Is it Just Smoke + Mirrors?
For Christians, Lent is a spiritual journey that lasts from Ash Wednesday to Good Friday. Jesus’ death on the cross is the climax of the Lenten season, with prayer, fasting, and almsgiving as the tools used to navigate the way to the joyous Easter season.
What does Lent have to do with an Imagine Dragons’ (ID) album? Nothing. Or everything. Every listening ear brings a new perspective to music, and one person can indeed look at songs differently than others. Here at COACS, I’m that person who can analyze songs fifty ways to Sunday, and I won’t claim any analysis as absolutely correct.
Since their album debut in 2011, ID’s music has always emphasized the raw emotions of being human. As a result, I claim that the 2015 album Smoke + Mirrors can represent a sinner on a Lenten journey.
The arrangement of the album contributes to the theme of conversion. In Latin, the word conversatio refers to a person who undergoes a spiritual conversion, and Lent is the perfect time to embark on such a journey.
“Shots,” the first track on Smoke + Mirrors, is a fitting first step on the lyrical journey, as lead singer Dan Reynolds’ persona confesses guilt. He’s “sorry for everything [he’s] done” and admits that he messes up by proclaiming he’s “shot a hole through everything [he’s] loved.”
Human nature is tainted by sin, and we often “shoot holes” in everything because of it. All sin has a social dimension, meaning that sin affects others, not simply the individual who commits the sin. In “Shots,” Reynolds damages relationships despite wanting to escape sin.
Toward the end, he begs to let it all go. He wants all the evil he’s done to “drift away.” After all, he admits many times that he’s sorry. This entire album begins the spiritual transformation by admitting the frailty of human nature and the desire for forgiveness. Because God is love, He will forgive His children. During the Lenten season, Catholics are called to seek out the sacrament of reconciliation, or confession. “Shots” is a personal confession.
“At the roadside we used to know / We can let this drift away / Oh we let this drift away”
– “Shots,” Imagine Dragons
Sin can manifest itself in the form of gold, which is the name of the second song on the album. Everyone dreams of having such precious wealth, but it soon takes over and weakens willpower (as Reynolds sings, “but now you can’t tell the false from the real”). Truth is distorted, which is the affect sin has on the soul. Instead of serving God, man serves himself according to material desires. By the end of the song, human emotions are numb. The obsession with gold has clouded all judgment and concern for fellow man. All Reynolds has is gold and all he is is gold.
The title track of the album, “Smoke and Mirrors” is as mysterious as the title itself. The theme of human weakness grows stronger as Reynolds unravels truth from fiction. If the “gatekeeper”, “dream maker”, and “lifetaker” are all different names for God, then it’s no wonder why our narrator is deep in the throes of confusion. After all, our words and plans are not always the best for us, and we can only be truly satisfied by trusting in the Lord’s will. Just as the Son of God trusted His father’s plan and willing endured suffering and death, humans must also follow God’s will.
Okay, that’s all great, but now what? The one thing that the song makes perfectly clear is that we tend to lose hope when everything we’ve known and believed comes crashing down. Sometimes we fall into moods where we feel we’ve become almost nothing. We don’t understand why our brilliant plans have been ruined. Smoke gives way to mirrors, but God will lead you to see the path of the true person staring back in the mirror.
All I believe, is it a dream that comes crashing down on me? /
– Imagine Dragons
All that I hope, is it just smoke and mirrors? /
I want to believe, whoa /
But all that I know, is it just smoke and mirrors?
Next comes more redemption with the aptly titled “I’m So Sorry.” The aggressive rock side of this album grows intense here. The gist of the track is that you have to have the humility to atone for your own sins. Only then can you love and be loved in true peace.
The rock background, combined with Dan Reynolds’ hardcore vocals show how emotional the topic of sin can be.
The phrase “son of a stepfather” might simply be a replacement for swear words (which ID have never yet included in their songs); however, it could also be an acknowledgement that God is our true father, and our earthly fathers are like stepfathers.
After this admittance of guilt, we transition back into hope and trust. In “I Bet My Life,” Reynolds mentions not taking the right path and disappointing others. If sin is the cause of this effect, then what else can a mere human do than trust or “bet” his life on God? The bridge of this track even focuses on begging for forgiveness. Now that we’ve become aware of our sins, we can work to change our life course.
“Polaroid” is nostalgic but tragic. The main focus is that love is better in pictures than in real life. At first glance, this self-condemning song doesn’t relate much to religion. However, if a printed picture is ideal, then so is God. Humans can never fully capture or give such love as God has because God is innocent and pure. So, humans on earth can never fill the “void” of God’s love.
Meanwhile, Reynolds’ persona is back to feeling guilty, empty, and worthless, especially with lines like: “I’m a reckless mistake, / I’m a cold night’s intake.” The repetition of the “start over” theme circles back to the idea of forgiveness and God’s mercy.
Alongside “I’m So Sorry,” “Friction” is the other heavy-hitting track on the album, perhaps even sliding itself into heavy metal. There is a slight change in theme with “Friction” by not focusing on forgiveness. Reynolds sings about being in the middle of things and needing to escape the pressure. The chorus goes, “You can’t fight the friction / so ease it off.”
“Friction,” if analyzed in a religious context, could demonstrate how, when the going gets tough, we need to turn to God with a childlike dependency. The line “Don’t tell me to be strong” shows that humans don’t have all the answers and can’t always solve their own problems. Sometimes it takes Divine Revelation.
Self-pity then returns in the track “It Comes Back to You.” Although likely about a romantic relationship, the song has an interesting meaning if religion is applied. It begins with uncertainty and unstable mental health. Soon, the confusion leads to the realization that “all the things that you had lost will find their way to you / it comes back to you.” The image of the Good Shepherd comes into play. As Christians, we can always find our way back to God. After all, Jesus’ death and resurrection give promise to second chances and eternal life. So, everything comes back to God. That trust that begins in “Friction” is developed more deeply here. Instead of being a “shadow [God] drew,” we also now have a purpose–to live and serve God.
“Dream” is a particularly haunting song because of its lack of hope and interpretation of reality. The song tackles the dreams of youth and how promises are not upheld. The grandiose visions we have as teens fall flat once we reach adulthood. Everything is a mess.
The imagery–darkness, cries, night, colors, paint–all centers on the loss of the ideal. On Earth, life will never be ideal because of Original Sin; therefore, we can only dream of world peace and the paradise of the kingdom of God.
Then comes “Trouble” with its lighthearted sound but serious theme. Here Reynolds calls on fellow brothers and sisters (of Christ?) to pray for him because he’s trying to find himself. The repetition of “I want no trouble” shows how honest he is being. He looks back into childhood and attempts to find his present place.
Innately, humans have to have a sense of not wanting to cause trouble, especially because they’re made in the image and likeness of God. Christians pray for themselves and each other. It is their job to pray, hope, be steadfast, and avoid trouble (AKA sin). This song echoes that struggle for a balanced Christian life.
“Summer” continues the struggle of finding one’s place in life; however, the point of view could be coming from God. He wants us to share everything with Him, even though He knows all there is to know about us. It’s in this prayerful conversation with Him that we grow closer and build that trusting relationship with Him.
"Open up your eyes / open up your mind / fall in love with who you're meant to be"
By staying open minded, we’re able to listen to God through prayer and work to transform ourselves into who He wants us to be. He gave us certain talents and qualities for a reason, and now we must decipher what to do with them. What does this have to do with summer? Not much by the religious analysis. Maybe summertime is a perfect time for a break when we reflect and change course in our lives.
The oddest-sounding track on the entire ID album is none other than “Hopeless Opus.” This song sums up humanity and reminds why humans need a Messiah. In the Old Testament God sends the flood to wipe out all of sinful humanity. Humanity let God down. We seemed like His “hopeless opus.” But, through reconciliation, prayer, good deeds, and Jesus, we are able to bring back hopefulness and work toward Heaven. All hope has not been abandoned.
Finally, “The Fall” brings the entire album full circle. Reynolds laments about feeling broken and wrong. He’s waiting for everything he knows to come crashing down. Yet, he realizes that “you’re all I know.” If the “You” were God, then Reynolds is attempting to refocus on who he knows he can rely on. Human goals and desires can sometimes be fruitless if they do not align with God’s will. In the end, we must turn to Him, pray, and act justly.
“I keep on praying to see the light / maybe I’m breaking up with myself / maybe I’m thinking I should keep to myself / to the things that I’ve been told”
-Imagine Dragons
Is It All Smoke + Mirrors?
One of the best attributes about music is that it can be perceived and understood in many ways. Although ID band members have had religion in their lives doesn’t mean the interpretations above are true. However, the beauty is in the ear of the listener.
Smoke + Mirrors can be analyzed through a religious lens, portraying raw humanity and conversion, preparing souls for the wonderful season of Easter!
And for more Lenten reflections based on popular music, read my analysis of OneRepublic’s Dreaming Out Loud.
Don’t Mess with “Good Loving” (Monthly Mixtape)
By 1963, the Civil Rights movement was in full swing, and its message of liberation and pride impacted the music industry, namely Motown.
Fontella Bass is widely known for her hit “Rescue Me,” but her powerful and soulful voice, which at times sounded like Aretha, the Queen of Soul herself, was capable of more than what common audiences know her for. Fontella’s roots in Gospel music carried over into many of her songs.
“My Good Loving” is the perfect independence track to end Black History Month. Like “Rescue Me,” this song has grit and groove!
What’s Monthly Mixtape? Each month on Confessions of a Classic Soul, Nicole reviews an underappreciated song from decades past. Her love for underrated songs, plus her literary analysis skills and music experience, allow her to find hidden gems within songs.
“My Good Loving”
From the bongo-swinging introduction to Fontella’s exclamation of “doggone fool” at the end, “My Good Loving” is full of sass and confidence. At the song’s heart is a simple-sounding story of missed opportunities and a romance gone sour. Even though the story doesn’t have many details, the pace and flow of the song keeps the story stitched together. The first verse blends with the second, picking up the narrative of the same man who should miss Fontella’s loving.
The sass and confidence never falters because Fontella’s voice doesn’t. Just as she wholeheartedly belted out that she needed someone to save her in “Rescue Me,” here she proudly reminds the lover that he’ll miss what she could give him.
This song is no pity-party. Fontella realizes what type of person she is and is proud of it. She knows that her lover was in the wrong, and she has nothing to regret.
"If You Don't Need Me, / Then I Don't Need You"
The lines above just may be the most powerful lyrics of the entire song. Here the independence has come to its peak. Fontella comes to the conclusion that she can’t waste time on a guy who left her, even though he doesn’t yet know what he’s missing.
I love how Fontella sounds carefree when she sings this song, especially because the whole point is to say “joke’s on you because you’ll miss me.” She’s also wise enough to not fall for him when his fling his over.
The power in her voice even extends beyond the song itself. For a black woman in the 1960s to exude such confidence and independence is truly amazing. To be a different race or even a woman in the 1960s was difficult, and you don’t have to be liberal or conservative to acknowledge it. So, to reverse the role of a man and show Fontella as an empowered woman is life-changing. Even when she mentions being out and having a ball, she reverses the role of men chasing women as she is enjoying the night and her individuality.
Unlike in her hit “Rescue Me,” Fontella is not relying on the man. She doesn’t need a savior; she needs freedom and love. And by pointing out that the lover will not stay with the new fling, Fontella shows how loyal and valuable she is. She’s not a one-night-stand kind of gal, and this man will certainly miss the love she has to offer.
When it comes to loving, no one should overlook Fontella. Besides, she wants you to “rescue her” anyway. Don’t be a fool!
Before You Go…
Don’t forget to listen and subscribe to the Guilty Pleasures of a Classic Soul playlist, which compiles all songs featured on Monthly Mixtape! You can now listen on either YouTube or Spotify!
If Candy Hearts Had Dated Sayings
Every Old Soul Needs Groundhog Day!
The seer of seers, the prognosticators of prognosticators. This morning on 2/2/22, Punxsutawney Phil forecasted six more weeks of winter, which is likely accurate as the northeast braces for another huge snowstorm.
Do groundhogs actually predict weather? I’m not betting on it, but I’ll wake up and tune in every Groundhog Day at 7:15 am. Then I realized that this holiday, although not federal, is a perfect holiday for old souls.
This holiday is simple, uncomplicated (unless you’re actually traveling to Gobbler’s Knob). It’s rich in history and tradition, which is right up an old soul’s alley!
Groundhog Day began thanks to German settlers who traveled to America. In conjunction with the Catholic celebration of Candlemas (honoring when Jesus was presented at the temple as an infant), Germans looked to a long-held tradition of a badger predicting an early or late spring. In fact, church candles are blessed on Candlemas day, preparing people for the darkness of winter. Their tradition allowed for hope in the season ahead. A sunny Candlemas meant more snow, just as Phil’s shadow means more winter.
Old souls are often history buffs, or are at least interested in aspects of the past. They celebrate traditions and facts that have been long forgotten or are rarely honored. Many old souls believe it is their job to keep the past alive. The traditions and history behind Groundhog Day are sure to attract an old soul or two.
But the history doesn’t stop there. The first Groundhog Day celebration was in Punxsutawney, 1887. Evidently, there was an already established group called the Groundhog Club. Instead of hunting the furry animals, the group celebrated them! This club is still in existence today, which is where the inner circle comes from. The inner circle men take care of Punxsutawney Phil all year long.
Old souls love traditions. They’re fun, and old souls see the value in them. Besides, when do old souls follow norms?
Groundhog Day traditions are even weirder than its history. Phil is said to drink an “elixir of life” that makes him live longer. And if you thought Groundhogese was a verbal language, it isn’t. As the inner circle president mentioned this morning, it’s a language of gestures and facial cues–think nose-wiggling! Only the president is “trained” in the language.
And yes, the inner circle sort of sounds like a cult, and members all have nicknames that are weather-related (ie. Iceman, moonshine, etc.).
Finally, Punxsutawney is a small town with that cozy hometown feeling. Well, I’ve been there once (bathroom break on the way to Canada!). Nonetheless, it is indeed a classic, rural Pennsylvania town. What old soul doesn’t like small towns, good food, and cozy lodgings? Plus, big statues of Phil stand outside many shops and locations in the town. For example, I remember one outside McDonald’s 🙂
Whether or not you believe in the Groundhog “magic,” there is no doubt that old souls are predisposed to celebrating such a heartwarming, traditional, and quaint little holiday. Enjoy six more weeks of snow, fires, and fuzzy socks!
Posted updated on 2/2/23
Calling on the “Weatherman” (Monthly Mixtape)
“I make the weather!”
Um, sorry, Phil, but that’s not how it works.
Phil Connors in the beloved comedy Groundhog Day shifts from being a grouchy egotist to a considerate gentleman. At the beginning of the film when the TV crew travels from Pittsburgh to Punxsutawney, Delbert McClinton’s track “Weatherman” plays in the background.
I’ve always liked this catchy tune, but didn’t know many of the lyrics because the full song isn’t played in the movie. Nonetheless, McClinton’s song is worth a spotlight feature during Groundhog Day Week, and it even foreshadows Phil’s change.
“Weatherman”
From the beginning instrumental, it is hard not to like this song and feel the groove. The country and blues combination helps make the sound comforting and hopeful.
The lyrics, from a poetic perspective, play heavily on weather to both set the mood and move the themes that will pop up. These familiar seasons resonate with listeners. For example, the flow of the literal seasons matched with particular moods is common and cliche. Who isn’t happy in spring sunshine (except for allergy sufferers)? However, weather images are enough to draw people in. When haven’t we felt that “steady low?” Besides, winter is typically the time of year when depression spikes because of the weather and the need to remain inside.
The shift where McClinton inserts himself and sings about smiling expands on the weatherman theme, but it begins to become more personal than generic. The romance of him wanting to lift a girl’s spirits is just so…..cute? Bubblegummy? But, hey, it works! This theme reminds me of the Monkees’ “Take a Giant Step,” which echoes the desire to brighten up a discouraged lover.
Again, in the second verse, weather imagery appears, like wind, snow, and rain. Just the onomatopoeia of rain “pattering” further drives the gloomy mood we all feel at certain points in our lives. Heck, I want to call “information” and ask for the weatherman!
Clearly, McClinton’s weatherman is like the sunshine of a spring day, ushering in warmth and good vibes. Listening to the instrumental leading up to the bridge of the song, the saxophone solo adds to this idea of “brightening up.” It, like the lyrics, heats up the mood and steers listeners toward positivity.
The bridge nearly strips away the literal weather components of the song as McClinton hones in on his ability to be this girl’s “weatherman.” To be that person who can love, cherish, and protect another is no doubt heartwarming and special. Maybe a metaphorical weatherman is more accurate than a literal one!
Weatherman, Meet the Weatherman
How does the song connect to the movie? Throughout each repetition of the day, Phil gradually learns to become a better man, especially as he realizes he’s falling in love with Rita. He winds up ditching his old weatherman attitude so he can be McClinton’s type of weatherman for Rita. Maybe Groundhog Day isn’t so bad after all!
Before You Go…
Don’t forget to listen and subscribe to the Guilty Pleasures of a Classic Soul playlist, which compiles all songs featured on Monthly Mixtape! You can now listen on either YouTube or Spotify!
Psychological Triangle with the “Trade-Ins”
“Reduce, reuse, and recycle” is all the rage these days, but have you ever considered recycling your life with a new body?
In the Twilight Zone, anything is possible, of course, and the New Life Corporation offers a chance of a second life. In the 1962 episode “The Trade-Ins,” John and Marie Holt shop for new bodies, but the bittersweet results leave viewers questioning the validity of this new fountain of youth.
“The Trade-Ins”
John and Marie’s love for each other is heartwarming. When the cute, elderly couple enter the New Life Corporation, they’re greeted by Mr. Vance, the salesman. The couple explain that John has been experiencing age-related pain, so new bodies are in order.
One of the creepiest realizations of the New Life Corporation is the process behind it. Customers select which young body they’d like their memories to be transferred into. Customers select their bodies from young and attractive mannequins. These models are the actual bodies used in the process!
In little time, John and Marie decide on which bodies they would like. However, when the subject of payment arises, the couple only has enough money for one transformation.
They try to negotiate with Mr. Vance, of course, with the life savings they have. Mr. Vance responds with a very weak argument: the government does not allow us to do that. Wait….the U.S. GOVERNMENT knows about your sketchy and insanely expensive body-switching corporation!? Sir, are you working with an alien government?! While this isn’t the first red flag of the episode, it’s one of many!
The Twilight Zone has a knack for pushing normal people into bizarre situations. John and Marie are still very much in love, despite their age. Marie offers a truly heartfelt sacrifice, telling Mr. Vance that John could undergo the procedure in order to be rid of his horrible pain.
What is most amazing about Marie’s sacrifice is that she isn’t jealous. Instead of causing selfish drama because she also wants a new body, she wholeheartedly wants the best for John.
John, however, loves his wife enough to try and earn more money so she can have the procedure done as well. As an old man, he arrives to a shady gambling hideout with younger men and attempts to win more money. When he explains why he needs the money, the scummy men around the table don’t even act like the old man is out of his gourd. Perhaps the New Life Corporation isn’t so secret after all?
John, luckily, is able to win back the amount of money he started with. But now this means Marie still can’t get a new body, because he has as much money as he had before.
The next day, John has his memory transferred into a younger body. If he isn’t satisfied, Mr. Vance explains, John’s old body can be exhumed, and the memories can be transferred back (??? If only Dr. Frankenstein had this knowledge so he wouldn’t have had to compile dead body parts!).
The procedure is a success, and John, now a fit and muscular man without any gray hairs, zooms around the showroom, ecstatic. He is so impressed when he goes over to Marie and looks into her aged eyes. And then enters the silence and disappointment. John knows that he can’t live a fresh life as a young man while Marie remains old and fragile. Besides, she’d die while he relives life, unless he works to earn more money for a second procedure.
The moment is so painful, but John knows what he must do. John and Marie Holt walk out of New Life Corporation the way they came in.
What is interesting about John and Marie is that they aren’t there for a new life. They’re there for new bodies. The shot at a second lifetime seems like a bonus, but not a necessity. The thrill of cryogenics is you’ll wake up and have the chance at living a new life. Even the tales of finding the fountain of youth are motivated by wanting to live forever.
John and Marie don’t want to live forever. They simply want to escape the aches and pains of old age. They want to do that together, of course, but the couple never give the impression of being greedy. They want to ditch the declining bodies they do have.
In analyzing the psychology and logistics behind this episode, the idea of transferring one human into the inanimate shell of a body is no doubt against all pro-life principles. John is transferred into the model he saw in the showroom. The model isn’t a robot, but one can’t help but wonder what this body is made of that it can have the ability to become lifelike, human.
Yes, we never receive these explanations in the Twilight Zone (that’s the point!), but contemplating the process behind the New Life Corporation is both profound and disturbing.
Additionally, how does DNA work? The model doesn’t not change physically or even facially. John’s new face is not even close to his own. Anyone who would undergo this procedure would surely life a completely different life! Also, only so many models exist…wouldn’t everyone look nearly the same?!
Transferring memories isn’t logical. How would that even work?! When that happens, is any DNA transferred? If not, then these individuals are trapped in a body that truly is not their own. Is the brain what is being transferred? Mr. Vance forgot to provide details!
Finally, consider the emotional impact on this procedure. Marie now sees a young man who acts very much like her husband. They still adore each other, but a young man with an old woman? From a sociological perspective, this relationship would be taboo. Then again, with a young man’s hormones, could John potentially fall in love with a younger woman? This bizarre love triangle would simply fail at every angle!
In the end, John and Marie choose the right option that will allow their love to blossom until they die naturally. Both of their intentions were humbling, but not reasonable. Their love will endure in spirit, even after they’re gone.
For once, one couple escapes the Twilight Zone and lives happily ever after!
Christmas Mood (Monthly Mixtape)
Contrary to popular belief, Christmas is a season and not simply one day. In fact, in Christianity, the days counting down to December 25th are part of the season of Advent, which allows Christians to prepare for Christ’s birth on Christmas Day. For some denominations, Christmas isn’t until the beginning of January.
So, as most radio and satellite stations have promptly removed their festive playlists, some of us are still jamming because it IS still the most wonderful time of the year!
The days leading to Christmas are stressful and chaotic, leaving individuals to not fully feel the holiday spirit until the big day finally arrives. In this weird week between Christmas and New Year’s, we continue the holiday mood with Brian Setzer’s “Gettin’ In The Mood (For Christmas).”
Setzer began his music career as part of the rockabilly group Stray Cats. The rock and country combo sound from the ’50s is the heart of nearly all Setzer’s music. Later on in his career, he developed the Brian Setzer Orchestra, an ensemble that supports his lead singing and adds neat jazz and swing to the rockabilly groove.
The lyrics in this song do grow a bit chaotic, matching the quick tempo, but the overall sound captures the joys and excitement of the season!
What’s Monthly Mixtape? Each month on Confessions of a Classic Soul, Nicole reviews an underappreciated song from decades past. Her love for underrated songs, plus her literary analysis skills and music experience, allow her to find hidden gems within songs.
“Gettin’ In The Mood (For Christmas)”
Originally, Setzer composed the song “Gettin’ In The Mood” in the year 2000 for his Vavoom! album. Five years later, he created a Christmas version. Therefore, when searching for lyrics to this song, be careful to type in the right song title–I was confused for a bit!
The introduction is essentially the same in both songs: a jazzy trumpet/saxophone blend that truly swings. No pun. It literally swings! There is an ascend and a descend. This intro is a perfect roller coaster of joy. Right away, a positive and upbeat mood is set, preparing for the lyrics.
From his time in Stray Cats to his decades performing solo, Setzer has always maintained the cool, ’50s and ’60s Greaser image. In the music, the ladies love him and vehicles zoom. This Christmas song is absolutely no exception, with the mere mention of “hotties” and “tats” (tattoos, obviously). Even on Christmas, Setzer is a cool and swinging dude.
The imagery flashes as quickly as the instrumental itself. Between reindeer, sleighs, flight, mistletoe, coats, and snow, the audience receives clear and familiar images that are typical of a Christmas mood, as well as of other famous Christmas songs.
As the song continues, the cool rock progresses. Quite frankly, it’s hard NOT to fall in love with the song. Santa is a “dude” and he’s “stylin’.” Heck, he “rolls” instead of just “flies.” Santa doesn’t live in an igloo; he’s got a cool “crib.” Setzer gives Santa a makeover in this song, making jolly old St. Nick modern and hip. Santa’s not just for kids anymore. Santa knows how to bring the boogie (although this is an image I’m scared to see; imagine Santa DANCING)!
At times the instrumental background is reminiscent of musical backgrounds, almost as if the imagery were to be performed on stage. Santa is visible, as are the partygoers. Setzer would be the narrator over on stage left with a spotlight shining down on him! The song presents the Christmas mood, but it also tells a story about the right Christmas mood.
The twist on the classic “Twas The Night Before Christmas” is refreshing with its own greaser style. A girl in a tight skirt? Hot rods? This Christmas mood is enough to get Danny Zuko and the T-Birds fired up!
Stayin’ in the Mood
As this Christmas season continues, Brian Setzer would encourage you to keep that special mood going. However, Santa can’t stay at the party too long. He’s got things to do for next year.
If anyone could create a swinging and popping Christmas jive, it would be Brian Setzer. He never disappoints, especially when he’s “gettin’ in the mood!”
Before You Go…
Don’t forget to listen and subscribe to the Guilty Pleasures of a Classic Soul playlist, which compiles all songs featured on Monthly Mixtape! You can now listen on either YouTube or Spotify!
Christmas Eve and the Missing Organist
Merry Christmas! Every year I treat my readers to a short Christmas story in a series called Heartwarming Christmas.
As a kid, I loved making up stories for the figures underneath the Christmas tree. Last year’s story focused on the red lighthouse and a boy named Elias. Continuing with the same “town,” this year’s short story picks up with a new main cast of characters, with a few familiar ones sprinkled in.
Here is the case of the missing church organist!
Christmas Eve and the Missing Organist
Anna, bundled up in her heavy denim jacket and floppy raspberry-colored hat, pulled the sled behind her with all her might. Every Chrismas Eve, before Mass, she dragged her tree from the Christmas tree farm to her cottage on the edge of town, near a cluster of woods.
Besides her love of simplicity and independence, Anna was the church’s organist. She preferred to keep to herself, and her bold and beautiful playing was her way to express her voice.
Anna knew that some of the townsfolk were skeptical of her because she didn’t seem very friendly. Shy and reserved, Anna had no secrets to hide, as rumors predicted.
This year’s tree was extraordinarily heavier than normal, and Anna cursed herself for not checking the weight of the tree before purchasing it. Yet, she pulled it through the fresh snow, two hands on the rope of the sled. The sled made tracks in the snow behind her.
By the time she arrived at her little cottage, she had to take a break and perch herself in the rocking chair on her porch. She gazed out at the sceney while snowflakes continued to fall silently. After resting, she wrestled the tree into the house. Her plan was to trim the tree and then grab her huge binder of Christmas hymns and head to the Cathedral for evening Mass. She couldn’t wait to celebrate the birth of the Lord in peace and tranquility.
***
“What if she eats us?” James asked.
His sister Jenny scoffed. “She’s not a witch! Who are we, Hansel and Gretel?”
“But no one knows much about her,” James continued, stopping to stamp his boot print in the snow.
“True,” Jenny agreed, pulling her hat down over her ears. “Why are we out here again?”
“Because, we want to know why Anna the organist is so mysterious!”
“Hmmm, I guess a quick look wouldn’t hurt. But let’s not stay too long, Jimmy. Mom will kill us if we don’t get back in time for church tonight.”
The siblings journeyed on, following the sled tracks. The sun began to wane, making the tracks harder to see.
“How much farther?” Jenny asked, starting to regret tagging along with James and his half-baked plan.
“Shouldn’t be too far n–look, Jenny, a light!”
James tore off, kicking up snow as he went.
“Slow down!”
Jenny trudged through the snow, her clunky boots weighing her down. As she finally caught up she, glanced up to find the quaint cottage, with bright lights on and smoke rising from the chimney.
James was grinning from ear to ear. “Let’s go peek in the window!”
Rolling her eyes, Jenny said, “Because that’s not creepy.”
“She could be just as creepy,” James pointed out.
Naturally, James led the way to the window, his short height allowing his chin to rest on the ledge.
“She turned into a tree!”
“What?” Jenny ran over to look for herself.
The huge pine tree was leaned over, but they couldn’t find the top of it.
Suddenly, they heard a cry:
“Help! Can anyone hear me?”
Jenny started for the front door.
“Wait, it could be a trap!”
“James, she needs help. She’s not a sorceress!”
After rapping on the wooden door, Jenny shouted, “Hello? Is anyone home?”
“Help!” a muffled voice answered. “The tree trapped me, and I’m pinned against the door.”
“Hold on!” Jenny replied. She knelt on the ground, brushed away the snow, and scraped up as many rocks as she could.
When she began throwing the rocks at the window, James thought she was crazy.
“Now the scary lady is going to be mad we broke her window!”
“Grow up, James, and stop believing all the childish stories you hear from your friends. Anna needs our help, whether we know her well or not.”
James frowned, thinking to himself. Maybe Jenny was right. So, he joined in the rock-throwing.
Finally, the glass of the window shattered.
“I think you should climb in because you’re smaller,” Jenny said. “Here, I’ll boost you up.”
She cupped her hands and lifted James up by his feet.
Careful to not get cut on the class, James slunk in slowly.
Anna lit up when she saw James, but the tree had clearly pinned her to the door.
“Honey, I don’t think you’re big enough to help.”
“Are you injured?” Jenny shouted in the window.
“Nothing broken, I think. But if I don’t get out of here, I’ll miss Mass.”
Then Jenny had an idea. “Jimmy, you stay with Anna, and I’ll go for help.”
“It’s getting dark out,” Anna said. Give your sister my flashlight. It’s over on the mantel, above the fireplace.”
James scurried to get the flashlight, still in awe that the scary organ lady could talk. Now Jenny was going to leave him here.
James watched Jenny until the glow of the flashlight was out of sight. The chill of the winter night blew through the cottage, rustling the curtains. Even the fire felt the cold until it was nearly gone.
Anna hadn’t said anything, so James felt compelled to say something. “My name is J-James, ma’am.”
Anna nodded slightly, grimacing under the weight of the tree. “Why are you scared of me?”
“Me?” James felt his heart jump. “I-I’m not afraid!”
“The town doesn’t understand the way I live, James. I like peace and nature. I don’t like drama or rumors, but it seems what I’ve tried to escape comes back to slap me in the face. A little boy like you shouldn’t be afraid of me. I’m just a person like you!”
“So you’re not–“
“A witch? A werewolf? An axe-murderer?” She laughed lightly. “Heavens, no! How could I ever be a church organist if I were?”
James hadn’t considered this. “Oh. You mean you just don’t like talking to people?”
“Well, I know a lot of people don’t live simply like I do, and I’m afraid I’ll be judged if I talk too much.”
Now James was aghast. All this time he had been making fun of this poor woman who hammered out “How Great Thou Art” on the organ.
“Anna, I’m sorry I’ve been so mean to you. I thought my friends knew what they were talking about. It was kind of fun.”
Anna smiled weakly as she tried to shift her weight. “James, I appreciate your kindness.”
“I’m going to make sure everyone sees how great you are!”
She seemed like she didn’t hear him. “What time is it?
James checked his watch. “8:30.”
Anna’s face turned white. “Mass has already started without me! The one thing I love has been taken away from me now! I bet no one even misses me.”
“I care!” James exclaimed, “and I’m going to make sure that everyone appreciates you!”
After a while Anna dozed off, and James tried to tuck a blanket around her. He himself shivered as he looked out the window, wondering what was taking Jenny so long.
Just as James was drifting off to sleep, he heard a trample of feet and saw lights in the distance.
Jenny had brought the town firefighters and the men from the congregation. In no time, they lifted the tree and freed Anna.
James watched with excitement as everyone worked together to help the one woman they always gossiped about.
Then, Fr. John came forward. “Anna, I just want you to know that I didn’t even start Mass without you. I couldn’t. Your beautiful playing makes our church holier each time you’re behind the keyboard. You are appreciated and loved more than you know!”
Anna smiled, tears running down her cheeks. Maybe she was understood after all.
THE END!
Legacy of Band Aid
In 1984, the song “Do They Know It’s Christmas” took the world by storm, raising money for Ethiopian Famine Relief. Almost 40 years later, this track continues to be popular despite criticisms.
In my second official video essay, I fact-check the song and prove that it is worthy to stand the test of time, which it already has. The power of music can in fact help change the world for the better.
The video is posted on the Confessions of a Classic Soul YouTube channel, but you can also find it below. Please be sure to subscribe to my channel for more video essays and blog teases!
Confessions of a Classic Soul 