Living In Rhythm

John Mayer says stupid shit from time to time. This should come as a surprise to absolutely no one. He's been doing it for years. Taken out of context, a lot of the things he says can be, and often are, absolutely ridiculous.

But you know what? At least he says what's on his mind. He'll never be one of those 'celebrities' you look at and wonder just who in the hell he is. We know who he is, because he tells us. Through his music, mostly, and sometimes through his interviews.

And maybe he goes to far, says the complete wrong thing and doesn't make his point as clearly as he could or should. But he tries. He ventures to explain things that no one else can or will. Even if he fails at that, isn't there something to say about him going for it? I think there is.

In recent years, it seems that the majority of people seem to think that freedom of speech is great!.....

Freedom of speech, but only if what you're saying doesn't piss anyone off. That sounds like a great policy to me! (That's sarcasm, by the way.)

There is, frankly, too much media in the world today. Absolutely too much. Probably about 400% too much. And about 95% of the excess is absolutely trash; garbage that no one should support. But they do, and then artists get asked for more frequent interviews, and they have to think of new things to say. They get asked about things that they have no business commenting on, just because the interviewers need to have something to ask, something to record on their little tape players and take back to their editors.

My point is that if you actually read the interview, an open-minded person can comprehend what he was going for, what point he was trying to make. He may not have done a stellar job of it, but he wasn't being malicious, racist, or anything else. He was just a guy giving his opinion when he was asked for it.

All this has nothing to do with me thinking that he can do no wrong. I've been accused of this before, and it's absolute bullshit.

I respect him because he doesn't have a problem saying 'This is who I am. Take it or leave it.' He doesn't pander to the masses, though he certainly has the masses he could pander to. At the end of the day, he says what he wants, makes the music that he wants, and he can do it because he's a brilliant musician. This isn't to say that gives him a free pass to just say whatever he wants to say and there won't be consequences, and I think he knows that too.

And he's a smart and gracious enough person to give genuine apologies when he knows he has to.

Can't really say that happens too often with celebrities these days, can you?

This post is archived under john mayer

I had the chance to go see the VSO for the first time on the weekend. Remember my blog about Rhapsody in Blue?

I had no idea Maestro Bramwell Tovey was such a funny guy. He started the evening by saying, "Welcome to a non-Olympic event!" and the jokes kept on coming. Can't say I've ever laughed at the symphony before. It was a wonderful experience.

The evening started with Strike Up The Band, which was both fitting and cheeky. I was four rows back, right in front of the harpist. So close. Too close. I could literally read the sheet music of a few of the violinists. Too close. I prefer to watch symphonies from the balcony, since not only is it a better visual experience, to be able to see everyone playing, but I also find the sound is a million times better.

Next up was Grofe's Grand Canyon Suite: On the Trail, which is just an amazing piece of music that tells a story like you wouldn't believe. Talk about cheeky. You can practically hear the donkeys at the bottom of the Grand Canyon as this is played. Wonderful.

The composer in residence with the VSO right now is Scott Goode, who showcased a 25 minute long piece (Between the Rooms for Trumpet and Orchestra) that people went nuts over. I was not a fan of it at all. Like, at all. It was disjointed, it was a trumpet feature (the only trumpet I can really tolerate is jazz trumpet), and none of the movements seemed connected at all. I feel like he tried to do something really, really cool, but he missed the mark. It was just too much. Too much brass, too much percussion. It was too eager, like he was trying to say, "Look at this! Look how complex this is!" instead of letting the music speak for itself.

I also said all this to my friend without realizing that the composer was standing about 5 feet away (damn seats close to the stage!).

And what do I know? I'm no composer.

I was a little wary when I didn't see a feature pianist listed in the program. After all, Rhapsody in Blue is a piano piece (which, if you know the history behind it, you can understand better). I certainly didn't expect that Tovey would play the piece himself, standing periodically to give cues and conduct. I've never seen anything like that either. It was kind of amazing, actually, to see a symphony practically conducting itself while the maestro lost himself in the music.

The night ended with the Porgy and Bess suite, which is where the great 'standard' Summertime comes from. The suite was beautiful, again telling the story vividly, without confusion. When it was supposed to, the music sounded like New York. Conversely, it sounded like desperation at times.

I walked away wondering what more Gershwin could have done if he hadn't died at 38.

And also thinking that I was too close to the stage, but not close enough to the music. I wanted to be playing it, to be a part of it. This hasn't happened in a while, the urge to dig out the flute and run some scales, play some of my old concert pieces. It was nice to have that inspiration.

Not so nice to spend the rest of the weekend wondering what could/would have happened if I'd stuck with the music in the first place...

This post is archived under gershwin

Anyone who denies this is a lovely song, well, there's something wrong with them. Many attempt to cover it. Most fail. I can't say that it's one of those songs that should be left alone; it's too beautiful, too spectacular for that. It just needs to be said that not anyone with a guitar should just up and cover this song.

This whole post is born from a little tirade I went on today when a coworker wrongly attributed the song as Jeff Buckley's. I love Jeff Buckley, I do. He's one of my favourites, and an incredible musician who we'll never know just how brilliant he was. But this is not his song. It's Leonard Cohen's song. While I've never been a huge fan of his, specifically, there's no denying that he's a brilliant songwriter and poet. His songs have been covered by everyone (really, everyone).

And he's Canadian, which is fantastic.

Hallelujah is part hymn, part poem, part lullaby, part love song. The lyrics are beautiful, haunting, and a story being told. And I get a kick out of him naming the chord progression in the lyrics. No one does that. It's brilliant. Perhaps solely because it fits with the theme of the song, but I digress.

So, since this song has been covered a million and one times, I'm going to give a list of my favourites, in order.

1: Jeff Buckley. No surprise. Haunting, beautiful, almost depressing at times. It's beautiful, and his voice is so beautiful, there's no denying that. All of his songs showcase his vocal talent. This one, perhaps, is in the top two. And maybe it's just that little bit more touching when you think of what happened after...

2: Justin Timberlake. I know, I know. Maybe it's too early to call this a favourite. But it is. This version is transcendent. That is a big word, too heavy, maybe, but it's true. I teared up when I watched him perform this, and I get goosebumps every single time I hear him sing the third verse. Justin goes to another place here, sings with more emotion than maybe he ever has. This will go down as one of my favourite performances of Justin's.

3: John Cale. Best known as "That song from Shrek". And in this particular performance, the strings are absolutely gorgeous. His voice suits the song well. There's a part of me that wishes his cover wasn't turned into just a little bit of a 'gimmick' for being used in such a blockbuster film. Cale seems like he just gets it; he understands the song. Much like the aforementioned two.

4: K.D. Lang. As a rule, I am not a fan of hers. But she sings this song marvelously, and she brings an emotion to it that I've always found lacking from her music. I'm not really sure why that is, but I'm thankful for it, because hers is definitely a rendition worth listening to.

5: Damien Rice. If you want someone to sing a song in a way that makes you want to rip your heart out, Damien Rice is always a good bet. The guy could sing Somewhere Over The Rainbow and make it sound like the most depressing music ever written. There's something about the dynamics of Damien's playing that make him perfectly suited for a song like this, where the 'hook' isn't supposed to be the climax. If anything, it takes a back seat to the verses. Damien interprets that beautifully.

Notable absences: Leonard Cohen (odd, I know). Rufus Wainwright (can't pinpoint why I don't like it). Allison Crowe (she makes it too sexual [yes, really], which I think detracts from the message). Kate Voegele (just...no). Bob Dylan (this is not a rock song).

So perhaps this is a self-indulgent post, just me venting in some kind of productive way after venting in a not-so-productive way this afternoon. But regardless the reason, this song needs to be done justice when it's covered. And if one can't do it justice, they should leave it alone.

This post is archived under damien rice, jeff buckley, john cale, justin timberlake, k.d. lang, leonard cohen

Every once in a while, you come across a talent that absolutely bowls you over. I'm not talking about the kind of artist who you're like, "Yeah, that's good stuff!" I'm talking about the kind of artist that you listen to, get goosebumps, can't even comprehend how the person, how any person, is that good. And, if you're me, you're envious, because you want that kind of talent.

This is one of those artists.

Denise told me to check out this singer/songwriter, Jill Andrews. So I did. And I immediately bought whatever music I could that she'd sung on, because her voice is incredible. The coolest thing is, she reminds me of a few other singers I know, and yet her voice is completely unique, too. Her tone is crystal clear, sweet and lovely.

Well, today I was on youtube (I take a youtube break every afternoon instead of a coffee break...) and found some live videos. I love her even more now. It's not very often that you come across an artist who you'd legitimately prefer to listen to live. It's refreshing to know that some peoples' amazing voices aren't just all studio magic.

I want to hear more from this woman. I can't wait to hear whatever she does next.

This post is archived under jill andrews

You know I was going to do it. You had to.

The only thing is, I'm good at making the lists, but I'm absolutely horrible at putting things in order. I can never pick a favourite, not with something like this. It's just too hard for me to choose one album as better than all the rest. Sure, I could pick my personal favourite, but without an explanation, it's all just opinion. Granted, that's what most of this is anyway (obviously, I haven't heard all the records released in the last 10 years, and my taste varies from other peoples', etc., etc.) But I have my reasons.

So here they are, in no particular order. My list of top albums of the decade:

Jay-Z, The Black Album
One of, if not the, best rap albums of all time. Jay-Z retired, then came back, and while a lot of people were saying that it was a cash grab or some sort of publicity stunt, Jay-Z was in the studio, putting down an innovative blend of rap and rock that no one had really heard before. He was working with Rick Rubin (what!?) and Kanye West (who!?) and doing crazy things. And why? Because he's Jay-Z, and he can. He's a guy who's never really content with the way the 'rap game' is going, but he doesn't complain about it. He changes it.

Corinne Bailey Rae, Corinne Bailey Rae
I can distinctly remember getting in my brother's car a couple years ago, and Seasons Change was coming through the speakers, and he turned to me and said, "You have this record, right?" (Of course I did.) He goes, "Good. This chick is the real deal." For a guy who's record collection consists of (a majority of) jazz and metal (strange combination, yes), that's pretty high praise. There's something about Corinne. Musically, she's brilliant. Her voice is unique but familiar and comforting at the same time, and her songs are beautiful, no matter what the tempo or subject matter. But if you listen to that album beyond the vocals and lyrics? It's just incredible. The players are tight, the production is flawless, and it all just comes together perfectly. I can't wait until her next album comes out in January.

Marc Broussard, Carencro
Without a doubt, one of my all time favourites. It's always in my heavy rotation pile. From the opening seconds, the heavy thump of a bass drum, you can't help but move a little bit. Maybe you tap your foot, maybe you bob your head, but you move. If you're like me, you don't stop until the last song. And then the hidden track comes on and he pulls at your heartstrings because he's singing about his son. He's gotten much bluesier, much more soulful in recent years (since it was released on a major label, Carencro, he's said, didn't give him the creative freedom he wanted). I prefer the new sound, but I still consider this record his best. From Home, to The Beauty of Who You Are, Lonely Night in Georgia, and The Wanderer, this record is full of gems. It'll go down in history as one of the best (in my opinion.)

Kanye West, Late Registration
Sure, The College Dropout gave us Jesus Walks (one of the best tracks of the past 20 years, probably) and Graduation gave us Stronger, but Late Registration gave us Gold Digger and Diamonds From Sierra Leone (holy eff, that song is amazing). More than that, though, it proved that Kanye was more than a one-record man. It proved that the hype was not hype, it was truth. It proved that Kanye's talent went beyond just making beats for Jay-Z and rapping about Jesus. Late Registration is like a story book, if you listen to it from beginning to end. If you want to know who Kanye is as an artist, I'd say listen to Late Registration first. On Diamonds From Sierra Leone, he boasts, "I forgot better shit than you ever thought of." I don't doubt it for a second.

Ryan Adams and the Cardinals, Cold Roses
It still amazes me that I bought this album for $12 at a Best Buy in Watertown, New York. Why? Because it's so good, such a complete album, that I feel like it's just really, really weird that I didn't pay more for it. And it feels like the kind of record you put on order from your local record store and have to wait weeks for it to come in. That probably only makes sense to me (such a situational example). Listen to When Will You Come Back Home, Now That You're Gone, or How Do You Keep Love Alive, and try to tell me this record isn't fantastic. And that's just on the first disc. The thing with this record is, it feels like it's quintessential. Like anyone who listens to Ryan Adams at all, has this record, because it feels like him. It's a little weird at parts, it's a little quirky, a little romantic, lyrically profound. Maybe it's weird to say, but when I listen to this album, I see Ryan Adams. All his records are good, but none are as good as this one. It's a masterpiece.

John Mayer, Continuum
This is the album that John Mayer fans were waiting for. Anyone who'd seen him live around the time Heavier Things came out, said to themselves, "Why doesn't he do more of that?" because his live show was full of blues breakdowns (Come Back to Bed and Covered in Rain gave us a taste) and guitar chops that hardly anyone would have expected. Sure, Room For Squares showcased his lyrical abilities and his cute-guy pop sensibilities, and Heavier Things was more grown up, lyrically, with him talking about relationships in a more literal way. It had more guitar and deeper meanings. Continuum was on another level. It is, as an album, the most accurate representation of his talent. (Battle Studies doesn't count just yet, since I'm still digesting it.) Every song on the album is a brilliant piece of work. The songs are well-written, well-played, and well-produced, but it's more than that. There's some intangible thing about this album that's hard to explain. It's almost like his career has been a coming of age tale, and Continuum is the record where he'd found himself, his place in the world (and the industry) and said, "Okay, guys, check it out." He lets the songs speak for themselves, and for him, and what's left at the end of it is a collection of songs that an entire generation of 20-somethings can listen to and say, "I get it. I get it now."

D'Angelo, Voodoo
This album will be on a lot of lists. It had better be, since it's probably the best of its genre seen in recent years. And yes, I consider 2001 recent, because this record, when you put it on, still feels current. Not a lot of records from 2001 feel that way. D'Angelo can sing. That's not a secret, and it's not anything anyone can dispute. Voodoo doesn't feel like a showcase of his vocal ability, not like most R&B records are (see Usher, Joe, Chris Brown, et.al.). Voodoo is D'Angelo showing how much more he can do than just sing, or maybe more importantly, how much more he can do while singing. His arrangements are practically mind-blowing, and the group of artists and players he gathered only helped to prove how good he is as a musician, above and beyond just being a talented singer. And we can't forget the Untitled (How Does it Feel) video. No, we can't.

Lee Ann Womack, Call Me Crazy
It still blows my mind to think of how many people don't know how talented Lee Ann Womack is. She'll probably go down in history as the woman who sang I Hope You Dance, and that's a real shame, because the rest of her repertoire is, in my opinion, much better than that song. Call Me Crazy is a collection of songs that somehow bridge the gap between old country and new country, with the majority of the focus being on the former. She makes it relevant, however, singing of heartache, losing yourself, the trappings of not-quite-lost love, and 'the greats' (on I Think I know, which in itself is reason enough to pick up the album). Country music needs more people like Lee Ann Womack and Jamey Johnson to remind it that synth drums and screeching guitars aren't always the way to go. Sometimes we all need a little mandolin, steel guitar, and a song with a hook like, "If these walls could talk, they'd pray."

Patty Griffin, Children Running Through
You knew it'd be on here. All of Patty's albums are fantastic. Flawless in a really flawed way (in a beautiful way; the way you can hear sirens in the background [accidental] on the original studio recording of Let Him Fly). I feel like Children Running Through was her chance to show that while the songs are amazing, timeless, she is too. Her voice is incredible, there's no denying, and her tone alone invokes goosebumps if you let it (and why wouldn't you?). Though the album is more polished than her others, somehow more 'professional' in it's production quality and overall feel, it's, as always, the songs that make it what it is. Patty can make you cry, from nostalgia alone (Burgundy Shoes), from a story that's probably made up (Trapeze), from happiness (Heavenly Day) or from the inspiration of her singing about a man she never met (Up To the Mountain). She should have won the Grammy for this one. And her upcoming Downtown Church album, I just know, is going to be an amazing way to kick off the new decade.

Alicia Keys, The Diary of Alicia Keys
Most of the lists I've seen outlining the decade's best have listed Songs In A Minor, which I suppose I can understand, given that it was the album that thrust Alicia Keys into the lives of the masses with her spirited piano playing, braided hair and insane voice. Fallin' is probably one of the most easily recognizable songs of the decade, one that people will say they remember for ages. The Diary of Alicia Keys, however, is a more well-rounded album. It's more than just vocal acrobatics and "look at me!" piano playing (both of which I loved about Songs in A Minor.) It's got a sweetness about it, a heart that I think was missing from her first album. The songs about love are more universal, applicable to everyone. If I Ain't Got You is one of my favourite songs to this day. If I Was Your Woman is a classic (one I lovelovelove) and Diary is just a gorgeous concept. Alicia's musicality isn't overshadowed by anything, and in fact her lyrics showcase how talented she is at her craft. She makes her songs sound like the ideas behind them, and that's no easy task.

Fall Out Boy, Infinity On High
Honestly, I could have picked any Fall Out Boy record and made a case for it being one of my favourites of the decade, but this one is just above...above. The fact that Jay-Z appears on the first track to kick things off doesn't hurt. From Under the Cork Tree showed the fun side of FOB, the punk/emo stylings they needed to bolster their following. That certainly worked. But Infinity On High was their homecoming, it felt like. It was more mature than Cork Tree, and more musically refined. There is just more depth to the songs, musically and lyrically. This Ain't A Scene, It's An Arms Race is fantastic, and Take Over, The Break's Over has provided me with hilarious memories of driving around with my sister in my parents' van singing "Wouldn't you rather be a weeble than a divorcee" (the real line is "Wouldn't you rather be a widow than a divorcee," which is incredible.) I could list every track and tell you all the things I love, but it'd be redundant. Infinity on High shows a more grown up FOB, one that grows as its fanbase does. Smart.

Justin Timberlake, Future Sex/Love Sounds
If Justified was Justin's successful break into the solo pop/R&B scene, then Future Sex/Love Sounds is his explosion into a genre that he's created in his own mind and somehow convinced his record label would translate to the masses. It did. Needless to say. So many people want so badly to write him off as just a pop singer, unable to do much more than just that. I'm not sure if they owe him an apology or if he owes them one, but either way, it's almost impossible to hate on Justin Timberlake. LoveStoned/I Think She Knows is a brilliant piece of music, parts a and b, that is probably only a glimpse at what Justin is capable of. Losing My Way tugs at heartstrings and headspace and makes people think about their lives (if it hasn't for you, it should; I'd advise to listen to this on headphones real loud and close your eyes when the choir comes in). (Another Song) All Over Again has jazz sensibilities that JT probably has no business possessing. The record leaves you wanting more. The thing with Justin is, his next record will probably be completely different from this one. And only JT could make a career of changing his style entirely every few years.

Miranda Lambert, Crazy Ex-Girlfriend
If Gretchen Wilson is a redneck woman, Miranda Lambert is the girl stealing Wilson's boyfriend while she makes her weekly trip to Walmart. Lambert got her start on Nashville Star, country music's version of American Idol (but that's just to put it broadly; Nashville Star actually showcases contestants' songwriting ability, rather than merely being glammed up karaoke). I watched her sing Greyhound Bound for Nowhere, just a verse and a chorus, and I was hooked. And her first album was great, with that song, Kerosene, What About Georgia, etc. But if anyone ever asked me who Miranda Lambert is, Crazy Ex-Girlfriend is the album I'd point them towards. The title track is full of energy and rage and whiskey, and the music sounds like the idea; angry, bitchy, and at points, a little drunk. More Like Her and Desperation show a softer side, a heart beneath the armor (literally, she's got the tattoo of the revolvers to prove it) and Dry Town and Love Letters are a bit of a throwback, something she's kind of become known for. The fact that she covers Patty Griffin's Getting Ready (though, I have to admit, it isn't quite as good as the original) doesn't hurt either. She's left of center, and she doesn't apologize. There's no one out there like her, and as the years pass and she puts out more albums that build on Crazy Ex-Girlfriend's success and niche, I don't think there'll ever be anyone like her.

Honourable Mentions
India.Arie, Acoustic Soul
Gavin Degraw, Chariot
Lupe Fiasco, Food and Liquor
Jay-Z, The Blueprint 3
Joe Purdy, Last Clock on the Wall
John Legend, Get Lifted
*NSync, No Strings Attached
Ray Lamontagne, Trouble
The RH Factor, Hard Groove
Erykah Badu, Mama's Gun
Brad Paisley, Part II
John Mayer, Room For Squares

There are probably more that I'll think of and want to add here. The 00's was a decent decade for music, I'd say.

This post is archived under alicia keys, corrine bailey rae, d angelo, fall out boy, jay z, john mayer, justin timberlake, kanye west, lee ann womack, marc broussard, miranda lambert, patty griffin, ryan adams

Instead of working this morning, I decided to tool around online and see if there are any performances upcoming in Vancouver that I want to see.

Yes. Yes, there are.

The VSO is doing Rhapsody In Blue, which is one of my absolute faves and has been for years. I love it. Gershwin is, undeniably, a genius. I have wanted to see a performance of this for ages. So, naturally, I instant messaged my coworker (we have kind of a Finer Things Club. It consists of the two of us; we're awesome like that) and asked if she wants to come with me. Of course she does! So, February 6th, we're going to see it. The best part? I somehow managed to get us seats in the orchestra level, in the fourth row!! For $25!!! It's almost criminal, really.

Does this deserve its own blog? Probably not. But I'm excited for this. Maybe unnaturally so.

But then again...How could I not be?

This post is archived under classical, gerswhin, herbie hancock

So I came to a profound realization the other day that will not sound at all like a profound realization. In fact, I'm fully aware that it'll sound ridiculous and people will probably look at me like I'm crazy if I ever say it out loud. But that's what blogs are for! Ha.

So what is this profound realization, you ask? I'll tell you...

Breathing is essential.

(I'm sensing blank stares.) I'll explain the thought process here, and maybe it'll make more sense. Or any sense.

I've started working out. I know. Shocking. Those who know me actually respond with an incredulous "Really?" when I tell them. But it's true. And I feel so much better now that I've carved out that time for it and am sticking to a schedule. But I digress. Anyway, so I'm running the other day and I feel like I'm going to die any second if I don't stop. But I don't stop. Because when it starts to hurt is when it starts to work.

I just changed my breathing pattern. Problem (almost) solved! My asthma still kicked my ass, but I didn't quit on myself (you're allowed to clap. ha).

So, as I got home and stood, sweaty and gross, guzzling water and feeling close to passing out in my kitchen, I realized that breathing is vital to everything. And I don't mean just the in-out-in-out kind of breathing. Obviously, humans need oxygen to survive. This isn't a biology lesson.

What I mean is that breathing is what we're always, always told to do. No matter what. If you're stressed out, take a deep breath. If you're angry, take a deep breath. If you're tired, take a deep breath and stretch. In pain? Breathe it out. In labour (this I know now, since my best friend gave me a detailed account of her 23 hr labour...thanks for that, by the way)? Breathe.

Music is all about finding the right spaces for breaths. Sometimes literally, sometimes not. Talk to any brass or woodwind player, and they'll tell you it's all about taking your breaths at the right time. The best music - sonically, musically, lyrically speaking - leaves room for breath.

(For an example of what I mean, see Lover, You Should've Come Over or Slow Dancing in a Burning Room. Also, there's a song called Laying Here With You by a little-known Canadian country singer, Thomas Wade, that is one of my all time fave songs. It's a wonderful example.)

What I've come to discover is that writing has a lot to do with breathing, too. Not only in the literal sense, when I'm sitting in front of a blank page, the cursor blinking back at me, and I can feel the stories and words swirling around in my head. I always take a big breath before I start typing. I don't know why this is. Probably has something to do with a clean slate, fresh start.

But I also mean this as far as the rhythm and flow of any given sentence or paragraph. I'm not afraid to admit that as I'm writing, I read a lot of my stuff out loud to myself. It gives me an idea of whether I've made the right word choice, or if there are any grammatical errors, which was why I started doing it in the first place. But now it's more than that. It's myself getting into a groove of writing. Sometimes I'll write an entire paragraph that's just one sentence and a lot of commas, but it just flows so well that I don't change it. I learn to take breaths between certain words, and that can change any sentence.

I don't know if people read what I write the same way that I read it. It's kind of cool if they don't, I think. (This comes down to individuality, which is probably the most interesting and amazing things about human beings; I can hear one thing one way and someone else can see it another. Never fails to make me smile, that thought.)

Probably the best example of what I'm talking about (in reference to my own stuff) is Baby, It's a Fine Line. By no means did I stick to any proper sentence structure, and any expert in the English language would absolutely tear it apart, but it's probably my favourite thing I've written. All because it's got a feel to it, a mood, and there's room for breaths in interesting places, and tempo changes and full stops. Maybe I'm crazy, but I'd love to read that piece out loud to someone who I know will appreciate all that. Maybe someday.

I guess what I'm saying is that breathing is something that is so vital to everything we do - literally, metaphorically, spiritually, figuratively - and most of us never pay it any mind.

We should probably do that a little more.