From: owner-shindell-list-digest@smoe.org (shindell-list-digest) To: shindell-list-digest@smoe.org Subject: shindell-list-digest V2 #274 Reply-To: shindell-list@smoe.org Sender: owner-shindell-list-digest@smoe.org Errors-To: owner-shindell-list-digest@smoe.org Precedence: bulk shindell-list-digest Tuesday, September 26 2000 Volume 02 : Number 274 Today's Subjects: ----------------- Re: RE: [RS] Troubled by "Transit" [Jeff Gilson ] [RS] Troubled by "Transit" [patrick t power ] Re: [RS] Troubled by "Transit" ["edward dupas" ] [RS] Re: Troubled by Transit [Roxylee ] Re: [RS] Troubled by "Transit" [TRNMT@aol.com] [RS] David Olney [patrick t power ] [RS] Transit, the de facto SOTW [Gf212121@aol.com] ---------------------------------------------------------------------- Date: Tue, 26 Sep 2000 16:33:37 -0400 From: Jeff Gilson Subject: Re: RE: [RS] Troubled by "Transit" At 03:10 PM 09/26/2000 -0400, you wrote: >I understand that Richard likes to tell stories about different >kinds of people, but adding to the "criminals are cool" canon of >songs seems beneath him. I wasn't going to bother, but I couldn't let that comment stand unchallenged. Nothing about this song says "criminals are cool." In this case, the criminals in question are in the choir (and most certainly not all the convicts in the prison are in the choir). And it's not because they can sing. It is because they made a choice that they are there. There is no glorification of their crimes; they are laundry-listed, and their inhumanity is juxtaposed to their humanity (husbands and sons, fathers and brothers). They also made a choice to turn to crime. Some choices were foisted upon them, some were decided willingly. Simply to assume because they are in prison they should be condemned negates their humanity. The people on the highway are swept into the vortex because of their apathy. They don't care enough beyond their individual concerns to even notice they've missed their exit (and the big green sign that says "Next Exit Hell"). They aren't just not choosing, they are obstinately refusing to take any real stand. ("Reagan republicans, weekend militia men") They are not condemned because they are average; averageness is a product of their apathy. The criminals are not "cool", they have done horrible things. But the ones in the choir made a choice to, at least for a few hours, be outside their lives, a choice the motorists did not make. And I've probably just muddied the waters even more. 'later, jeff. ------------------------------ Date: Tue, 26 Sep 2000 16:41:42 -0700 From: patrick t power Subject: [RS] Troubled by "Transit" Thom wrote: <<<< Car-thieves and crack-dealers, mobsters and murderers Husbands and sons, fathers and brothers The juxtaposition in the last two lines, for me at least, suggests that people capable of horrible violence and predation remain part of the larger web of human relations. Murderers can love like a parent and be loved like a child, and all that. A compassionate and all too rare perspective of "the least of these," as someone might have put it once. So then why do earlier verses in the song sketch such a different perspective of the travelers? >>>> I think that there is such a fine line between the criminal element of everyday life and that behavior which is unacceptable and therefore punished. The juxtaposition of the two above lines is certainly intended to remind us that despite the despicable, inhumane characteristics ascribed to the prisoners, they remain human. Those on the highway are *not* in prison, therefore *not* criminal. Yet is their lack of regard for humanity any less criminal, as Ed suggested? Pat _ ------------------------------ Date: Tue, 26 Sep 2000 18:04:06 -0400 From: "edward dupas" Subject: Re: [RS] Troubled by "Transit" <> I didn't mean to sound as if I was condoning the criminals actions, but the ones in the song have apparently seen the errors in their lifestyle (apparently). ------------------------------ Date: Tue, 26 Sep 2000 21:14:09 -0400 From: Roxylee Subject: [RS] Re: Troubled by Transit This song, to me, explains Christianity. In my mind, the highway symbolizes the highway to Hell. People are rushing around self-serving and mean-spirited; not acting in love, and are unaware of where they are headed. They don't care about anything but getting ahead of the other guy. We are all sinners, but forgiveness comes with repentance and trust in God. The drivers (symbolizing those who are being driven by their own wills) are not under grace, while the prisoners have asked for and received forgiveness. They know they deserve to burn in Hell, but have been cleansed of their sins by a loving God. Their wills have been submitted to God, and they are truly free. That is why they can sing, while the drivers are still angry, lost, and dying in their sin. That's my 2 cents worth. :-) Roxylee ------------------------------ Date: Tue, 26 Sep 2000 22:04:06 EDT From: TRNMT@aol.com Subject: Re: [RS] Troubled by "Transit" << Car-thieves and crack-dealers, mobsters and murderers Husbands and sons, fathers and brothers The juxtaposition in the last two lines, for me at least, suggests that people capable of horrible violence and predation remain part of the larger web of human relations. Murderers can love like a parent and be loved like a child, and all that. A compassionate and all too rare perspective of "the least of these," as someone might have put it once. So then why do earlier verses in the song sketch such a different perspective of the travelers? >> I think that the really beautiful thing about this song is that it challenges the listener to think about grace. It is an extremely (I think) difficult thing to understand. Much as is forgiveness. Something available but not deserved. By some strange coincidence today, I picked up a used copy of David Olney's "Through a Glass Darkly", and found the song "Barabbas". It made my investment worthwhile, for, while I think the lyrics are great and the music also, his voice just doesn't do it for me. Anyway, indulge me here whilst I type the lyrics to the aforementioned song: Some work and slave for all of their days And they'll do anything whatever it pays Some of us search and find other ways Me, I turned to thieving A little bit here and a little bit there Always some danger but I didn't care As long as I felt I was getting my share That's all I ever believed in From the day I was born I understood One way or another I'd wind up no good One night I got caught, always knew I would The charges were robbery and murder I broke into a house for money and jewels Some old man tried to stop me, poor misguided fool I killed him and left him in his own bloody pool I ran but was caught by the soldiers They bound me and beat me and put me on trial It was all cut and dried, it took a short while "Have you anything to say?" I only smiled And said, "Judge, let's get this thing over." I was led from the courtroom and back to my cell For a man 'bout to die I was taking it well With no hope of heaven and no fear of hell Only silence and darkness forever I awoke from a dream in the middle of the night The door burst open and in streamed the light A man was thrown in more dead than alive On his face I could see the blood glisten Icould tell at a glance he'd been beat black and blue He lay there unconscious but then he came to I said, "Tell me,friend, what on earth did you do." He said, "I told them but they wouldn't listen." Told them what?" I asked but he didn't speak again He just lay there quiet in his blood and his pain The morning broke, it was starting to rain The guards came in and they got us Out to the courtyard in the cool morning air A crowd was waiting. Why were they there? Two small-time losers, what did they care? I'd have thought they'd already forgot us. The next thing I heard was the governor's own voice He raised up his hands and the mob ceased its noise According to custom I'm giving you the choice Which of these men should I pardon?" The mob went crazy and cried out my name Shouting, "Give us Barrabus!" again and again The governor sighed and said, "My hands are clean." The mob shouted, "Give us Barrabus!" But what kind of freedom is this that is mine? I spend all my days in search of a sign To have my life saved and to never know why To owe such a debt to a stranger I will go with the wind to a far distant land I will not cease my wandering til I understand I will tell everyone, every woman and man Of the strange things I have beheld here Of the strange things I have beheld here (David Olney/Bug Music-David Olney Songs, adm. by Bug, BMI) Just something to think about, Nancy ------------------------------ Date: Tue, 26 Sep 2000 22:42:56 -0700 From: patrick t power Subject: [RS] David Olney Nancy wrote: <> Thanks for this, Nancy! David is one of those people, I think, that you have to see him live to appreciate him. He's somewhat like Townes Van Zandt in that he isn't all that great as a performer (at least with regard to his voice and guitar playing) but he's indeed a great writer. That he's somewhat of a character makes his live performances worthing checking out. Pat _ ------------------------------ Date: Tue, 26 Sep 2000 22:47:12 EDT From: Gf212121@aol.com Subject: [RS] Transit, the de facto SOTW Hey you guys, As Charlie Hunter explained a couple of weeks ago, and some of us were lucky enough to hear in early 1999, 'Transit' was really written in two parts. The original version ended with the travellers heading into the sun, and Sister Maria, who had yet to even be named, was merely 'a nun out there changing a tire.' Only later were the scenes at the prison added. At the songwriters' workshop at Falcon Ridge, Richard explained away this addition off-handedly, saying that the song was meant to be six minutes long, and implying that the end was written primarily to fill the time. This is obviously not to be taken too seriously, and is more self-depricating than it likely is true. All of the previous posts about Transit have brought up excellent points. Knowing what I have heard about the way the song was written, I kind of feel that Richard was disappointed with the people he put on that highway. Sister Maria (played, of course, by Dana Delany) was his chance to give the human race a shot at redemption. Having already proven the average person basically despicable and worthless, it would be quite a feat to have this nun take those we already think of despicable and worthless, and show that they, too, are people. As Jeff pointed out, not everyone in the prison is in the choir. These represent the ones that want to be redeemed. The root of 'penitentiary,' after all, is penitent, i.e. a person who repents of sin. In the end, we end up rooting for the car thieves, crack dealers, etc. Proving once again just how amazing a songwriter Richard really is. Gene F. (Who knows all about the merge from the turnpike. He ain't kidding) ------------------------------ End of shindell-list-digest V2 #274 ***********************************