the chirps fly tonight Boy. He's speechless. This guy, this guy who spends, what, the first two years of his career on the bench, freshman and sophomore year, what was it, fourth line? No brother, I was a third line grinder. My sophomore year I saw solid minutes, we rolled 1 2, 1 2 3. Listed as a two way forward on NHL. Oh yeah. Yeah a 65 grinder. All right, I was more of a full day process. Game day was kind of hard to focus on anything so a lot of times at school, I'd be at school, I was a student athlete so school was top priority. Yeah of course, it always is. But, you know, the game is always in the back of your mind. I just really focused on what I was eating that day, making sure I was drinking enough fluids, getting healthy foods in me, and you know, I'd get to the rink a couple of hours early. If we had the late game, there was usually another high school game before us. I had headphones on, watched some of that game. Not really watching that game so much as just thinking about my game, just kind of having something to see. Then go for a jog, stretch out. We did team warm ups usually so go with the team. At that point, you know, I was a little looser, I was a little more relaxed usually, and then about half an hour before game time, I got my lower half pads on, I got the headphones in, thats when I'm kind of gearing down, starting to focus up on the game. I always went left skate first before I put my right skate on, left shin pad before I put on my right shin pad on, left elbow pad too. Can't say gloves really. I don't remember, but uh, always the left elbow, shin and skate, that was kind of my superstition. I was never really the guy to get religious with the tape job. Ok, a little Gretzky in you. I know Gretzky was a little left to right, a little left to right guy himself. Oh yeah. You know. Didn't show on the ice. I was more of a Lidstrom type, ok different position. Yeah I'd say thats my routine, my superstition, so, I always had the same playlist too through most of high school. I will actually say, let me amend myself. I think the most important thing to me was it's kind of a tradition in hockey, you dress up for the games. As a younger kid you've got the jumpsuit kind of deal, but as you become older, you know, people start dressing shirt and tie and everything. We did shirt and tie, and actually, it kind of became a competition, we, when I first joined the team, it was just khakis and some scrub white shirt and a tie, you know, but as i got older, me and my buddies, would, we'd go all out. I bought a suit jacket, I had the pocket square even, matching pocket square to the top. Look good, feel good, play good. Look good, feel good, play good. That was mine. Ok, ok. you know, before we move on here, I just wanted to chime in for anyone who doesn't really know what we're talking about. When it comes to superstitions and kind of just getting, you know, as we've been saying, getting in the zone, getting mentally prepared, you know, none of us really believe that putting on right skate first, left skate first, right shin pad first, left shin pad first, or the way that we tape our stick is really going to affect the outcome of the game. It's really more about being as comfortable as possible, so that we can have that cool, calm, confidence whenever we get on the ice, and it really just won't detract from our game more than anything. Superstitions don't necessarily add anything to our game, it just doesn't throw us off our game, you know. Make sure were nice and comfortable, we're ready to play the game, nothing else matters, it's just kind of a way to quiet some distractions if you will. And with that, I'd like to bring to close the first period of today's Dump and Change the podcast. Welcome back hockey fans. I hope you're excited for a little second period action today here on Dump and Change the podcast. Now, last week, I had listeners send in any questions they might have regarding superstitions in the game of hockey. While we were at break, I decided to pick through those and picked a couple of good ones that I thought we could ask our guests here in studio today. So, first winner was Mark from Washington DC, the nation's capital. Mark wants to know, what is the strangest goalie behavior you ever witnessed during your time playing? You know, that's a good one Mark, because there are some crazy goalies out there. So, Troy, how about you take this first one. Man there's a lot to choose from. I always thought it was weird, I had this one goalie in high school. He was kind of a hard nose, tough guy, you know, I don't want to say meat head, but he was a was a man's man in his eyes. But for whatever reason, before games, he would listen to Taylor Swift. I dont know why Taylor Swift. You never would have guessed, but it was, they're just weird man. weird is the only way to describe. Yeah i mean you have to be if you're standing in front of a piece of rubber flying at 100 mph man, its crazy. No way I'd do that. No sane people can do that. all right, well, Mark, I hope Troy was able to answer your question for you. And I'm going to turn this next one to Mitch. Mitch, Eddie from St. Paul wants to know, was there ever a time you had to change your superstition? Either because of a cold streak, or maybe you switched teams. What do you think Mitch? Well it definitely started to develop more in high school I think because, up until then, in youth we didn't have our own set locker room, I didn't have a locker. It was kind of show up with my gear, throw it on, and go play. High school is really where a lot of the same thing every day, every game, every home game at least, every practice, kind of developed more of a routine with it, but also i think if anything really changed it was on a game to game basis. I know, my preparation, describing that, it wasn't necessarily that iron clad. Definitely, if there was an exhibition game before the season started, or a kind of non conference team, against a shitty team, it wasn't going to necessarily be as focused as it would be for a big rivalry game. I know a lot of our biggest games I was a lot more, a lot more focused, a lot more into it. You know, those were the games where at least sophomore or junior year, before I was a captain, where I was just in, you know, headphones in, in my own world, getting focused. And then senior year, I was a captain on the team and it changed a little bit, because I felt I had to, you know, lead the team through warm ups, you know, kind of be a presence in the locker room, so I couldn't so much just be in my own world, and be out there a little bit more, helping other people get ready too. So, it definitely, definitely kind of developed more in high school, and then senior year, it changed when I took on more of a leadership role. Ok, our last question of the day comes north of the border from Darren in Montreal. Darren wants to know who is your favorite NHL player? And do you know any superstitions they might have? Troy, I'm going to ask this one to you to close out this segment. Troy, I know you are a Red Wings fan, so is your favorite player a Red Wing? No, actually Quinn I love the Red Wings growing up, they were my favorite team, and they still are, obviously, but actually some of my favorite players growing up, I really liked Brad Richards and Martin St. Louis playing down south in Tampa. St. Louis was a little guy like me, what is he 5'6", and you know he's one of the best players of the best decade. Brad Richards actually had this, I don't know if you'd call it a superstition, but every time, after every loss, they played 82 games in a season. They were a good team, but they had their fair share of losses too during his time there. Every single time they lost, he would go to the gym and squat. You know, they might play at 8:00 pm, 10:00 pm. He'd squat at 2:00 am after a loss. That's what he did. He had to make himself better. Dedication. Dedication. But, you know, he got in that mindset, I guess, I'd call it a superstition. Thanks Mitch and Troy for answering those questions for us, and I hope our listeners are satisfied with the answers that we gave. And with that, I'd like to bring to close today's 2nd period of dump and change the podcast. Welcome back hockey fans for a little 3rd period action here on dump and change the podcast. So, I just wanted to ask the two of you guys. Do you guys still find that you have superstitions now that, now that your hockey career is over? Do you think the superstitious nature of the game kind of plays into your guy's daily lives now, as students now, not necessarily student athletes anymore, but, you know, what do you guys kind of, do any superstitions still linger? Yeah, no, I mean definitely. I talked earlier about how I have the stick job. You got to do it right you know, and get your head in the game. Honestly, now, this might sound a little weird, but gum. So, I mean I chew gum quite often, a lot of people do. You know you're studying. So I'm chewing gum while I'm studying. Hey, come on... just as weird. Do a lot of people chew gum nowadays. Alright, alright, I'm appealing to the listeners, alright. I'm making them feel welcome, help connect. Such a nice guy. You know, you've seen the thing where you're supposed to chew the same gum when you study and when you take tests, right? Scientific. So I have my brand and my flavor gum, and if my test, my exam, my quiz, whatever, goes well, under that gum, then I stick with it. And you know, if things aren't going well, then you got to change it up, you know? I mean, it's science. Yeah it's science, yeah. (That's a superstition) Who would've known folks, bringing a little bit of science into the podcast today. But, that's all right, no, it's definitely a superstition, especially the brand, I mean. Yeah, yeah, no, no. And same thing like with that focus before the game. I actually, you know, you've got something big coming up, you've got a test. Last night, Mitch saw me, I had an interview. I was, an hour before, so focused. It was like it was game time. I viewed it as a hockey game. You got to, you got your stuff, you just got to get in the zone, and do your own thing. Yeah, and you can't let Troy get into his zone. It's dangerous. Like Kanye. Yeah, for me, it's similar, it's also about test taking. The day of a test, it reminds me a lot of game day, or the day of a big rivalry game or something like that. The whole day it's kind of in the back of your mind, or that's all you're thinking about too. Depending on how much you prepared, right? Depending on how much you actually prepared for that one. No, I definitely. It's kind of similar to hockey. Try and get, you know, good food in me the day of the test. You know, some foods are supposed to be good brain foods, kind of. I don't always necessarily buy into it, but it's still good, still something to do, and if anything I eat healthier. Nothing wrong with that. But also, if I do well on one exam, I make sure I know what pen or pencil I used for that one. And kind of try and make sure I use that for the next one. A little lucky pencil. Luck of the pen, exactly. So I always keep that in the back of my mind. I think a lot of that stems from hockey. And also, still today, playing lacrosse, and when I played lacrosse in high school, I had some routines that kind of developed from hockey, too. I would go out, play wall ball before the game. 50 passes right, 50 left, and 50 switching hands. I did that every game. Did you not have any friends to pass with? Playing with the wall by yourself. I was listening to music and getting into my zone. Yeah Sorry. At least I could pass and catch off of a wall. I don't know if someone had that prowess. Is that why you quit early? Oh please bro, I loved hockey. So did I. Love of the game. So as we're kind of wrapping up here, I know you guys played, you know, same league in high school. Played a little bit of youth together. Who, who got the better of the two? Mitch or Troy? Who do you guys think dominated that rivalry, if you will? Four years, I played high school four years. I guess Mitch was actually three. Twice a year, we played twice a year. I did not lose once to Okemos, I'm proud to say. 8-0, no 7-1. There was a tie, there was a tie, I'll give them that. 7-1. No 7-0-1. Yeah, no, he didn't bring a lot to the table. Those were one of those games that I didn't really get into my routine. There wasn't a lot to focus for. Didn't need to prepare, huh? Like shooting fish in a barrel. I didn't play freshman year of high school. I was still playing travel, and I recall watching the Okemos and Dewitt game my freshman year. I don't know if Troy saw the ice that game. So those two are void. Junior year I had a broken back, so I didn't play in either of those. You skipped sophomore there. Sophomore year. Very importantly. You were riding the bench sophomore year. Sophomore I actually played a fair amount both games because one of our other D pairs sucked. Because it got out of hand so quickly. I'm sorry, those overtime wins really got out of hand. I'm sorry, how many points in your career did you have against me. They don't ask how many. No points against me. Goose egg. Bull shit. I know for a fact you had no points against me. Bro we can look this up. Not while I was on the ice. When we leave the studio. Not while I was on the ice bud. No minuses for Mitch. All throughout high school, because they would talk shit because they won the games. But he had no points while I was on the ice. We may need to go to the score sheet to fact check that one Mitch, but I know we could talk about this for days, but unfortunately I am going to have to bring this one to close. Thanks to both of you for coming on to the show. I had a blast, and I hope you guys did too. And with that, I would like to bring to close today's edition of Dump and Change the podcast. (Outro Music)

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14. Stephenson - Celestial Suite - Copernicus

Stephenson - Celestial Suite - Copernicus

Suite for orchestra based on the study of five astronomers: Copernicus, Galileo, Newton, Hubble and Hawking. Listeners are invited to read the description of each movement to get a clearer picture of the composition and how it was created. Program Notes prepared by the composer; September, 2011. Overview: In the summer of 2011, I was contacted by Dorival Puccini, of the Axiom Brass Quintet, to compose a piece jointly commissioned by Axiom and the Fischoff National Chamber Music Association. The piece was to reflect upon and comment on the relationship between astronomy and sacred music, and would be premiered at Notre Dame University in the fall of 2011. The orchestral suite was created in August, 2013, for premiere by the Lake Forest Symphony on November 2, 2013. What follows are the notes originally written for the brass quintet version: Summary of initial conceptual relationships: My first response (to myself) was “How am I going to do that??!!” However, after thinking on it for a bit, and consulting my brother-in-law, Dominic Chan, for inspiration (because he’s a lot smarter than I), I came up with an initial game-plan, noting the following structural relationships: 1) I would highlight five astronomers/physicists, and each would be represented by a member of the brass quintet: [Specific descriptions/relationships can be found in the individual movements’ paragraphs] • Copernicus - trumpet • Galileo - French Horn • Newton - Tuba (being the center, and Quintet’s gravitational foundation, per se) • Hubble - Trombone • Hawking - Trumpet [Note: I abandoned this idea in the orchestral version - to allow for more color and texture] 2) Additionally, each movement would relate, for the most part, to the sacred music of the individual's time period in history. 3) The keys of each movement - ever so coincidentally!! - could spell out the word “EARTH”: • E = E Major = Copernicus = directly relates (as dominant of): • A = A Major = Galileo = directly relates (as dominant of): • R = Re (solfège equivalent) = D Major = Newton = directly relates (as relative major to): • T = Ti (solfège equivalent) = B Minor = Hubble = directly relates (as parallel minor to): • H = B Major (German notation equivalent) = Hawking • Furthermore, it can be noted that the final key, B Major, is also the dominant of the first key, E Major, suggesting that these keys all “revolve” around one another, and will continue to do so forever... 4) Lastly, I couldn’t help but realize that as a result of all this, a lot of the music happened in a rather mathematical manner. But after thinking about the five subjects with which I was dealing, this seemed rather appropriate. I. Copernicus (1473-1543) Earth vs. Sun The first thing I think it is important to mention is that there is no relationship to music of the time in this first movement of the suite. Instead, I decided to “shake it up” a bit, as that is precisely what Copernicus did. But first, I want to relate how I came up with various roles of the brass quintet members. The 4 accompanying members of the quintet (2nd trumpet, French Horn,Trombone and Tuba [Orchestral version: mainly strings]) play notes entirely bound by the musical spelling of the word “Earth” (as described in the summary).They never vary from this, and are stuck in this “tradition”.They symbolize the Catholic Church’s stance - the Earth as the center of the universe - at this point in history.The solo trumpet [Orchestra: Oboe], however, plays entirely in the key of G. In musical terms, the key of G is also referred to as Sol - which, of course, is the Latin word for “Sun”. So therein lies the conflict of Trumpet (Copernicus) going against the Brass Quintet (Church) and the clashing that occurs as a result. Although the accompaniment at the beginning is very “firm”, the solo trumpet upsets the rhythmic foundation, so that the audience is not sure where to look/listen for solid footing. I also add a jazz element mid-way, which would have been completely jarring to the sacred world of the 15th/16th century, as another means of symbolizing Copernicus’ revolutionary vision at the time. Noteworthy is that despite the mathematically inarguable discoveries of Copernicus, the church did not change its viewpoint, and this is reflected musically at the end as well. II. Galileo (1564-1642) 1609 - Galileo makes significant improvements to the telescope 1633 - Galileo found "vehemently suspect of heresy" by Pope Urban VIII The first inspiration for this movement was the revelation that Galileo’s father was a lutenist and also a composer.This, combined with the fact that Galileo’s most famous contemporary composer, Palestrina (1526-1594), was also a lutenist.The solo horn, therefore, plays music reminiscent of the music of Palestrina throughout, while the accompanying instrument (trombone) plays in the style of a lute. [Orchestral version uses violas and harp/clarinet respectively] Galileo’s findings in support of Copernicus’ helio-centrism were constantly under scrutiny by the church, and most especially when Pope Urban VIII (a friend of Galileo’s) was elected to the papacy.At times supportive of Galileo’s findings - even to the point of encouraging publications - and other times against (for political reasons), the music I have written symbolizes the “dance” Galileo had to constantly endure with Pope Urban VIII in order to maintain his vocation. Lastly - in honor of Galileo’s improvements to the telescope - the first and last systems of the score for this movement represent “score-painting” of a telescope. III. Newton (1642(3) - 1727) Newton's 1st law: An object at rest stays at rest and an object in uniform motion tends to stay in motion unless acted upon by external force. Newton's 3rd law: Every action has an equal and opposite reaction. Based on the Bach Chorale setting of: Wie schön leuchtet der Morgenstern (How beautifully shines the morning star) Isaac Newton’s findings and his Principia lay the foundation for most of classical scientific mechanics as we know them. It is for this very reason that I knew I wanted the Tuba [Orchestra uses more low forces]to lay the foundation for this movement. Newton also was a highly religious man, and for this reason, I wanted to base the movement on his most famous musical contemporary, J.S. Bach, and Bach’s chorale setting of the appropriately named “How Beautiful Shines the Morning Star”. Newton was a follower of both Copernicus and Galileo, so the mention of the “Morning Star” was all I needed! I was inspired by Newton’s first and third laws, quoted above.This therefore is perhaps the most complicated and mathematical of the five movements. In response to the first law, I decided to construct the music (for the most part) so that none of the accompanying 4 instruments would move from their prescribed note until acted upon by “another force”. In other words, a player only changes their note, or pattern, when the note they are currently playing is touched upon by another player in the group. Once establishing their new pattern, they again become “inert” and cannot change until forced to by another. In the meantime, all of the solo tuba material is based on the Bach chorale. From G-H, [Orchestra U-V] as the chorale is being stated in its original form by the tuba, I explore Newton’s 3rd law. Crescendos and Decrescendos tossed back and forth between various pairs of instruments signify equal and opposite actions/reactions.The rest of the movement again investigates the 1st law as the chorale is played out. IV. Hubble (1889-1953) At this point in history, many things have changed, with regard to technology, information, and science, since Newton’s time.Therefore, I felt it OK to shift things a bit musically. My first inspiration, due to a fortunate coincidence, comes from Edwin Hubble’s name. It so happens that there is also a famous jazz trombonist named “Eddie” Hubble, who also played during the early-mid 20th century. I knew trombone was the instrument I needed to feature in this movement, so that was a good start.The “real” Hubble was also a good athlete; and knowing that Brett Johnson, the trombonist of the commissioning group, the Axiom Brass, is himself a good athlete, I enjoyed that connection, and felt comfortable making his part rather “athletic” as well! [Orchestral version only has trombone cadenza] As in the Galileo movement, this movement also begins with a “score-painted” telescope, in reference to the famous space-telescope bearing the Hubble name. These opening measures launch us into the trombone cadenza, as a kind of “Big Bang”, a musical tribute to the theory to which Hubble lent great support with his findings about “red-shift”. The harmonies of the movement, which I set as a kind of ragtime (apropos to the time of Hubble’s career), are based on “When the Saints go Marching In” - albeit in a minor key, for my purposes. Using a ragtime format was done purposely for other reasons: early on,“jazz” (i.e. ragtime) was often called “the devil’s music” by the religious sect in its day.Yet many would specifically use “When the Saints...” as a dirge, and later up-tempo, at religious funeral services, to both mourn and celebrate the life of the deceased. Similarly, the “Big Bang” theory is both used by the church both for and against their arguments about the beginning of the universe. V. Hawking (1942 - ) "...scientists have discovered the 'Song' of a distant Black Hole" Admittedly, this movement is the least “religious” of the five, and this is indicative of my “perceived” impressions of Stephen Hawking’s faith (or lack thereof) as well. Right around the time of beginning the composition of this movement, I discovered a publication indicating sound waves being detected during the process of matter collapsing into black holes. The resulting sound waves produced a frequency - if there could be eardrums there to detect them - that would resemble that of a low beating drum. I wanted to replicate that as best as possible, by including the slapping of a tuba mouthpiece using the palm of the hand, and using the lowest pitch possible. [Orchestral version indeed uses a bass drum].This slapping repeats, growing ever so slightly faster,until resembling that of a beating heart.(More on that in a bit).In the mean time,the solo flugel-horn [Orchestra:Bass Oboe,Alto Flute,Eng.Horn] plays a line that constantly reaches up,only to be dragged down - as the collapsing of matter... So too do the accompanying instruments move in and out of the texture, slowly drifting downward to very low registers - disappearing... As the movement, and the piece, moves toward its conclusion, the accompanying instruments get louder, as a “cluster” rather “nebulous” in tonality, but searching for the answer to an unanswerable question, that very one which (I believe) scientists and theologists will never be able to answer. For me, the answer lies in that very aforementioned heartbeat. It is not how or why we are here, but the very fact that we ARE here, LIVING, and that is what “matters” and should be enjoyed for what it is, and to the fullest.

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15. BET Cypher

BET Cypher

[Verse 1: ScHoolboy Q] Uh, Most of these niggas shouldn’t be next to us We keep our distance from those, those acting like hoes Zany imposed, weed in my clothes, cubics is gold Ya wig’ll get told, put the realest niggas Niggas, product of cap pillers, gangbangers and dealers Streets keep watching, aye, click boom the ghetto bird ya shot down Straight to the top now, they want a third strike on my background But nah homie, put the mask on when I slide on ‘em Put the cash in the safe and here’s a extra slug ‘for I shake Ya smoke faster than me with a eighth Or better yet a wet break on a plate Burning ya faith, all senses covered in tape Fuckin’ with them boys in blue, chill out ‘for rags at you You running to the cops saying: How we do? Saying it’s just rap and them lines ain’t true So I just threw Q, fuck it, menage a two or maybe trois Baby girl need a pa pa, I be her da da Coochie smacking, give praise to Allah Get blazed in my car, Oxymoron [Verse 2: Jay Rock] Rock got it, rock came from rock bottom Sparked the flames, still remain as a top shotta I ain’t no backpack rapper, I ain’t no lyricist And if he ain’t talking to you mind ya business then Cold with it, Black Hippie, yeah we cold niggas All the girlies love us, get a whiff of us They bones quiver, heard some clown throwing stones at us Holding boulders champ once you hear that YAWK. watching domes shatter It’s Top Dawg we runnin’ rap, whack rappers, feline Reason why we don’t run with cats, nine double O five nine - Where my family at Pull up in that family van holding tools like the handyman And to be real not with all this rapping politickin’ Rapper competition, wrapped up my position ’Til I’m finished, ‘Til I make a couple tickets Then I’m outtie on them islands with my crimmies chillin' Hide ya feelings, now can I live? Look I gotta keep my feet on top of the dirt ’Cause everywhere I go they like when you dropping some work? Been a threat since birth The rap game’s pallbearer when I’m droppin’ the Hearst I ain’t new to this, I’m true to this Industry’s nightmare, red strings in my Nike Air’s Yeah, the white pair, I’m Jay Rock, America’s most wanted My chargers? Killing MC’s without warning Rock! [Verse 3: Ab Soul] It’s Ab-Soul, gimme the loot, I’m the skinny Biggie In New York City with Puffy, puffing the sticky All eyes against me, still even the score Prolly why I’m always OT on tour TDE, believe me we want war I don’t even know what piece I like most no more Two fingers, Two triggers, What’s the difference? We all gon’ die one day until then I’m gettin’ paid My grandma watching so I ain’t gon’ curse Still gifted like a Wale verse, backwood full of OG Bobby Johnson medicine in my soul to trynna dodge the coffin, Ah And these days are so bittersweet I guess it’s just a balance we battle naturally And y’all still trippin’ off of Jay-Z tweets I still got laps to run when me and Jay-Z meet Peep Soul brother number 2 The first one used to make beats for CL Smooth Top got the s550 but the CL smooth And rolling weed is the only time I see L’s move Soul! [Verse 4: Isaiah Rashad] Ay, I think I found my second home Sunny California and it’s ya little nigga brother You ain’t meant for corners, it’s what they told me So I never looked back, I got a slut in the [back](undefined) Fat as elephant ass, so we flirt in the path Passing propellers I tell her, tell her we flying just listen See we diamond just shining and they gon’ find us glistening Brought sand to the beach and we left with ya bitchh For the record in Guinness I’m a hecklin’ menace Where is Robin, I’m Given’ Fuckin’ minding my business He a regular victim, us regular in women Uh, regular niggas, you always cater to sluts You always wasting my time, you always faking the funk I’m put ya muthafuckin’ dream in ya face You keep lookin’ for some women to be all in ya face That deep dussy reach niggas, keep dussy That Tennessee dussy make a nigga be dussy You can never rap better than me, ’cause you ain’t dedicated You ain’t underrated, you ain’t under looked You ain’t overbooked, you just under cooked It’s supposed to be me and my niggas in the record book Now they got by myself still fresh as fuck [Verse 5: Kendrick] I hate y’all, I’d do anything to replace y’all,shout out to Face Mob A ghetto boy ‘til I’m unemployed with a day job And kicking boxes, I kick ass and then kick knowledge I’m way more polished than 99% of the scholars you thought had graduated I’m the master that masturbated on ya favorite MC ’Til the industry had wanted me assassinated You either corny or an opportunist I let you eat now go back to church and steal crackers at communion What I been doing? I’m about to crack the Da Vinci Code, yeah Yeah, and nothing's been the same since they dropped Control And tucked a sensitive rapper back in his pajama clothes Ha-ha, joke's on you, high-five I'm bulletproof, your shots will never penetrate Pin a tail on a donkey, boy, you been a fake I got my thumb on Hip Hop and my foot in the back of yo ass Aftermath get the last laugh I serve niggas like Master Geoffrey Jump on this curb turn a shotty to a verb if you let me You know I’m a killer, I’m on ya head, you know I’m a killa The West Coast cosa nostra under oath ‘til it’s over Ya over owe us so what the fuck? I fuck you niggas up, I fuck you niggas up, she suck and fuck I fuckin’ duck you fuckin’ niggas like when I want You go at us, you going fuckin’ nuts Acting irrational, pop you then pop an Adderall Know the drill like a lateral, nigga I’m more Pappy Mason than Pastor Mason Pacing back and forth, racing my thoughts on embracing data I spilled blood on my apron cooking this shit up I feel like some of y’all is hating Quite frankly ya bitch booty should thank me for grabbing it Turn these hoodrats to actresses, what a magic trick? Accidents never happen when murder's involved Emaculate tactics so follow me, if you need me just call on me I say “Hold up wait a minute” Your career ain’t shit less you got some Kendrick in it Ya pussy ain’t shit, ain’t no rumors left on my dick 'Less you look like Jordin Sparks, make my mark on the cunt, muah Hollywood’s been good to me little hood nigga used to pawn mom’s jewelry Family jewels big as fuck and I got the balls to say it Balls deep, ballin out till spalding need a replacement And I’m outchea, the west in your mouth chea Invest in a vest, a Vietnam vet when you out near The White court building spilling its Merlot Fillin’ a woman, pimp the industry Remember these Stacy Adams and furcoats, shook Ya scared to death, scared to look in the mirror when Kendrick is near ya King Kendrick

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