Rock

Through a Glass Darkly: Present the Gospel to Deny it

In this series we explore the many intersections of metal and biblical allegory.

Jonathan Dodson in his book Unbelievable Gospel: How to Share a Gospel Worth Believing states, “Many people find the gospel of Jesus Christ simply unbelievable. Contrary to what you might think, there are many good reasons for their unbelief.” Some people reject the gospel because they have never truly heard the gospel and others reject the gospel based of the conduct of Christians. For this latter group, Dodson explained in an interview with The Gospel Coalition, “The gospel is easily dismissed, not only because of our [Christians’] misdirected motives, but also because of the self-righteous manner of our communication—preachy, dogmatic, intolerant, impersonal, and shallow… People interpret the gospel by how we say things, not just what we say.” But there is also a rare group of people, who know exactly what the gospel is but they still reject it because they think either “it is too good to be true” or “it is a lie.”

In a D.A. Carson talk at the Clarus 2012 conference (“Living in a Difficult Time”), he discussed a French philosopher who critiqued various life philosophies, including Christianity. The philosopher gave a fairly accurate explanation of the gospel and surprisingly, his only critique of Christianity was that “it was too good to be true.” This is one of the reasons we see throughout the gospels unbelief from the Jews (see John 2:18-22 as one example) and unbelief from the Gentiles as Paul preaches the gospel throughout Greece in Acts 17. In fact after Paul’s Mars Hill sermon, the Greeks “when they heard of the resurrection of the dead, some mocked.” (Acts 17:32) Paul later writes why people reject the gospel in his first letter to the Corinthian church:

Jews demand signs and Greeks look for wisdom, but we preach Christ crucified: a stumbling block to Jews and foolishness to Gentiles, but to those whom God has called, both Jews and Greeks, Christ the power of God and the wisdom of God. (1 Corinthians 1:22-23)

It is in that same spirit of unbelief and rejection of the gospel which embodies the progressive death metal band Edge of Sanity’s song “Jesus Cries.” The gospel is presented by weaving together portions of John 1, Matthew 27:46 and the story of Jesus’ life as found in the gospels. But then the song takes an unexpected turn in the bridge where the band denies the claims of the gospel by using the harshest language in the song, calling the gospel a “f****** lie.” The singer continues, “I’ll never serve in heaven,” and changes his voice by obfuscation, growling deeply on the next line, “I rather rule in hell.” To really drive the point home, at the end of the song you can hear the pounding of hammers as a man cries, representing Jesus hands and feet being nailed to the cross. But unlike Rembrandt’s famous painting “Raising of the Cross,” where Rembrandt paints himself into the painting as a participant in Jesus’ crucifixion because of his sins, Edge of Sanity relishes in hanging Jesus on the cross (listen and read below)

 

Warning: The song contains explicit content.

In the beginning there was light.
The world could feel his holy might.
Born into a world he soon would leave.
People would not listen, people would deceive.

My God, my God. Why have you forsaken me?
I am nailed to this cross, but spiritually I’m free.

He tried to bless, he tried to heal,
He told the mighty powers to conceal.
The disciples of his father, born of God,
They believed that they would bleed the holy blood.

My God, my God. Why have you forsaken me?
I am nailed to this cross, but spiritually I’m free.

(Jesus cries)

For God so loved the world, that he gave us his only
Begotten son and that whosoever believeth him
Should not perish, but have everlasting life.
Jesus cries…
Jesus cries…
The star upon the sky, is it just another lullaby?
What a world do believe could be all a f****** lie!
I’ll never serve in heaven. I rather rule in hell.

Jesus cries
A blessing from the skies
Jesus dies
A holy sacrifice!

So what do we do when someone is extreme in their rejection of the gospel? Dodson helps here again:

In order to share a believable gospel, we need to listen to others so well that we can discern which Gospel Metaphor to bring into their lives. If we know their hopes, fears, dreams, and concerns, we can lovingly demonstrate how the good news is better than their best and worst news. To the beat-up, worn-out drug addict, we can share the hope of new creation. To the guilt-ridden, shame-carrying mother, we can share the hope of sin-forgiving, shame-absorbing redemption. To the skeptical urbanite, we can communicate an authentic apologetic that resonates with personal union with Christ.

Ultimately, it is the God who has the power to put a person in a position to receive the gospel but he calls us to be his hands and feet in presenting the gospel and praying for those who have yet to join the kingdom.

 

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Classical, Music and Culture, Pop Music, Rock, Theology Through Music

Miscellaneous Musical Meanderings (v. 8)

A weekly look at the world of music from a gospel perspective.

1. Pop Music Is Louder and More Boring Than Ever, According to Science

A team from the Spanish National Research Council has used a nifty tool called the Million Song Dataset to analyze the music and lyrics of popular songs from 1955 through 2010, and guess what? “We found evidence of a progressive homogenization of the musical discourse,” artificial intelligence specialist Joan Serra told Reuters.

2. Operatic divinity in New Jersey: Should Jesus and Mary sing coloratura?

But these and a few other pieces that have come my way of late suggested that new creative responses toward religious iconography are afoot on the larger landscape. Though the church has centuries of great artistic history, we were more likely to encounter the likes of Elijah or St. Paul in secular concert settings. Jesus Christ and the Blessed Virgin Mary tended to stay in the church, and portrayed under strictly prescribed circumstances…

Of late, I’ve stumbled upon a live recording floating around the web of The Last Supper by that paragon of unrepentant British modernistic severity, Harrison Birtwistle, from the 2001 Glyndebourne Festival season. Birtwistle rarely fails to knock me sideways (in the best possible way), but this piece seems to be particularly courageous. Christ’s farewell dinner emerges, at least to my ears, as something of a rip in the fabric universe, such a fundamental sea change in human existence, one so abrupt and occurring at a single point in history, that the event seems far more traumatic than ecstatic…

What I like most about the 21st-century faith-based music I’ve encountered is how it embraces the idea that the divine is beyond comprehension, that’s it’s not a version of our world. And, if nothing else, the divine is a lot less cluttered. The artistic sea change that happened in Arvo Part’s music – paring down his music to essentials – also came with his a devotion to sacred texts…

3. Two stories about the use of the Nazi symbol by musicians and a lack of concern for their neighbor:

Madonna Defends Her Use of Nazi Symbol

Russian Baritone Leaves Bayreuth Over Nazi Tattoos

4. Computer Virus Might Be Blasting AC/DC In Iranian Nuclear Facility

 According to emails received by Mikko Hypponen, a Finnish computer virus hunter and lead researcher for computer security firm F-Secure, the facility has endured cyber attacks that have included the song “Thunderstruck” randomly blasting in the middle of the night, beyond scientists’ control.

5. Beatles Compilation Hits iTunes, Along With Love Letter From Dave Grohl

6. God and Country Music: The Politics of The Dixie Chicks & American Christianity

7. Don’t Even Try That Handwritten Manuscript Thing With Modern Musicians; Engraving’s Where It’s At

8. Q&A: Billy Joe Shaver on His Epic Career, Suicide Attempt and 2007 Waco Shooting Trial

And of course I do believe in God, and I’m a born-again Christian, and Jesus Christ is the one who made us all number two. And I believe that because my grandmother told me, and she wouldn’t lie to me…

I’d already seen Jesus actually, or a vision of him shaking his head saying, “How long you gonna do this?” It was pure white. I was really screwed up, man. I’d taken a bunch of stuff and done a bunch of stuff and come in my house about four in the morning and this vision was waiting on me, and then I got in my truck and drove out there to this place. At the top of that cliff was an altar, or something that looked like one, and I wound up with my back to the edge of the cliff and my elbows and everything on the altar, and my boots were off of my feet and they looked just like they were gold. It would take me forever to tell you what really happened, but I found myself asking God to forgive me for being such an idiot, and he helped me because he gave me that song.  I came down that path after all that stuff, slipped my boots and came down that path singing that first half of that song.

9. Critic’s Notebook: Golandsky Institute Helps Musicians Avoid Pain

10. Wagner machines

11. Another instance of musical maturity through sexuality:

JoJo’s New Album ‘Inspired’ By ‘Fifty Shades Of Grey’

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Classical

The 10 Best ‘Nessun Dorma’

Covering the best and worst of the music world.

You can blame Pavarotti. His 1994 performance at Dodger Stadium in Los Angeles of Nessun Dorma (from Puccini’s opera Turnadot) brought the aria out of the classical world and into popular culture. Since that performance Nessun Dorma has become a juggernaut, with every tenor worth their salt singing the aria from Andrea Bocelli to Britain’s Got Talent winner, Paul Potts. But why is the aria so beloved outside of the classical world when other tenor arias are not? That the piece is beautiful, with a simple instrumental accompaniment and showcases the vocal range of the performer does not fully explain the widespread adoration of this aria. Many tenor arias fit these characteristics but perhaps, the reason for its popularity is that the aria is short, about the length of your average pop song.

As you watch the performances below see the imago dei behind the gifts these artist have been given. When viewed in this context, a beautifully performed aria removes us from the normalcy of life to a moment of transcendence .Leading us to worship of the Creator and his beauty as expressed in his creation, instead of worship of those He created.

 

1. The Original Pavarotti – This is the version that began the trend. What can one say about it, other than “Wow!”

 

2. Paul Potts on Britain’s Got Talent – While not the most technically perfect of the versions listed here, we are still shocked that this guy sold cell phones for a living.

 

3. Jeff Beck – What do you get when a guitarist chooses to cover an aria? An amazingly rockin’ yet beautiful piece. Who says you need a singer for this aria?

 

4. Andrea Bocelli – The rich tone of Andrea lends itself nicely to his version of the famous aria.

 

 

5. Jackie Evancho – This little girl stunned us with her mature voice on America’s Got Talent and she does not fail to impress us here with her sweet voice.

 

6. Ian Gillan and Pavarotti – The lead singer of Deep Purple and Pavarotti, a wonderfully delicious mix of rock and opera.

 

7. Aretha Franklin – The Queen of Soul gives her bluesy rendition of the aria, bringing down the house at the 1998 Grammy Awards.

 

8. Pavarotti’s Final Performance – This performance is even more powerful with the knowledge that Pavarotti singing Nessun Dorma at the closing ceremonies of the 2006 Winter Olympics would be his last perfromance.

 

9. Sarah Brightman – Not to be outdone by the men, Sarah Brightman gives a heavenly performance of the aria.

 

 

10. Ultimate Nessun DormaA creative YouTuber took all the best performances of the aria and pieced them together into one performance of awesomeness.

 

Bonus: The aria in context of the opera.

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Rock

Apocalyptic Romance: ‘I Will Follow You into the Dark’

In this series we explore music which places the need for significance and transcendence into romance and love.

Love of mine some day you will die

But I’ll be close behind

I’ll follow you into the dark

No blinding light or tunnels to gates of white

Just our hands clasped so tight

Waiting for the hint of a spark

 

And so opens the Death Cab for Cutie song I Will Follow You into the Dark, taking listeners into a world where love and death are intertwined in the mode of Shakespearian tragedy. The two lovers having experienced everything together (“You and me have seen everything to see from Bangkok to Calgary”), decide to go into the darkness of the grave together (“The time for sleep is now. It’s nothing to cry about ’cause we’ll hold each other soon in the blackest of rooms.”) and they expect nothing on the other side (“If Heaven and Hell decide that they both are satisfied. Illuminate the NOs on their vacancy signs”).

The vocals are shadowed by a simple chordal acoustic guitar accompaniment, with the main thrust of forward musical motion heard in the lower notes of the guitar. This bare accompaniment helps to reinforce the themes of darkness and emptiness of the grave as expressed in the lyrics. As if to symbolize a descent into the grave, the bass notes in the guitar move downward prior to the last line of the chorus, “I’ll follow you into the dark.” Furthermore, the singer croons at the end of the third verse, “we’ll hold each other soon in the blackest of rooms,” (i.e. their graves) holding out the word “rooms” as a musical emphasis on the ending of their existence.

This song expresses a popular sentiment that meaning, truth and reality only occur through a romantic relationship. Cultural Anthropologist Earnest Becker in his 1973 book The Denial of Death summed up this philosophy stating, “If he no longer had God, how was he to do this? One of the first ways that occurred to him… was the ‘romantic solution’: he fixed his urge to cosmic heroism onto another person in the form of a love object. The self-glorification that he needed in his innermost nature he now looked for in the love partner. The love partner becomes the divine ideal within which to fulfill one’s life.”

One incident in the life of Jesus is particularly illuminating to the ‘romantic solution’ view of life as expressed in the song, however, in the first-century A.D. Jewish cultural context the ‘solution’ was the contractual obligation of marriage. A group of Sadducees approached Jesus with the following puzzle:

 Teacher, Moses wrote for us that if a man’s brother dies and leaves a wife, but leaves no child, the man must take the widow and raise up offspring for his brother. There were seven brothers; the first took a wife, and when he died left no offspring. And the second took her, and died, leaving no offspring. And the third likewise. And the seven left no offspring. Last of all the woman also died. In the resurrection, when they rise again, whose wife will she be? For the seven had her as wife. (Mark 12:19-23)

The Sadducees tried to use the cultural obligation of brothers marrying the widowed wife of their other brother (following the law given in Deuteronomy 25:5-10) as logical proof that there was nothing beyond this life (First-century A.D. Jewish historian Josephus noted that the Sadducees’ believed “the soul perishes along with the body.”). Jesus responded by telling them that they were missing the point:

Is this not the reason you are wrong, because you know neither the Scriptures nor the power of God? For when they rise from the dead, they neither marry nor are given in marriage, but are like angels in heaven. And as for the dead being raised, have you not read in the book of Moses, in the passage about the bush, how God spoke to him, saying, ‘I am the God of Abraham, and the God of Isaac, and the God of Jacob’? He is not God of the dead, but of the living. You are quite wrong. (Mark 12:24-27)

Jesus heavily implied here that human marriage (while important, see Matthew 19:4-6) does not supersede or overshadow the final marriage of the resurrected redeemed to the true Bridegroom, himself (Revelation 21). In the same way, romanticism is not the end of reality as we know it but merely a shadow of the love that is ever-present in the saving and sanctifying power of Jesus’ death on the cross and as the first fruits of the resurrection (1 Corinth. 15:20-23). Therefore, “the blackest of rooms” is not the final place for those redeemed in Christ because (to quote a song sung by the late Johnny Cash) “There ain’t no grave can hold my body down. When I hear that trumpet sound I’m gonna rise right out of the ground.”

 

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Classical, Hip-Hop, Music and Culture, Music and Worship, Pop Music, Rock

Miscellaneous Musical Meanderings (v. 7)

A weekly look at the world of music from a gospel perspective.
1. The Making of a Steinway Piano

2. 12 Stones Take Down Hunger

3. Marilyn Manson Has ‘A Hard Time Liking’ Lady Gaga’s Music

“I prefer the Salvador Dalí approach, where you stick to one great thing that you’re great at, and you do a lot of eccentric, different elements to your imagination. For me, I paint, or I’ll do a movie or perform, but at the same time, I don’t try to have a different look every single moment,” he said. “I think it’s more ephemeral, because people like to identify with one single thing; but I’m not one to knock her, she’s obviously succeeded in what she’s done.”

4. Katy Perry Faces Indecency Charge In India

5. MC Chris Has ‘A Lot Of Atoning To Do’ After Booting Fan From Show

An artist who apologized for their behavior against a fan:

“I tweeted him and apologized to him, and he was wearing my shirt the next day, [but] I definitely wish I could turn back the hands of time so he could see the show,” Chris said. “It’s not the way it’s supposed to go. I wish he could have seen the show.”

“I’m a human being, and sometimes they’re going to see the warts, they’re going to see me cry, they’re going to see the funny faces I make when I cry, they’re going to hear my high voice, they’re going to see things that aren’t perfect, and that’s just who I am,” Chris said. “A lot of [the haters] are trying to get me to quit and die and go away, and if there’s anything I want to say, it’s ‘It’s not going to happen.’ I apologize for my bad side, but I hope that people don’t forget there’s another side, which is good.”

6. Kitty Wells, Pioneering Country Singer, Dead at 92

The Complementarian Vision of Kitty Wells

7. Does the Web make criticism meaner?

I think that the reason the Web is perceived as meaner is partly that it puts these debates in writing, for all to see, and partly because when there are a plethora of opinions there are more likely to be a few that really sting. Virtually everyone has the tendency, when reading ten opinions on him- or herself, to give far more weight to the one really nasty one (I still trot out a couple of choice epithets about myself that are years old, especially “a mean-spirited, deeply biased menace,” which I believe came from a leading opera manager, and which I have considered having made into a T-shirt). If you’re an artist perusing a site that encourages no-holds-barred opinionating, like Parterre Box, chances are that you may read something about yourself that stings. (Wherefore the advice I always give artists: Don’t read the reviews. Don’t let those voices get in your head.) And comments sections seem to be fertile ground for really nasty invective — less in the music world, in fact, than in many other areas, like politics. A number of large organizations, including the Washington Post and YouTube, are currently putting considerable energy into cleaning up the filth out of their comments sections.

8. Are Accordions Cool (Again)?

Cool is one thing the accordion has not been for a long time, but that could be changing. Accordion-spiced folk music of many cultures is gaining young fans in this country, the Brazilian dance music craze forro being the latest example.

“We need to start a new generation on the accordion,” said Alex Chudolij, founder of Music Magic USA, a New Jersey-based company that pioneered online sales of accordions 15 years ago. “We need to get little accordions into schools so that kids can start learning. But if the stigma doesn’t go away, there’s no way a child will take it up.”

9. Bieber Fever and the Worship Wars

I’ve often marveled at how visceral these discussions can get. Older Christians can imply that if you add one praise song to the bulletin, you might as well just harvest their remaining healthy organs and send them out in the woods to die alone. Younger Christians can give you the impression that when Jesus ascended, he ordained the drum set as the primary vehicle of the Holy Spirit.

10. Elton John Regrets Past Drug Use

In the book, John writes, “I was consumed by cocaine, booze, and who knows what else. I apparently never got the memo that the Me generation had ended.”

Though John admitted he felt some guilt about that period in his life, he added, “I’m making up for it. There is so much more to be done.”

11. Music at Mars Hill: Why Frank Ocean’s Rise to Fame Matters

It might not be graceful, but I think Tyler’s response shows a level of brotherhood that surpasses cultural distinctions and whatever he might think about homosexuality. My hope is that we as Christians would have a similar response to a world where being gay or lesbian is more than just a moral or sexual issue. We shouldn’t forget that “coming out” is also a people issue—a matter of cultural identity—which should demand a very different response from us as Christians.

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Classical, Music and Culture

Gospel Gentleness: ‘Spem in Alium’ and ‘50 Shades of Grey’

Spem in Alium, a 40-part Renaissance motet by English composer Thomas Tallis and the popular erotic novel series 50 Shades of Grey. Two items separated by hundreds of years and the character of their content. Yet the recent success of the latter has spurred a resurgence of the former, with the Tallis piece charting in the iTunes Top 10 Classical downloads. I have not read the book and I would not advise reading what is essentially pornography (see the Relevant magazine review).  But I have read from other news sources that the main character, Christian Grey’s first sexual encounter with the heroine of the novel is with Tallis’ Spem in Alium playing in the background. While I will leave it to others to speculate on any correlations between the music and this scene from the book, my intention in this article is to explore how the message of the Latin text is presented musically.

Presenting the Gospel in Gentleness

Spem in Alium, while written by Tallis circa 1570 for the birthday of the Queen Elizabeth I, is actually a presentation of the gospel. The soaring vocal polyphony creates a beautifully rich musical atmosphere and the lack of any abrasive or abrupt musical moments helps to foster a welcoming environment, preparing the listener to receive the gospel. The text shows that Tallis puts his hope in God, because God is righteous, because God is merciful, because Jesus died on the cross to take away his sins and because God is the creator of heavens and the earth.

Text:

I have never put my hope in any other but in You,
O God of Israel
who can show both anger
and graciousness,
and who absolves all the sins of suffering man
Lord God,
Creator of Heaven and Earth
be mindful of our lowliness

Approaching a musical presentation of the gospel in this manner might not always be the right means through which the gospel can be accessible to its hearers (For instance, listen to Bach’s aria “Es ist Vollbracht” from the St. John Passion, which moves from lament to jubilee in a rather dramatic fashion). However, in Tallis’ context this might have been the appropriate method to declare the gospel to the queen (we can also see gospel contextualization by comparing the preaching styles of Mark Driscoll of Seattle and Rick McKinley of Portland, OR). While preaching the gospel through a megaphone on the street corner might bring some people to Jesus, we must remember that most people need to be approached with the gospel in gentleness, like Pastor Doug Wilson recently displayed in his talks on human sexuality given at Indiana University. In the spirit of the gently flowing Spem in Alium pointing people towards Jesus, how can we present the gospel to our families, co-workers, friends and neighbors that starts a conversation instead of a confrontation?

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Classical, Hip-Hop, Music and Culture, Music and Worship, Pop Music, Rock

Miscellaneous Musical Meanderings (v. 6)

A weekly look at the world of music from a gospel perspective.

1. Can We Stop Pretending We Care About 50 Cent?

At one point we did but now we have moved on to Kayne and Lil Wayne but 50 did pave the way for the crucified rapper motif.

http://thegospelcoalition.org/blogs/tgc/2012/04/18/pop-semiotics-the-passion-and-resurrection-of-the-rappers/

 

2. Remember When ‘Satanic’ Heavy Metal Rockers Went After Christianity? Now Some Are Attacking Islam

Black metal feeds upon hatred, nihilism, and anti-human behavior. Extremity is everything. It drinks the blood of Christ, turns upon its own, and takes almost carnal pleasure in the theory and imagery of war. The music from the early days of this scene conjured images of the ashes of burned churches and the dried blood of murder, and yet the genre, in its middle age, often doesn’t shock the way it once did. The hellish noise of this particular song, though, does. There’s something different about it. This is real.

The overall effect is chilling, which is, of course, exactly its creator’s intent. Her name is Anahita, and she is the 28-years-old voice and vitriol behind Janaza, Iraq’s very first female-fronted, black-metal band. Allow that notion—Iraq’s very first female-fronted, black-metal band—to sink in for a moment. Her first recording, Burn the Pages of Quran, boasts five distorted, primitive tracks that altogether run just shy of an unlucky 13 minutes. She, along with a handful of other acts hailing from the Middle East, are repurposing black metal’s historically anti-Christian ferocity to rail against Islam.

3. Sopranos Live Longer Than Altos: Study

 However, controlling for birth year (people born in 1850 were at a disadvantage!), sopranos lived about five years longer than the lower-voiced female singers.

4. Is this matchbox tomorrow’s recording studio?

5. Study: Dementia Patients Respond To Music Therapy

Signs of common grace in music therapy:

It’s the latest in a series of studies that point to music therapy as an effective tool in dealing with dementia. The Italian Psychogeriatric Association just reviewed 32 papers published over the past decade, and found a pattern of significant reductions in such symptoms as depression, delusions, and hallucinations.

6. Music at Mars Hill: Is Cornerstone’s Last Year the End of an Era?

But this is 2012 and there are number of reasons why Cornerstone is calling it quits. The most significant of course is that Christian music just doesn’t sell like it used to. According to a JPUSA member and festival organizer, the organization “would love to continue doing it, but [we are] just not seeing the ticket sales we need to pay for it each year.” If you need proof that the Christian music industry has been on a steady downfall in the past few years, all you have to do is turn on a Christian music television channel and count how many songs will get played that were from before the year 2005. (If you need more proof, check out Hillsong’s newest annual album—ironically titled Cornerstone—that maintains relatively the same musical style that is has used since 1992.)

7. The Decentralization (De-Hallification?) Of Classical Music

For generations, the main places to hear contemporary classical music have been the big institutions, primarily at downtown and university concert halls and opera houses, and sometimes in churches and other rather formal settings.

That’s all changing. Young composers today are increasingly finding — or creating — outlets for their music in rock and jazz clubs, coffeehouses, and other alternative venues. That’s bringing their music to listeners who otherwise might never have encountered it. It’s also expanding the range of classical (or contemporary or “postclassical”) music being created today.

8. Mummy porn yields classical hit

Peter Phillips, Tallis Scholars director, said: “I haven’t read 50 Shades of Grey but I am most grateful to the author for introducing so many new listeners to the musical sensation that is Thomas Tallis’s Spem in alium. Written during the reign of the first Queen Elizabeth it features 40 individual voices singing in Latin that combine to a thrilling climax for the words “respice humilitatem nostram” (be mindful of our humiliation).”

Look for my article on the Thomas Tallis piece on Monday.

9. Former Beatle Ringo Starr marks 72nd birthday with peace, love

The former Beatle marked his 72nd birthday Saturday by holding a “peace and love” moment at noon. He asked people worldwide to do the same at 12 p.m. in their time zones.

The idea came to him in 2008 when an interviewer asked him what he wanted for his birthday. Since then, he has held events each year in cities such as New York, Chicago and Hamburg, Germany.

“It’s sort of catching on more and more, the more we do,” Starr said before the festivities. “We got lots of blogs from Japan and China and all over the world saying, `We did peace and love.’ So it’s working.”

Hundreds of fans joined Starr at the Hard Rock Cafe, shouting “peace and love” at the magic hour and holding two fingers in the air.

But peace without any context does not say much because everyone want peace as the writer of 10 of the Worst Political Songs You’ll Ever Hear states about The Plastic Ono Band’s Give Peace a Chance:

If you haven’t headed straight to the comments section to howl us down, then hear us out. Surely no one could argue with this song? Don’t we all want world peace? But, see, that’s the thing. Of course we do. Does sitting in a bed chanting a trite slogan do anything to achieve said peace? Um, no. The problem with “Give Peace a Chance” is that its defies any sort of rational engagement. It reduces global geopolitics into one flower-waving slogan and  dares anyone to challenge its sheer simplicity and undeniable good intentions. And as a result, it’s utterly, inscrutably inane.

10. Slash Speaks After Hollywood Walk of Fame Dedication

 

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