You Have Been Warned! (In the best way possible)

The Warning, three sisters from Mexico who dared to dream big.


I love and appreciate music. I used to be a classic rock guy but my horizons have been expanded, and I mostly listen to contemporary music these days. I played guitar for a number of years and even led worship, but that was B.C. (before children). I was also a board member for a music foundation that built out and operates a venue for live music. I even booked the venue for about a year before COVID.

In the process of booking the music venue, I was constantly searching out new music. I focused on people writing and performing their own music. I looked for artists with a good enough following to fill a 200-seat venue but not so big that they were priced out of our range. I booked many, many acts, some of which have outgrown our space. At least one musician I booked went on to play for crowds of tens of thousands.

I tend to gravitate toward new folk, “new grass,” Americana, and indie rock, but I appreciate good music of all kinds. I go to live shows outside of my listening sweet spot to support young artists and appreciate their music. I like people who are not what I expect them to be, musicians who are authentic and who defy stereotypes. I also like a good story

All of these characteristics define a young group out of Monterrey, Mexico called “The Warning.” I will say now, “You have been warned!” which became their catchy promotional phrase when they were young – and not without reason. I can relate from experience that their rabbit hole is deep and winding!

The Warning is comprised of the three Villarreal Velez sisters who were raised by good parents who love music and introduced them to classical piano lessons, music of all genres, and Rock Band (the video game) when they were young. Daniela and Paulina began playing Rock Band when they were 8 and 6. They played it for hours and were driven to get perfect scores. Daniela (Dany) always played guitar and Paulina (Pau) insisted on the drums. Their little sister Alejandra (Ale) was “just a baby” (3) as she watched her older sisters play.

The girls became rockers and begged their father to buy them the real instruments they were playing on the video game. He obliged, signed them up for music lessons, and told them they had to give it at least 6 months. He had difficulty finding someone willing to give a 6-year-old drum lessons – a very small 6-year-old at that. The parents, Monica and Luis, captured their journey on video, part of which is the source material for a short documentary, Mayday in the Making, embedded below.



The girls took to that challenge their father gave them in the same way they were driven to achieve a perfect score in Rock Band. They shifted from piano lessons to guitar and drum lessons, and they practiced constantly.

Ale developed the same love of music as her older sisters, watching them play rock band and taking classical piano lessons herself. Though she was originally drawn to the harp, she fell in love with the bass guitar, and she began bass guitar lessons at 7 or 8 years old.

The sisters didn’t take long before they realized they could start playing music together, and they became a band. In fact, Ale had only been taking bass lessons for two months when they performed together for the first time in front of a live audience at a school Christmas celebration. Their father built them a state-of-the-art studio in the basement, which I imagine was half for sound containment and half to support his blossoming musical prodigies.

This may seem like an odd article on this website, but I do have a page devoted to music with perhaps a dozen articles I have written on music/faith themes. I have been inspired to write about the Warning, but I need to step up the stage first (pun intended) with an introductory article.

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The Untitled God Song and the Deity of Our Existential Angst

The solution to our existential angst and a “god like me”


I saw Haley Heynderickx this evening at Space in Evanston, IL. She was (once) an obscure, modern folk artist. Then, a song of hers went viral on TikTok. (So, my son tells me.) The crowd this evening was young, even for this trendy venue on Chicago’s ever hip north shore.

Existential angst (or dread, depending on your flavor of melancholy) is the thread that runs through her work. She is a siren for the spirit of this age. Her chords strike true with my son, who turned me on to her, and with my daughter, who accompanied us to the show.

I was young once also, and the existential angst of my youth drove me on a quest that led me to the threshold of Jesus, the Lamb of God who was slain for the sins of the world. A different generation, now, leans into a similar ages old myopia.

“Meaningless! Meaningless!”
….
“Utterly meaningless!
Everything is meaningless.”

Ecclesiastes 1:2

This words may have accompanied a more ancient tune played on a lyre from a more distant youth, but the melody sounds the same.

Existential first visited me one night when I was too young to have a vocabulary for the experience. We watched old home movies from a projector in our living room. Younger ghosts of my parents and grandparents played on the grainy screen in washed out black and white.

I remember it like a dream sequence. The images and feelings of the past are equally washed out in my mind now, but the poignance and clarity of the dread that I felt is clear.

This was, I believe, the first time I became aware of the unforgiving and unrelenting passage of time. This was the first time, perhaps, that I stared the inevitability of death in the face, and the eyes of death stared back, penetrating into my soul.

The next sequence in this dream is now (and always has been) more palpable and imminent than those grainy home movies. Later that night, I found myself detached …. floating in a yawning chasm of outer space …. utterly alone and disconnected.

I don’t know to this day whether I had a dream when I fell asleep that night or whether it came to me in a ghastly vision. It doesn’t matter. If claustrophobia can be felt in an endless void, the experience would be close to what I felt. Angst and dread have nothing on the feelings I had that night.

I say this to frame my thoughts as I recall the song with which Haley Heynderickx closed out the evening: the Untitled God Song.

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How Does a Living God Relate to a Pagan World?

We have our gods, though we don’t give them names or ascribe human personalities to them.

My thoughts today are based on the story of Paul and Barnabas while they were in Lystra, a city in central Anatolia, part of present-day Turkey. While Paul was speaking, his gaze came to rest on a man listening to him speak who was “crippled at birth”.

Paul saw the man had faith, so he loudly told the man to stand up. (Acts 14:8-10) The man sprang up, and the crowd was awed, saying, “The gods have come down to us in the likeness of men!” (Acts 14:11)

The people in Lystra were pagans. They worshiped Roman gods and, perhaps, other gods as well. They started calling Barnabas Zeus and Paul Hermes and began making preparations to worship them.

When Paul and Barnabas realized what was happening, they were appalled! They rushed into crowd, saying, “Don’t do that! We are just men like you!” (Acts 14:14-15 (paraphrasing)). Then, Paul addressed his pagan audience like this:

“[W]e bring you good news, that you should turn from these vain things[i] to a living God, who made the heaven and the earth and the sea and all that is in them. In past generations he allowed all the nations to walk in their own ways. Yet he did not leave himself without witness, for he did good by giving you rains from heaven and fruitful seasons, satisfying your hearts with food and gladness.”

Acts 14:15-18

This is, perhaps, the first sermon preached in the early church to people who are not Jews. The pagans did not believe one God. They didn’t understand Mosaic Law, the concept of sin or the prohibition against worshiping idols considered to be false gods.

Thus, Paul didn’t address them as he did his Jewish audiences. He didn’t appeal to Mosaic Law, or accuse them of sin, or call them to repent.

Just as the Gospel is good news to the Jews, it is good news to the pagan Gentiles. The message, however, is different. Paul urged them merely to “turn from vain things to a living God”!

By “vain things” Paul meant their gods, the idols that the pagans worshiped. Instead of calling them idols, as he would have done to a Jewish audience, he referred to them descriptively by their character – their worthlessness, emptiness and utter inability to accomplish anything.

We have a hard time relating to idol worship in the 21st Century. Idol worship is so Bronze Age! Our ancestors long ago stopped believing in gods and sacrificing to them, right?

Tim Keller, in his sermon, The Gospel for the Pagan, paints a different story. These pagans were not so different from us.

In a polytheistic society, of course, people worshiped and sacrificed to a variety of gods. There was no supreme god. People had to decide what gods to worship. Thus, people chose gods to worship based on how those gods could help them.


A a merchant might sacrifice to the god of commerce. A farmer might sacrifice to the god of agriculture. Other people might sacrifice to the god of art and music, or love and beauty, or a combination of gods, depending on what was most important to them.

Keller says that sacrificing to the god(s) of choice was, in effect, worshiping the things people valued most. By sacrificing to the gods of commerce, agriculture, art and music, love and beauty, etc., they were worshiping whatever it was the god represented.  Whatever a person sought help for was the thing from which they sought meaning in life, hope and fulfillment.

Thus, says Keller, “vain things” (idols) are things that “promise fulfillment, but leave you empty”.

We may think of ancient pagans as a brutish and unsophisticated lot, but we are no different than they in the sense that we sacrifice for the things we think will fulfill and satisfy us. The only difference is that we have dispensed with the representative gods.

The person who values career, or accomplishment or being respected by peers as a matter of first priority will sacrifice for those things. The person who thinks that love, romance and family are the highest forms of meaning will devout primary attention to those things. The person who loves art and music will sacrifice for those things and from them seek meaning and fulfillment.

We aren’t that different, really from our pagan ancestors, though we might scoff at the idea of gods, as in idols. We have our gods, though. We just don’t call them names or ascribe human personalities to them.

Paul’s message to the pagans in Lystra was, “These are worthless things!” They can’t fulfill you. Only the Living God can do that. His message has more application to us in the 21st Century than we might think at first glance.

Continue reading “How Does a Living God Relate to a Pagan World?”

The Linguistic Origins of Modern Drumming

We have the Civil War to thank for modern rock music


I am going off my beaten path here today, though music is certainly a beat I follow. Music is a universal language. Music is a creative gift from our Creator who made us in His image. We reflect Him, therefore, in the creation of music.

Music is mathematical and linguistic, even in its essence. I didn’t previously know, for instance, that drumming has an “alphabet” of 26 rhythms. I did know that drummers in the Civil War (and I assume previous wars) played a key role in their battalions. They weren’t just there to boost moral; they were the communicators on the battlefield, signalling the orders from the generals and commanders to their troops in the heat of the battle.

These things are discussed in the video embedded below on the originals of the shuffle – a type of pattern that mimics a train passing by on a track, and a basic backbone of most modern music. Marcus Petruska takes time in this video to talk about “the debt we all owe to the Civil War drummers”.

He goes into some detail about how drums (and bugles) were used to communicate commands in the fog of war to the troops in the battle. Those various beats used to communicate to troops in war became the percussion vocabulary that informs modern music – the 26 rudiments of drumming. It’s a bit mind blowing to think that we have the Civil War to thank for modern rock music!

These two subjects, music and the Civil War, meeting at the confluence of drumming resonate deeply with me because my great great grandfather was a drummer in the Civil War. He enlisted with the 40th Illinois Infantry that was organized by Stephen G. Hicks, a lawyer in Salem, Marion County, Illinois, and commissioned on July 24, 1861. He was part of Company “F” from Franklin County, Illinois, comprised primarily of farmers.

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Blind Willie Johnson

Blind Willie Johnson had a profound influence on the world of music. Born in 1887, the son of a Texas sharecropper, his father got him a cigar box guitar at the age of 5. The guitar became his lifelong companion. He was blind by the age of 7. Reports differ on the cause. Perhaps, it’s true that his step-mother splashed water with lye in it on his face in a moment of anger. Whatever the cause, Blind Willie Johnson sang Gospel-infused blues, a craft he honed as a street musician and preacher.


Like many black musicians of his day, he didn’t ever make much money, but his legacy lives on in his music.

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