Destination Written Upon My Feet书面目的地后，我的脚

When May bleeds into June, rousing summer in its wake, a subtle yet significant loss will be felt in the music world. The May-June issue (#75) of当五月流血到6月，热烈的夏季在其之后，一个微妙但重大损失，将感受到在音乐世界。 5月至6月发行（ ＃ 75 ） No Depression 没有抑郁症 magazine, will be the final print issue published. There are whispers of things to come, such as expanded web content and a semi-annual book version compiling feature-length articles, but the loss of the magazine is a blow to Americana fans, nonetheless. Many of my favorite artists were selected from obscure ads in the margins of No Depression ’s pages, or circled from lists of influences in ten-page reviews of artists I had already come to know and love. The magazine was to alt-country fans what杂志，将最后打印的问题，发表有窃窃私语的东西来，如扩大的网页内容及半年度图书版编制功能长度的文章，但损失的杂志是一打击，美洲的球迷，然而许多我最喜爱的艺术家选定的从模糊的广告在边缘没有抑郁症的奇摩网页，或盘旋，从名单的影响，在10页的评语艺术家我已经来认识和爱。杂志是按Alt -国家球迷是什么 Al Mohler’s blog基地mohler的博客 is to reformed theologians.是改革的神学家。

I have to be honest for a moment, and admit to our readers that I am partially responsible for the demise of a magazine you may care absolutely nothing about. You see, I allowed my subscription to lapse several years ago, picking up only the occasional issue here and there, and cheating on it often with younger, hipper issues of我必须诚实的一个时刻，并承认我们的读者，我部分负责的消亡一本杂志你可以照顾绝对没有什么约，你看，我让我的订阅失效，数年前，回升只是偶尔问题在这里和那里，作弊行为，它往往是与年轻， hipper问题 Paste 粘贴 promising free CDs. Luckily for our readers, this article isn’t really about the magazine at all.有前途的免费光碟，幸运的我们的读者，这篇文章的目的并非真正的杂志在所有。

Featured prominently in this farewell issue is one of my突出在这告别的问题是我的一位 desert-island, all-time, top five bands沙漠岛，所有的时间，顶端五级 , ， the Old 97’s老97的 . Next week the band will release its latest offering, 。下周乐队将发布其最新的产品， Blame it on Gravity 归咎于这对重力 , and the article was a testimony to the band’s perseverance and the band mates’ commitment to one another. The primary songwriters and leads of the band, Rhett Miller and Murry Hammond, have a friendship that dates back some-odd twenty years to their days in Dallas, Texas. These days the two make their homes on opposite coasts, but the music still finds a way to creep out of their souls and meld together into something consonant. ，这篇文章证明了乐队的毅力和乐队的队友们的承诺之一，另一个。首要歌曲作者和领导的乐队， rhett米勒和murry哈蒙德，有一个传统友谊源远流长，可以追溯到一些多二十年来他们的天在德州达拉斯。这些天来，两国作出各自的家对面的海岸，但音乐仍认定的一种方法蠕变出他们的灵魂和合并起来，一些辅音。

Murry Hammond’s story has long intrigued me. The man who co-lead an murry哈蒙德的故事，早已推出的我，该名男子谁合作，导致一 unforgettable experience难忘的经验 at Deep Ellum’s Gypsy Tea Room four years ago leads a在深ellum的吉普赛茶室，四年前导致1 roots-style weekly worship基层作风每周崇拜 in California. In a phrase, he’s my kind of guy. His faith often seems to crop up in interviews and reviews, and Hammond does not shy away from discussing it. John Marks, the author of this Old 97’s tribute and retrospective, notes:在加利福尼亚州。在一个词组，他是我种的人。他的信仰似乎往往出现在面谈和审查，以及哈蒙德并不回避讨论这个问题。约翰马克，作者这97岁的敬意和追溯，注释：

Listening to [Hammond’s solo] record in contrast to Miller’s The Believer , it’s hard to imagine that Hammond, who opens his solo debut with “What Are They Doing In Heaven Today”, has remained lifelong friends and musical partners with Miller, who penned that gorgeous ode to one-night stands, “Fireflies”. To put the difference in the starkest possible terms, it’s hard to hear much Jesus on Miller’s last record, or much sex on Hammond’s new one.听[哈蒙德的独奏]记录，在对比，米勒的信徒 ，这是很难想象的哈蒙德，谁打开他的独奏的处女作“他们在这做什么，今天在天上” ，一直是终身的朋友和合作伙伴的音乐与米勒，谁写的说，绚丽多彩的颂歌一晚的立场， “萤火虫” 。提出的差异，在starkest可能的条款，这是很难听到很多耶稣对米勒的最后一个记录，或得多性别对哈蒙德的新一。

Hammond, naturally, comes to the defense both of the presence of God and of the presence of sex in his music. Neither the presence of the creator of the universe or of procreation in the band’s lyrics was surprising to me. As an avid fan and admitted music junkie, my mind immediately raced back to a humble interview with Murry Hammond published in 2004 on the seminal Christian-media webzine,哈蒙德，当然，来防御都存在上帝和在场的性别在他的音乐。既不存在的宇宙的创造者，或生殖，在乐队的歌词是令我感到诧异。作为一个Avid公司范，并承认音乐junkie ，我的心立即争分夺秒回到了谦虚采访murry哈蒙德发表在2004年就开创性的基督教-媒体杂志， the Phantom Tollbooth 歌声魅影tollbooth . In that interview, Hammond was asked how he reconciled the themes of the Old 97’s music with his Christian faith. As a writer and as a follower of Christ, his explanation has stuck with me over the years.在这方面的采访，哈蒙德有人问他如何调和主题的97岁的音乐与他的基督教信仰，作为一个作家，作为一个跟随基督，他的解释，坚持与我多年来的。

While I am most definitely still a work-in-progress, I think I’m kinder to people because of my pursuit of God, I know my marriage is better for it, and I think I’ma more honest songwriter because of it.而我最肯定仍是一个工作在进步，我觉得我很幼稚的人是因为我追求的上帝，我知道我的婚姻是更好地为它，而且我觉得我更诚实的创作歌手，因为它。 How some writers can discuss their craft without getting into their most important influence is beyond me.如何一些作家可以讨论他们的船只没有进入他们的最重要的影响是超越我。 Creativity is one of the fundamental elements of God’s character, so how can you separate the faith of the writer from his or her writing?创新是基本要素之一上帝的性质，因此，你如何能独立的信念，作家，从他或她的书面答复？

Personally, I tend to write the same song, every time.我个人倾向于写同一首歌，每一个时间。 I write about redemption.我写关于赎回权。 I got a pile of them!我得到一堆他们！ My life has been a cycle of moving toward God, then moving away, then toward Him again, so redemption plays itself out over and over again in my life.我的生活一直是周期走向上帝，然后逐渐远离，然后对他再次，因此赎回发挥自己并一次又一次的在我的生活。 In every song I write, I illuminate some part of that ongoing dialogue between the Almighty and myself, of being restless, or injuring myself then being healed by God, of feeling alienated or disenfranchised in some way, then finding connection and hope in the upward reach.在每一首歌我写，我照亮了一些部分，即之间正在进行的对话，全能的和我本人，正在不安，或伤害自己，然后正在愈合的上帝，感情疏离，或剥夺了以某种方式，然后寻找连接，并希望在上升到达。

But what happens most in my writing, is I’ll put a microscope on a specific part of the redemption story, such as with the character in “Up the Devils Pay,” who is struggling with his dark and light sides.但发生什么事，最在我的写作，是我将提出一个显微镜，就某个特定的一部分，赎回的故事，如与性格在“了魔鬼的薪酬， ”谁是挣扎与他的黑暗和轻双方。 Imagine that the act of crying out to God can be shown as a strip of film, say, a scene where a man realizes his need for God, reaches upwards, God meets him and the man is transformed.可想而知，该法的呼喊给上帝，可以证明作为一个狭长的电影，也就是说，现场一名男子，实现了他需要的上帝，达到向上，上帝会见他和这名男子是转化。 I tend to not write so much about the entire sequence, such as Hank Williams did with “I Saw the Light,” but rather, I will zero in on a portion or even a single frame and describe where that character lives and what he is feeling.我倾向于不会写了这么多关于整个序列，如汉克威廉姆斯那样： “我看到轻” ，而是，我会在零上一部份或什至一个单一的框架，并描述，如果性格的生命和他是什么情绪。 As much as I ponder writing about the portion of the sequence where God lives to give grace to the hurting world, I tend to write my songs back toward the beginning of the film, where the man first realizes and struggles over his need to be redeemed.虽然我的思考写的部分序列的地方上帝的生命给予的宽限期，到伤害了世界，我倾向于写我的歌回到对年初电影，其中该名男子首先实现和斗争，他必须赎回。 How can you tell the whole story of redemption without telling about the poor creature that needed it in the first place?你如何能告诉整个故事的赎回，不需要告诉约穷人的动物，需要它摆在首位？ That human end of redemption is not often written about in a way which attempts to really move the listener, at least not in modern Christian music, but this is what I most often attempt to do.人类年底赎回，是不是经常约在书面的方式，企图真的动议听众，至少不是在现代基督教音乐，但是这是我最经常尝试这样做。 I feel that I hit occasional bulls-eyes there, and people respond instinctually, at a soul level, and they get it.我觉得我偶尔击中公牛眼有，和人民的回应instinctually ，在灵魂的层面上，和他们得到它。 And grace is illuminated in some way.和宽限期是发亮的以某种方式。 I just feel most strongly in my heart for the regular person who is hurting, and is searching for a home.我只是觉得最强烈地在我的心为经常的人谁是伤害，并正在寻找一个家。

All people take music very, very personally, and Christians are no different.所有的人采取的音乐非常，非常的个人，和基督徒并没有什么不同。 Some might ask why would a musician of faith write and sing about anything else but God?有些人可能会问，为什么会音乐家信仰的收件和唱什么，否则，但上帝吗？ Why would anything other than a song of praise escape the lips of a follower of Christ?为什么会以外的任何一首歌赞美逃生嘴唇的跟随基督的？ To me, it’s much like a calling to ministry: Why aren’t these children of God plunging themselves into ministry?对我来说，它的很像一，要求内政部：为什么不为这些儿童上帝投身到部？ Because some are given talents that call them to step up on the pulpit, while most of us are called according to our other talents.因为有些是由于人才的呼吁，他们加强对讲坛，而我们大多数人的所谓根据我们的其他人才。 We are called to put our light up where we live in our homes, among our neighbors, in the office buildings, in the schools, in the coal mines, as writers, as truck drivers, as artists, railroaders, country-rock bands.我们所谓的把我们的轻的地方，我们活在我们的家园，其中包括我们的邻国，在办公室里的建筑物，在学校，在煤矿，作为作家，作为卡车司机，作为艺术家， railroaders ，国家的摇滚乐队。

What say you?你说什么？

Can we talk about grace, without understanding the need for it?我们可以谈论的宽限期，没有了解的需要呢？

Can we talk about sight without at least a cursory knowledge of blindness?我们可以谈谈视线没有至少粗粗的知识失明吗？

Will people who are searching for what Christ has to offer pay us any mind if they don’t feel, at least a bit, like we know where they are coming from?将人谁正在寻找什么基督已提供支付给我们的任何态度，如果他们不觉得，至少有一点，像我们知道他们来自何处？

In that same Phantom Tollbooth interview, Murry also touched on the vitality of his friendship with the men in his band.在相同的幽灵tollbooth采访中， murry还谈到了活力，他的友谊与男人在他的乐队。

…I have figured out one good thing I can do for my band mates, and that is to simply to give them a safe place to bring that most private part of themselves to, without judgment or ridicule. … …我已揣摩一个好事，我可以做我的乐队的队友们，这是简单地给他们一个安全的地方，使大多数私人的一部分，自己没有判断或嘲笑。 They know they can open up to me about God, and occasionally we’ll visit that place together, in different ways for each guy.他们知道他们可以开放给我的上帝，偶尔我们会访问这个地方的共同努力，以不同的方式为每个家伙。 It has been a positive experience between my band mates and my self.它一直是正面的经验之间的交配，我的乐队和我的自我。 They are pretty good guys.他们是不错的家伙。 You know what they say, Some plant seeds, some tend seeds, some harvest.你知道什么他们说，一些植物种子，有些种子倾向，有些收获。 We’re just tending seeds around here.我们只是趋于种子在这里。

for further reading .为进一步读。 . 。 . 。

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