The gruff, rather demanding man grabbed my hands and marked them with large black Xs. I was then thrust into a darkened room to wait. As I took in my new surroundings I noticed that black was the dominant color in this room’s motif. There were lights, but they were dimmed and tended towards the darker side of the spectrum. There appeared to be only one other door (besides the one I had entered through), a dirty, black door marked with the words “NOT AN EXIT.”
I did not have a very clear concept of why I had been brought here, or what was to be expected.
Then it started.
The first sound was that of loud beatings, if one tried, a rhythm could be ascribed to them. In and of themselves these beatings might have been tolerable, what followed the beatings was not.
Joining the growing cacophony of the room were the loud, drawn-out, agonizing screams of a man.
***
At least that is one way to describe the experience I had.
I was encountering Chicago’s indie music scene for the first time, and I felt overwhelmed and out of touch. As I sat there listening, soaking in the first few melodic notes of the band on stage, I knew I faced a choice: Depression or Expansion. There was no third option, no middle ground. I knew myself well enough to acknowledge that I needed to fully embrace the situation or I would walk away defeated.
***
My brother and I were attending a show in the north-side neighborhood of Belmont; a completely different slice of life than I am used to on the south-side or downtown. One of my brother’s friends is in a band that was playing at this small bar/music venue known as the ‘beat kitchen,’ and I had tagged along for the experience.
I had no idea what kind of music was going to be played, and I’m still not sure what it was (especially since classifying musical styles is nigh impossible these days). The first two acts were characterized by loud music, accompanied by indistinguishable lyrics screamed into the mic. Standing there, I could feel the pulsating bass flow through my body like the tremors of an earthquake. The combination of the other instruments presented a harsh sound like the thrashing of a violent thunderstorm. I tried so hard to find something that I could cling to, surely there had to be some sense in this thing that I did not understand. I strained to hear the lyrics, but I could not. I felt like the songs were pointless because the words were being lost in this inharmonious mess.
I gave up.
That was when I heard something beautiful.
I stopped striving to apply something that was not there, and accepted what was being offered. These men were presenting real art. Once I let myself be affected by the music itself I was transported, albeit for a short time, to a different world where it made sense. What had been nonsensical became so real to me that I had to close my eyes and listen.
After my brother’s friend performed we started talking to his wife, and I was quickly deposed from my place of understanding.
— “How did you guys like it?” she asked.
–“It was good,” we dutifully responded.
–“This was much better than the last time I saw them,” another friend interjected.
–“Yeah, for once you were actually able to hear the words,” said his wife. Oh well, I felt like I got it for a moment there.
***
The night concluded with an act that was entirely different: one guy on an acoustic guitar. It was a gentle, easy-to-understand conclusion to the night. One of his lines in particular really resonated with me:
“You can’t go on like this forever, saying, “Hey man, it’s like whatever” for the rest of your life”
Why? Because, newsflash, it’s not whatever; choices have consequences and people have feelings. As C.S. Lewis put it, “Each day we are becoming a creature of splendid glory or one of unthinkable horror.” There is no magical land or magical time where we can live outside of consequences. There is a mountain in front of you right now, are you going to get depressed or are you going to expand?
I’ve tried the depression route before, I recommend expansion.