RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 154j My April 7, 2017 letter to Stephen Hawking

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Image result for stephen hawking movie

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Image result for stephen hawking harry kroto

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On November 21, 2014 I received a letter from Nobel Laureate Harry Kroto and it said:

…Please click on this URL http://vimeo.com/26991975

and you will hear what far smarter people than I have to say on this matter. I agree with them.

Harry Kroto

Nick Gathergood, David-Birkett, Harry-Kroto

I have attempted to respond to all of Dr. Kroto’s friends arguments and I have posted my responses one per week for over a year now. Here are some of my earlier posts:

Arif Ahmed, Sir David AttenboroughMark Balaguer, Horace Barlow, Michael BatePatricia ChurchlandAaron CiechanoverNoam Chomsky,Alan DershowitzHubert Dreyfus, Bart Ehrman, Stephan FeuchtwangDavid Friend,  Riccardo GiacconiIvar Giaever , Roy GlauberRebecca GoldsteinDavid J. Gross,  Brian Greene, Susan GreenfieldStephen F Gudeman,  Alan Guth, Jonathan HaidtTheodor W. Hänsch, Brian Harrison,  Hermann HauserRoald Hoffmann,  Bruce HoodHerbert Huppert,  Gareth Stedman Jones, Steve JonesShelly KaganMichio Kaku,  Stuart Kauffman,  Lawrence KraussHarry Kroto, George LakoffElizabeth Loftus,  Alan MacfarlanePeter MillicanMarvin MinskyLeonard Mlodinow,  Yujin NagasawaAlva NoeDouglas Osheroff,  Jonathan Parry,  Saul PerlmutterHerman PhilipseCarolyn PorcoRobert M. PriceLisa RandallLord Martin Rees,  Oliver Sacks, John SearleMarcus du SautoySimon SchafferJ. L. Schellenberg,   Lee Silver Peter Singer,  Walter Sinnott-ArmstrongRonald de Sousa, Victor StengerBarry Supple,   Leonard Susskind, Raymond TallisNeil deGrasse Tyson,  .Alexander Vilenkin, Sir John WalkerFrank WilczekSteven Weinberg, and  Lewis Wolpert,

In  the first video below in the 15th clip in this series are his words and  my response is below them. 

50 Renowned Academics Speaking About God (Part 1)

Another 50 Renowned Academics Speaking About God (Part 2)

A Further 50 Renowned Academics Speaking About God (Part 3)

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In the popular You Tube video “Renowned Academics Speaking About God” you made the following statement:

“M-Theory doesn’t disprove God, but it does make him unnecessary. It predicts that the universe will be spontaneously created out of nothing without the need for a creator.” –Stephen Hawking, Cambridge theoretical physicist

Earlier I responded to Dr. Hawking’s assertion.


My April 7, 2017 Letter to Stephen Hawking


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Image result for stephen hawking richard dawkins

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Larry Joe Speaks was 69 years old (his middle name came from his father Joe who fought in the BATTLE OF THE BULGE in World War 2)

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For 16 years Larry owned his store Southern Fruit & Grocery Sheridan, AR 72150

See outside

Map of Southern Fruit & Grocery
map expand icon

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Image result for mccain mall

Francis Schaeffer pictured below

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The Visit of the Queen of Sheba to King Solomon’, oil on canvas painting by Edward Poynter, 1890

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Adrian Rogers pictured below

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The Passion of the Christ: The Crucifixion.

Image result for crucifixion of jesus the passion of christ

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April 7, 2017

Dr. Stephen Hawking, c/o Centre for Theoretical Cosmology
Department of Applied Mathematics and Theoretical Physics
Centre for Mathematical Sciences
Wilberforce Road, Cambridge
CB3 0WA, UK

Dear Dr. Hawking,

Since next Sunday is Easter I wanted to mention a few churches that would really benefit you spiritually if you tried them out. I got to see John Stott speak back in 1979 at ALL SOULS CHURCHin London and I believe that church is very close for you. I have also been blessed by listening to the sermons from HIGHFIELD CHURCH in Southampton but I don’t think that church is as near for you.

I discovered that on this morning of April 7, 2017  my good friend Larry Speaks has died and gone to heaven. Let me tell you a little about him. After Larry put is faith in Christ alone for his salvation over 20 years ago he got started on  a hobby of listening and  discussing some of the great sermons that he heard. One of those sermons was WHO IS JESUS? by Adrian Rogers. In fact, he asked me to run off some cassette tapes of that message  so he could give it to people who used to come into his store SOUTHERN FRUIT & GROCERY. After he sold the store he continued to give out this message and over the years I switched to putting it on CD’s for him to give out. Even the last years of his life he would go to McCain Mall and walk through the mall and give out the CD’s. He was thrilled that so many people were glad to get them, and he was disappointed when occasionally someone would decline to accept his gift.

I loved the movie THE THEORY OF EVERYTHING and read your book THE GRAND DESIGN . In the book I noticed that you wrote:

Another problem that mo del- dependent 
realism solves, or at least avoids, is the meaning of 
existence. How do I know that a table still exists if 
I go out of the room and can't see it? What does it 
mean to say that things we can't see, such as 
electrons or quarks— the particles that are said to 
make up the proton and neutron— exist?

I am glad that you are asking the big questions of life. That is what people at times like this. After Larry’s death I started thinking about death a lot.

In the last years of his life King Solomon took time to look back and then he wrote the BOOK OF ECCLESIASTES. Solomon did believe in God but in this book he  took a look at life “UNDER THE SUN.” Christian scholar Ravi Zacharias has noted, “The key to understanding the Book of Ecclesiastes is the term ‘UNDER THE SUN.’ What that literally means is you lock God out of a closed system, and you are left with only this world of time plus chance plus matter.”

Francis Schaeffer comments on the Book of Ecclesiastes and the subject of death:

Ecclesiastes 9:11

11 Again I saw that under the sun the race is not to the swift, nor the battle to the strong, nor bread to the wise, nor riches to the intelligent, nor favor to those with knowledge, but time and chance happen to them all.

Chance rules. If a man starts out only from himself and works outward it must eventually if he is consistent seem so that only chance rules and naturally in such a setting you can not expect him to have anything else but finally a hate of life.

Ecclesiastes 2:17-18a

17 So I hated life, because what is done under the sun was grievous to me, for all is vanity and a striving after wind. 18 I hated all my toil in which I toil under the sun…

That first great cry “So I hated life.” Naturally if you hate life you long for death and you find him saying this in Ecclesiastes 4:2-3:

And I thought the dead who are already dead more fortunate than the living who are still alive. But better than both is he who has not yet been and has not seen the evil deeds that are doneunder the sun.

He lays down an order. It is best never have to been. It is better to be dead, and worse to be alive. But like all men and one could think of the face of Vincent Van Gogh in his final paintings as he came to hate life and you watch something die in his self portraits, the dilemma is double because as one is consistent and one sees life as a game of chance, one must come in a way to hate life. Yet at the same time men never get beyond the fear to die. Solomon didn’t either. So you find him in saying this.

Ecclesiastes 2:14-15

14 The wise person has his eyes in his head, but the fool walks in darkness. And yet I perceived that the same event happens to all of them. 15 Then I said in my heart, “What happens to the fool will happen to me also. Why then have I been so very wise?” And I said in my heart that this also is vanity.

The Hebrew is stronger than this and it says “it happens EVEN TO ME,” Solomon on the throne, Solomon the universal man. EVEN TO ME, even to Solomon.

Ecclesiastes 3:18-21

18 I said in my heart with regard to the children of man that God is testing them that they may see that they themselves are but beasts. 19 For what happens to the children of man and what happens to the beasts is the same; as one dies, so dies the other. They all have the same breath, and man has no advantage over the beasts, for all is vanity.[n] 20 All go to one place. All are from the dust, and to dust all return.21 Who knows whether the spirit of man goes upward and the spirit of the beast goes down into the earth?

What he is saying is as far as the eyes are concerned everything grinds to a stop at death.

Ecclesiastes 4:16

16 There was no end of all the people, all of whom he led. Yet those who come later will not rejoice in him. Surely this also is vanity and a striving after wind.

That is true. There is no place better to feel this than here in Switzerland. You can walk over these hills and men have walked over these hills for at least 4000 years and when do you know when you have passed their graves or who cares? It doesn’t have to be 4000 years ago. Visit a cemetery and look at the tombstones from 40 years ago. Just feel it. IS THIS ALL THERE IS? You can almost see Solomon shrugging his shoulders.

Ecclesiastes 8:8

There is no man that hath power over the spirit to retain the spirit; neither hath he power in the day of death: and there is no discharge in that war; neither shall wickedness deliver those that are given to it. (King James Version)

A remarkable two phrase. THERE IS NO DISCHARGE IN THAT WAR or you can translate it “no casting of weapons in that war.” Some wars they come to the end. Even the THIRTY YEARS WAR (1618-1648) finally finished, but this is a war where there is no casting of weapons and putting down the shield because all men fight this battle and one day lose. But more than this he adds, WICKEDNESS WON’T DELIVER YOU FROM THAT FIGHT. Wickedness delivers men from many things, from tedium in a strange city for example. But wickedness won’t deliver you from this war. It isn’t that kind of war. More than this he finally casts death in the world of chance.

Ecclesiastes 9:12

12 For man does not know his time. Like fish that are taken in an evil net, and like birds that are caught in a snare, so the children of man are snared at an evil time, when it suddenly falls upon them.

Death can come at anytime. Death seen merely by the eye of man between birth and death and UNDER THE SUN. Death too is a thing of chance. Albert Camus speeding in a car with a pretty girl at his side and then Camus dead. Lawrence of Arabiacoming up over a crest of a hill 100 miles per hour on his motorcycle and some boys are standing in the road and Lawrence turns aside and dies.

 Surely between birth and death these things are chance. Modern man adds something on top of this and that is the understanding that as the individual man will dies by chance so one day the human race will die by chance!!! It is the death of the human race that lands in the hand of chance and that is why men grew sad when they read Nevil Shute’s book ON THE BEACH. 

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By the way, the final chapter of Ecclesiastes finishes with Solomon emphasizing that serving God is the only proper response of man. Solomon looks above the sun and brings God back into the picture.  I am hoping that your good friend Woody Allen will also come to that same conclusion that Solomon came to concerning the meaning of life and man’s proper place in the universe in Ecclesiastes 12:13-14:
13 Now all has been heard;
here is the conclusion of the matter:
Fear God and keep his commandments,
for this is the whole duty of man.

14 For God will bring every deed into judgment,
including every hidden thing,
whether it is good or evil

NOW BACK TO MY FRIEND LARRY SPEAKS. If Larry was here now he would urge you to listen to the message WHO IS JESUS? by Adrian Rogers. Therefore, I wanted to give you a little part of that message. Under the point THE PROPHETIC WITNESS OF THE SCRIPTURES Adrian Rogers talks about Psalm 22:

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The Amazing Prophecy of the Cross

Psalm 22 is an incredible chapter. Perhaps more than any other chapter in the Bible, you cannot read it and come away not loving the Bible and the Lord Jesus Christ.

Turn to Psalm 22. Just below the name of a psalm, often the name of the one who wrote it is given. Who is the human author of Psalm 22?

Through the inspiration of the Holy Spirit, almost half (73) of the Bible’s 150 psalms were written by King David.

One thousand years before Jesus Christ, David prophetically foretold His crucifixion.

Since crucifixion was a Roman, not Jewish, form of execution, how is that possible?  Crucifixion was completely unknown to the Jewish culture. It would be another 800 years before crucifixion came into the Jewish world. But here we find by divine inspiration a portrait of the cross.

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Thanks for your time.

Sincerely,

Everette Hatcher, everettehatcher@gmail.comhttp://www.thedailyhatch.org, cell ph 501-920-5733, Box 23416, LittleRock, AR 72221

PS: This is the FIRST of SEVEN letters I am writing you on ECCLESIASTES and SOLOMON’s SEARCH for MEANING

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Related posts:

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 53 THE BEATLES (Part E, Stg. Pepper’s and John Lennon’s search in 1967 for truth was through drugs, money, laughter, etc & similar to King Solomon’s, LOTS OF PICTURES OF JOHN AND CYNTHIA) (Feature on artist Yoko Ono)

April 2, 2015 – 7:05 am

The John Lennon and the Beatles really were on a long search for meaning and fulfillment in their lives  just like King Solomon did in the Book of Ecclesiastes. Solomon looked into learning (1:12-18, 2:12-17), laughter, ladies, luxuries, and liquor (2:1-2, 8, 10, 11), and labor (2:4-6, 18-20). He fount that without God in the picture all […] By Everette Hatcher III | Posted in Current Events, Francis Schaeffer | Edit | Comments (0)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 52 THE BEATLES (Part D, There is evidence that the Beatles may have been exposed to Francis Schaeffer!!!) (Feature on artist Anna Margaret Rose Freeman )

March 22, 2015 – 12:30 am

______________   George Harrison Swears & Insults Paul and Yoko Lucy in the Sky with Diamonds- The Beatles The Beatles:   I have dedicated several posts to this series on the Beatles and I don’t know when this series will end because Francis Schaeffer spent a lot of time listening to the Beatles and talking […] By Everette Hatcher III | Posted in Francis Schaeffer | Tagged Anna Margaret Rose Freeman, George Harrison, John Lennon, Paul MacCartney, Ringo Starr, Stg. Pepper’s Lonely Hearts Club Band | Edit| Comments (0)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 51 THE BEATLES (Part C, List of those on cover of Stg.Pepper’s ) (Feature on artist Raqib Shaw )

March 19, 2015 – 12:21 am

  The Beatles in a press conference after their Return from the USA Uploaded on Nov 29, 2010 The Beatles in a press conference after their Return from the USA. The Beatles:   I have dedicated several posts to this series on the Beatles and I don’t know when this series will end because Francis […] By Everette Hatcher III | Posted in Francis Schaeffer | Tagged George Harrison, John Lennon, Paul MacCartney, Raqib Shaw, Ringo Starr | Edit | Comments (0)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 50 THE BEATLES (Part B, The Psychedelic Music of the Beatles) (Feature on artist Peter Blake )

March 12, 2015 – 12:16 am

__________________   Beatles 1966 Last interview I have dedicated several posts to this series on the Beatles and I don’t know when this series will end because Francis Schaeffer spent a lot of time listening to the Beatles and talking and writing about them and their impact on the culture of the 1960’s. In this […] By Everette Hatcher III | Posted in Francis Schaeffer | Tagged George Harrison, John Lennon, Paul MacCartney, Peter Blake, Ringo Starr | Edit | Comments (1)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 49 THE BEATLES (Part A, The Meaning of Stg. Pepper’s Cover) (Feature on artist Mika Tajima)

March 5, 2015 – 4:47 am

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“Music Monday” THE BEATLES (Breaking down the song TOMORROW NEVER KNOWS) Featured musical artist is Stuart Gerber

The Beatles were “inspired by the musique concrète of German composer and early electronic music pioneer Karlheinz Stockhausen…”  as  has asserted. Francis Schaeffer noted that ideas of  “Non-resolution” and “Fragmentation” came down German and French streams with the influence of Beethoven’s last Quartets and then the influence of Debussy and later Schoenberg’s non-resolution which is in total contrast with Bach’s resolution. Finally you have Stockhausen’s electronic music and concern with the element of change and his influence can be seen on the Beatles in several songs but the first one was TOMORROW NEVER KNOWS.

Karlheinz Stockhausen pictured below on the cover of  Sergeant Pepper’s Lonely Hearts Club Band:

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Tomorrow never knows – making of

Uploaded on Jan 5, 2008

John, Paul, George H. and George M. tell the story.
From Beatles Anthology DVD.

Tommorow Never Knows -The Beatles (Lost 1967 Music Video)

Uploaded on Jul 11, 2010

In 1967 Neil Aspinall was asked to put together a video for the beatles 3rd movie which was in early devolpment. The concept was going to be a collection of promotional videos all bunched together from the albums Rubber Soul, Revolver and Sgt Pepper. The Beatles dimissed the idea and decided to go with pauls idea of the Magical Mystery Tour. Only 4 videos are known to exist which where Eleneor Rigby&A Day In The Life (as seen in the anthology) along the lost videos for Within You And Without You ( which was supposed to be a montage of an office building) and Tommorow Never Knows. However I was able to find the Tommorow Never Knows Video through a lot of researching. The clip is simply put together from clips of John (14 hour technicolour dream), Paul (His 1966 trip with mal Evans), and George (arriving in india with pattie).
All rights belong to The Beatles and Apple Corp not me!
Enjoy comment and subscribe!

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Francis Schaeffer pictured below:

Francis Schaeffer correctly observed concerning the Beatles:

In this flow there was also the period of psychedelic rock, an attempt to find this experience without drugs, by the use of a certain type of music. This was the period of the Beatles’ Revolver (1966) and Strawberry Fields Forever (1967). In the same period and in the same direction was Blonde on Blond (1966) by Bob Dylan….No great illustration could be found of the way these concepts were carried to the masses than “pop” music and especially the work of the BEATLES. The Beatles moved through several stages, including the concept of the drug and psychedelic approach. The psychedelic began with their records REVOLVER, STRAWBERRY FIELDS FOREVER, AND PENNY LANE. This was developed with great expertness in their record SERGEANT PEPPER’S LONELY HEARTS CLUB BAND in which psychedelic music, with open statements concerning drug-taking, was knowingly presented as a religious answer. 

The Beatles were looking for lasting satisfaction in their lives and their journey took them down many of the same paths that other young people of the 1960’s were taking INCLUDING THE PATH OF PSYCHEDELIC MUSIC AND FRAGMENTATION. No wonder in the video THE AGE OF NON-REASON Schaeffer noted,  ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings.” 

How Should We then Live Episode 7 small (Age of Nonreason)

George Martin:

It was on Revolver that we have the track Tomorrow Never Knows
which was a great innovation

John Lennon:
That’s me in my Tibetan Book of the Dead period
and the expression Tomorrow NeverKnows was another of Ringo’s
I was self-conscious about the lyrics of Tomorrow Never Knows
so I took one of Ringo’s malapropisms like Hard Day’s Night
to take the edge off the heavy philosophical lyrics

Paul McCartney:
John had a song which was all on the chord of C
which we thought a perfectly good idea, like Indian music is all on one chord
I wondered how George Martin would take it-it was a radical departure
At least we’d had three chords and maybe a change for the middle eight
Suddenly this was just John strumming on C rather earnestly

George Harrison:
In those days there was no technology like there is now
There were two guitars, bass and drums, and that was it
If we did stuff in the studio with the aid of recording tricks
then we couldn’t just reproduce them on stage
Nowadays you could do Tomorrow Never Knows, have all the loops on a keyboard
You could have as many pianists, drummers and orchestras as you wanted
But in those days we were just a little dance hall band
and we never thought of augmenting ourselves

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The Beatles – Tomorrow Never Knows (Lyrics)

The use of these ¼-inch audio tape loops resulted primarily from McCartney’s admiration for Stockhausen‘s Gesang der Jünglinge.

Dissecting “Tomorrow Never Knows” by The Beatles

One of the most ambitious and influential of all Beatles recordings is “Tomorrow Never Knows” from the 1966 Album Revolver. Primarily written by John Lennon, there are numerous examples of creative recording and mixing techniques from the production of this song.

To help reinforce this Indian-influenced song, which relies almost entirely on a steady C-chord, George Harrison added a droning Tambura, which is often confused with a sitar.

Ringo’s repetitive but unique drum performance which was arguably similar to “Ticket to Ride” from 1965, was close miked and heavily compressed, and provided an excellent backdrop for the organized chaos of tape loops and vocal experimentation.

Lennon wanted the vocal for this LSD-influenced song to sound like a hundred chanting Tibetan monks, and although The Beatles at this point could do essentially whatever they wanted at the famed Abbey Road Studios, this was not possible.

Ultimately, Engineer Geoff Emerick creatively ran Lennon’s vocal through a Leslie Speakerand re-recorded it. Lennon showed a general disdain for doubling his own vocal, so Ken Townsend developed automatic double tracking or ADT, a process in which the signal from the sync head of one tape machine was delayed through a second tape machine. The tape speed and therefore the pitch was modulated slightly, allowing the engineers to simulate a doubled vocal or other performance. Waves now has a plugin version of this effect.

McCartney, who had been influenced by Karlheinz Stockhausen and other Musique concrete composers, brought in a selection of quarter-inch tape loops he had recorded at home. The infamous “seagull sound” is actually a sped up recording of someone (perhaps McCartney) laughing. The other Beatles provided home recorded tape loops which were ultimately played through various tape machines in Abbey Road, each supervised by technicians, with the band and Producer George Martin manning the faders as the loops were recorded on top of the existing arrangement. This was quite a departure in terms of production technique not only for the Beatles, but for any popular music group at the time.

Although later the hyper-critical Lennon expressed disappointment that the song lacked due to not having the chanting monks he originally envisioned, that didn’t stop this recording from being revolutionary and the perfect centerpiece for what is perhaps the bands’ most experimental album.

It has been covered by dozens of artists, and its influence can be heard in artists ranging from hip-hop to electronic.

In 2012, the popular AMC series Mad Men, in an unprecedented event, was able to obtain the recording and publishing rights for the song, allowing it to be used in an episode of the show for the hefty fee of $250,000.

Sgt. Pepper’s footnote: Karlheinz Stockhausen passes
[Posted by Dave Haber on Tuesday, 12/18/07 7:34 am] [Full Blog] [Tweet] [Facebook]It was announced last week that Karlheinz Stockhausen , one of the most important and controversial postwar composers, passed away on Friday, December 7 at his home in western Germany. He was 79.So taken were the Beatles by Stockhausen’s music that he was included among the Beatle’s other heroes and idols on the cover of Sgt. Pepper’s Lonely Hearts Club Band in 1967.
See this page on our sister-site, The Internet Beatles Album, for more about the Sgt. Pepper’s cover.

» Click here to read all the blog posts

Tomorrow Never Knows

From Wikipedia, the free encyclopedia
For The Beatles album, see Tomorrow Never Knows (Beatles album). For the Peter Baldrachi album, see Tomorrow Never Knows (Peter Baldrachi album). For the Mr. Children song, see Tomorrow Never Knows (Mr. Children song).
“Tomorrow Never Knows”
Song by the Beatles from the albumRevolver
Released 5 August 1966
Recorded 6, 7 and 22 April 1966
EMI Studios, London
Genre Psychedelic rock,[1] raga rock,[2]hard rock,[3] experimental rock[4]
Length 2:58
Label Parlophone
Writer Lennon–McCartney
Producer George Martin
Revolver track listing
Music sample
MENU
0:00

Tomorrow Never Knows” is the final track of the Beatles‘ 1966 studio album Revolver but the first to be recorded. Credited as a Lennon–McCartney song, it was written primarily by John Lennon.[1]

The song has a vocal put through a Leslie speaker cabinet (which was normally used as a loudspeaker for a Hammond organ). Tape loops prepared by the Beatles were mixed in and out of the Indian-inspired modal backing underpinned by Ringo Starr‘s constant but non-standard drum pattern.

It is considered one of the greatest songs of its time, with Pitchfork Media placing it at number 19 on its list of “The 200 Greatest Songs of the 1960s”.[5]

Inspiration[edit]

John Lennon wrote the song in January 1966, with lyrics adapted from the book The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead by Timothy Leary, Richard Alpert, and Ralph Metzner, which was in turn adapted from the Tibetan Book of the Dead.[6] Although Peter Brown believed that Lennon’s source for the lyrics was the Tibetan Book of the Dead itself, which, he said, Lennon had read whilst consuming LSD,[7] George Harrison later stated that the idea for the lyrics came from Leary, Alpert, and Metzner’s book;[8] Paul McCartney confirmed this, stating that when he and Lennon visited the newly openedIndica bookshop, Lennon had been looking for a copy of The Portable Nietzsche and found a copy of The Psychedelic Experience that contained the lines: “Whenever in doubt, turn off your mind, relax, float downstream”.[9]

Lennon bought the book, went home, took LSD, and followed the instructions exactly as stated in the book.[10][11] The book held that the “ego death” experienced under the influence of LSD and other psychedelic drugs is essentially similar to the dying process and requires similar guidance.[12][13] This is a state of being known by eastern mystics and masters as samādhi (a state of being totally aware of the present moment; a one-pointedness of mind.).

Title[edit]

The title never actually appears in the song’s lyrics. In an interview Lennon revealed that, like “A Hard Day’s Night“, it was taken from one of Ringo Starr‘s malapropisms.[14] The piece was originally titled “Mark I”.[9]“The Void” is cited as another working title but according to Mark Lewisohn (and Bob Spitz) this is untrue, although the books The Love You Make: An Insider’s Story of the Beatles and The Beatles A to Z both cite “The Void” as the original title.[7]

When the Beatles returned to London after their first visit to America in early 1964 they were interviewed by David Coleman of BBC Television. The interview included the following exchange:

  • Interviewer: “Now, Ringo, I hear you were manhandled at the Embassy Ball. Is this right?”
  • Ringo: “Not really. Someone just cut a bit of my hair, you see.”
  • Interviewer: “Let’s have a look. You seem to have got plenty left.”
  • Ringo: (turns head) “Can you see the difference? It’s longer, this side.”
  • Interviewer: “What happened exactly?”
  • Ringo: “I don’t know. I was just talking, having an interview (exaggerated voice). Just like I am NOW!”
  • (John and Paul begin lifting locks of his hair, pretending to cut it)
  • Ringo: “I was talking away and I looked ’round, and there was about 400 people just smiling. So, you know — what can you say?”
  • John: “What can you say?”
  • Ringo: “Tomorrow never knows.”
  • (John laughs)[15]

Musical structure[edit]

McCartney remembered that even though the song’s harmony was mainly restricted to the chord of C, Martin accepted it as it was and said it was “rather interesting”. The song’s harmonic structure is derived fromIndian music and is based upon a high volume C drone played by Harrison on a tamboura.[16] The “chord” over the drone is generally C major, but some changes to B flat major result from vocal modulations, as well as orchestral and guitar tape loops.[17][18] The song has been called the first pop song that attempted to dispense with chord changes altogether.[16] Here, the Beatles’ harmonic ingenuity is nonetheless displayed in the upper harmonies- “Turn off your mind”, for example, is suitably a run of unvarying E melody notes, before “relax” involves an E-G melody note shift and “float downstream” an E-C-G descent.[19] “It is not dying” involves a run of three G melody notes that rise on “dying” to a B♭, creating a ♭VII/I (B♭/C) ‘slash’ polychord.[19] This is a prominent device in Beatles songs such as “All My Loving“, “Help!“, “A Hard Day’s Night“, “Norwegian Wood (This Bird Has Flown)“, “Hey Jude“, “Dear Prudence“, “Revolution” and “Get Back“.[20]

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George Harrison, US PresidentGerald Ford, and Ravi Shankar in the Oval Office in December 1974

Recording[edit]

A cross-section showing the inner workings of a Leslie speaker cabinet

Lennon first played the song to Brian Epstein, George Martin and the other Beatles at Epstein’s house at 24 Chapel Street, Belgravia.[21][22]

The 19-year-old Geoff Emerick was promoted to replace Norman Smith as engineer on the first session for the Revolver album. This started at 8 pm on 6 April 1966, in Studio Three at Abbey Road.[9] Lennon told producer Martin that he wanted to sound like a hundred chanting Tibetan monks, which left Martin the difficult task of trying to find the effect by using the basic equipment they had. The effect was achieved by using a Leslie speaker. When the concept was explained to Lennon, he inquired if the same effect could be achieved by hanging him upside down and spinning him around a microphone while he sang into it.[9][23] Emerick made a connector to break into the electronic circuitry of the cabinet and then re-recorded the vocal as it came out of the revolving speaker.[24][25]

A 7-inch reel of 14-inch-wide (6.4 mm) audio recording tape, which was the type used by McCartney to create tape loops

As Lennon hated doing a second take to double his vocals, Ken Townsend, the studio’s technical manager, developed an alternative form of double-tracking called artificial double tracking (ADT) system, taking the signal from the sync head of one tape machine and delaying it slightly through a second tape machine.[26] The two tape machines used were not driven by mains electricity, but from a separate generator which put out a particular frequency, the same for both, thereby keeping them locked together.[26] By altering the speed and frequencies, he could create various effects, which the Beatles used throughout the recording of Revolver.[27] Lennon’s vocal is double-tracked on the first three verses of the song: the effect of the Leslie cabinet can be heard after the (backwards) guitar solo.[28][29]

The track included the highly compressed drums that the Beatles currently favoured, with reverse cymbals, reverse guitar, processed vocals, looped tape effects, a sitar and a tamburadrone.[23] The use of these ¼-inch audio tape loops resulted primarily from McCartney’s admiration for Stockhausen‘s Gesang der Jünglinge.[30] By disabling the erase head of a tape recorder and then spooling a continuous loop of tape through the machine while recording, the tape would constantly overdub itself, creating a saturation effect, a technique also used inmusique concrète. The tape could also be induced to go faster and slower. McCartney encouraged the other Beatles to use the same effects and create their own loops.[18] After experimentation on their own, the various Beatles supplied a total of “30 or so” tape loops to Martin, who selected 16 for use on the song.[31] Each loop was about six seconds long.[31]

The tape loops were played on BTR3 tape machines located in various studios of the Abbey Road building[32] and controlled by EMI technicians in Studio Two at Abbey Road on 7 April.[33][23] Each machine was monitored by one technician, who had to hold a pencil within each loop to maintain tension.[31] The four Beatles controlled the faders of the mixing console while Martin varied the stereo panning and Emerick watched the meters.[34][35] Eight of the tapes were used at one time, changed halfway through the song.[34] The tapes were made (like most of the other loops) by superimposition and acceleration.[36][37] According to Martin, the finished mix of the tape loops could not be repeated because of the complex and random way in which they were laid over the music.[38]

Five tape loops are audible in the finished version of the song. Isolating the loops reveals that they contained:

  • A “laughing” voice, played at double-speed (the “seagull” sound)
  • An orchestral chord of B flat major (from a Sibelius symphony) (0:19)
  • A fast electric guitar phrase in C major, reversed and played at double-speed (0:22)
  • Another guitar phrase with heavy tape echo, with a B flat chord provided either by guitar, organ or possibly a Mellotron Mk II (0:38)
  • A sitar-like descending scalar phrase played on an electric guitar, reversed and played at double-speed (0:56)

The Beatles further experimented with tape loops in “Carnival of Light“, an as-yet-unreleased piece recorded during the Sgt. Pepper’s Lonely Hearts Club Band sessions, and in “Revolution 9“, released on The Beatles.[39]

The opening chord fades in gradually on the stereo version while the mono version features a more sudden fade-in. The mono and stereo versions also have the tape-loop track faded in at slightly different times and different volumes (in general, the loops are louder on the mono mix). On the stereo version a little feedback comes in after the guitar solo, exactly halfway through the song, but is edited out of the mono mix.

Lennon was later quoted as saying that “I should have tried to get my original idea, the monks singing. I realise now that’s what I wanted.”[40] Take one of the recording was released on the Anthology 2 album.[40]

Interpretation[edit]

Harrison questioned whether Lennon fully understood the meaning of the song’s lyrics:

You can hear (and I am sure most Beatles fans have) “Tomorrow Never Knows” a lot and not know really what it is about. Basically it is saying what meditation is all about. The goal of meditation is to go beyond (that is, transcend) waking, sleeping and dreaming. So the song starts out by saying, “Turn off your mind, relax and float downstream, it is not dying.”

Then it says, “Lay down all thoughts, surrender to the void—it is shining. That you may see the meaning of within—it is being.” From birth to death all we ever do is think: we have one thought, we have another thought, another thought, another thought. Even when you are asleep you are having dreams, so there is never a time from birth to death when the mind isn’t always active with thoughts. But you can turn off your mind, and go to the part which Maharishi described as: “Where was your last thought before you thought it?”

The whole point is that we are the song. The self is coming from a state of pure awareness, from the state of being. All the rest that comes about in the outward manifestation of the physical world (including all the fluctuations which end up as thoughts and actions) is just clutter. The true nature of each soul is pure consciousness. So the song is really about transcending and about the quality of the transcendent.

I am not too sure if John actually fully understood what he was saying. He knew he was onto something when he saw those words and turned them into a song. But to have experienced what the lyrics in that song are actually about? I don’t know if he fully understood it.[41]

Personnel[edit]

Personnel per Ian MacDonald[42]

The Love album remix[edit]

The Love project, which combined “Tomorrow Never Knows” and “Within You Without You”

In 2006, Martin and his son, Giles Martin, remixed 80 minutes of Beatles music for the Las Vegas stage performance Love, a joint venture between Cirque du Soleil and The Beatles’ Apple Corps Ltd.[43] On the Love album, the rhythm to “Tomorrow Never Knows” was mixed with the vocals and melody from “Within You Without You“, creating a different version of the two songs. The soundtrack album from the show was released in 2006.[44][45] The Love remix is one of the main songs in The Beatles: Rock Band music video game.[46]

In popular culture[edit]

In music[edit]

DJ Spooky said of the track in 2011:

“Tomorrow Never Knows” is one of those songs that’s in the DNA of so much going on these days that it’s hard to know where to start. Its tape collage alone makes it one of the first tracks to use sampling really successfully. I also think that Brian Eno‘s idea of the studio-as-instrument comes from this kind of recording.[47]

Other references[edit]

The song is referenced in the lyrics to the 1995 Oasis song “Morning Glory“: “Tomorrow never knows what it doesn’t know too soon”.

The Chemical Brothers refer to “Tomorrow Never Knows” as their “manifesto”; their 1996 track “Setting Sun” is a direct tribute to it.

Chilean psychedelic band The Holydrug Couple references the drum beat on “Counting Sailboats” off their 2013 album Noctuary.

In television[edit]

The song was featured during the final scene of the 2012 Mad Men episode “Lady Lazarus.” Don Draper‘s wife Megan gives him a copy of Revolver, calling his attention to a specific track and suggesting, “Start with this one”.[53] Draper, an advertising executive, is struggling to understand youth culture, but after contemplating the song for a few puzzled moments, he shuts it off.[54] The song also played over the closing credits.[55]The rights to the song cost the producers about $250,000,[54] “about five times as much as the typical cost of licensing a song for TV.”[53]

____________

Tomorrow Never Knows

While the title, like A Hard Day’s Night, was a Ringoism particularly liked by Lennon, the lyrics were largely taken from The Psychedelic Experience, a 1964 book written by Harvard psychologists Timothy Leary and Richard Alpert which contained an adaptation of the ancient Tibetan Book of the Dead.

Lennon discovered The Psychedelic Experience at the Indica bookshop, co-owned by Barry Miles. In late March 1966 Lennon and McCartney visited the bookshop.

John wanted a book by what sounded like ‘Nitz Ga’. It took Miles a few minutes to realise that he was looking for the German philosopher Nietzsche, long enough for John to become convinced that he was being ridiculed. He launched into an attack on intellectuals and university students and was only mollified when Paul told him that he had not understood what John was asking for either, and that Miles was not a university graduate but had been to art college, just like him. Immediately friendly again, John talked about Allen Ginsberg and the Beats, laughing about his school magazine the Daily Howl: ‘Tell Ginsberg I did it first!’ Miles found him a copy of The Portable Nietzsche and John began to scan the shelves. His eyes soon alighted upon a copy of The Psychedelic Experience, Dr Timothy Leary’s psychedelic version of the Tibetan Book of the Dead. John was delighted and settled down on the settee with the book. Right away, on page 14 in Leary’s introduction, he read, ‘Whenever in doubt, turn off your mind, relax, float downstream.’ He had found the first line of ‘Tomorrow Never Knows’, one of the Beatles’ most innovative songs.
Many Years From Now
Barry Miles

PAUL MCCARTNEY BRINGS ‘TOMORROW NEVER KNOWS’ BACK TO THE FUTURE

Beatles Cartoon – Tomorrow Never Knows

PAUL MCCARTNEY IS working on a new project utilizing vintage gear he once used to make tape loops for The Beatles’ landmark track “Tomorrow Never Knows.”

“I’ve dusted off the same two old machines that I used for ‘Tomorrow Never Knows,’” McCartney said during a wide-ranging phone interview to be published soon by Wired.com. “We’re having trouble finding spare parts. But my man Eddie Klein, who works in my studio and is an oldAbbey Road guy, is a real boffin and has got the machines working again.”

Inspired by the musique concrète of German composer and early electronic music pioneer Karlheinz Stockhausen, McCartney’s recombined found sounds for “Tomorrow Never Knows” created an aural sensation utterly new to pop music when the song appeared on The Beatles’ epochal 1966 album Revolver.

Combined with The Beatles’ other technical and stylistic experiments — including John Lennon‘s transcendental lyricism, engineer Geoff Emerick‘s studio innovations,George Harrison‘s Eastern drone and Ringo Starr‘s proto-hop percussion — “Tomorrow Never Knows” helped plot the coordinates of future music.

The song has since become known as a masterpiece of electronic music and one of the most influential dance tracks of all time.

‘”Tomorrow Never Knows’ is one of those songs that’s in the DNA of so much going on these days that it’s hard to know where to start,” said DJ Spooky, electronic music virtuoso and author of Sound Unbound: Sampling Digital Music and Culture. “Its tape collage alone makes it one of the first tracks to use sampling really successfully. I also think that Brian Eno’s idea of the studio-as-instrument comes from this kind of recording.”

McCartney’s early technological and musical experimentation is often overshadowed by Beatles classics like “Hey Jude.” But spend any time researching his resume, and it quickly becomes clear that the pioneering composer’s wide-ranging interests helped lay the foundation for music that many would rarely associate with him.

“Electronic music is something I’ve always been into,” said McCartney, whose recently remastered and reissued solo releases McCartney and McCartney II, arriving June 14, paved trails for everything from home recording to hip-hop.

“What’s often said of me is that I’m the guy who wrote ‘Yesterday‘ or I’m the guy who was the bass player for the Beatles,” he added. “That stuff floats to the top of the water, you know? But I’m also a guy who was really interested intape loops, electronics and avant-garde music. That just doesn’t get out there on a wide level, but it’s true. I’ve really been fascinated by this stuff.”

The mind reels, pardon the pun, at what McCartney might come up with after tinkering around with the same tape machines that skewed “Tomorrow Never Knows” strange. His 2008 electronic-music effort Electric Arguments, composed with The Killing Joke’s Youth under the aliasThe Fireman, was an alternately incendiary and captivating exercise. But according to the always-busy McCartney — who playsHP’s 2011 Discover conference Thursday as thanks for Hewlett-Packard digitizing the one-time Beatles’ exhaustive library of 1 million items — his current tape-loop recombinations are still in the formative stage.

“The new project is going to take a couple years,” said McCartney. “It’s very long-range. I’ve no idea when it is actually going to happen, but I’m really into it.”

Once it does happen, renewed interest in The Beatles technocultural influence, which I’ve been compiling on Wired.com and elsewhere in the continuing series Geek The Beatles, will likely follow. The Beatles reached their 50th birthday last year, and rarely has a band from the past so securely locked a foothold in the future.

The experimental nature of “Tomorrow Never Knows” is a major reason why.

“‘Tomorrow Never Knows’ is the ultimate future moment for The Beatles,” Autolux guitarist Greg Edwards told Wired.com last year, before the band’s drummer, Carla Azar, revised the song with The Kills’ Allison Mosshart for Zack Snyder’s techno-fantasy film flop Sucker Punch. “That song basically transcends time. It still lands years ahead of us, no matter when we hear it.”

The song exerts widespread influence decades after its recording, said DJ Spooky, who cataloged a star-studded list of artists who have used the song in their own music or generally been shaped by its sound.

“Flaming Lips? Check,” he said. “Beastie Boys’Check Your Head? Check. Anything from Radiohead? Check. Sonic Youth? A Tribe Called Quest? Check. The song has one of those kind of cinematic breakdowns that artists like Danger Mouse and David Lynch could check out again and again. The only thing that the record didn’t affect was Jamaican dub, but the Jamaican scene was smoking something different than John Lennon’s LSD trips, so that’s another story.”

Regardless of the drug in question, McCartney’s tape-loop experimentalism was a mind-blowing musical exercise for the artist himself, as well as for Beatles fans.

“When I made my first tape loops, man was it a buzz!” McCartney said. “Bringing tape loops into the studio as I did, finding out that John has got a really funky tune called ‘Tomorrow Never Knows’ that needed a solo…. Well, what was better than the crazy stuff I was doing?”

________________

Karlheinz Stockhausen with John Cage below:

Featured artist today is Stuart Gerber

Maker’s Dozen: Percussionist Stuart Gerber sparks new music scene with performances, teaching

March 19, 2015

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By MARK GRESHAM

Gerber in Lugo, Italy for the world premiere of Karlheinz Stockhausen's (Photo by Alain Taquet)

Percussionist Stuart Gerber is one of Atlanta’s most skilled and influential musicians. One of the original cofounders of new music ensemble Bent Frequency, Gerber is an associate professor at Georgia State University. He also has performed extensively throughout North America, Europe and Australia as a soloist and chamber musician, often premiering new compositions, including works by icons of contemporary music such as Karlheinz Stockhausen.

MakersDozenThe New York Times has praised Gerber as a musician of “consummate virtuosity.” ArtsATL recently spoke with Gerber about his career as a percussionist.

ArtsATL: Where are you from originally, and how did you get started on your musical path?

Stuart Gerber: Wisconsin. A small town just about 30 minutes north of Milwaukee called Grafton. I grew up and even went to school there [at University of Wisconsin] before transferring to Oberlin Conservatory of Music.

I started playing drums in fifth grade. The band director asked what I wanted to play, and of course I said drums. He said, “Well, what about the saxophone?” and my father said, “No, he needs to play the drums.” So I almost became a saxophone player but it’s probably better I didn’t. I played drums in rock bands and jazz band in high school, then I got interested in [other] percussion. For a while, I thought I would become a timpanist for an orchestra [like] Milwaukee Symphony.

I continued my orchestral studies at Oberlin, but Oberlin has such a rich tradition of chamber and contemporary music, I got really interested in playing music where the percussion was more of a focus. Then I went to Cincinnati to study with Percussion Group Cincinnati, a fantastic percussion trio [at the College-Conservatory of Music of the University of Cincinnati].

Gerber moved to Atlanta in 2001 to teach at Georgia State. (Photo by Alain Taquet)

ArtsATL: How and when did you begin working with the eminent German composer Karlheinz Stockhausen (1928–2007)?

Gerber: While doing graduate studies in Cincinnati, I went to the Stockhausen Festival [in Germany] for the first time, just as a performer. I was able to work with him closely, but it wasn’t until after coming to Atlanta that I really solidified my relationship with Stockhausen.

Stockhausen (to the left of W.C. Fields) as immortalized on the cover of Sgt. Pepper's Lonely Hearts Club Band.

I completed my doctoral work, “Stockhausen: Solo Percussion Music,” and I sent my thesis to him after it was done. I will never forget: I was on MARTA coming home from the airport when I got a message from him saying, “I read your thesis and every percussionist should read this.” That was around Christmas in 2003. He asked me to come back to the 2004 festival as a faculty percussion teacher. That was when I really started working with him seriously, and did a number of premieres with him before he passed away.

ArtsATL: He wrote some significant music for you.

Gerber: One in particular, his last solo percussion piece called “Heaven’s Door” (“Himmels-Tür”). I premiered it in 2006 and it was dedicated to me. It’s written for a giant wooden door. That was the culmination of our work. Having his massive work, both in scope and also the instrument itself, written for me by him, is important.

Heaven’s Door Lugo

Published on Mar 17, 2015

This is a video recording of the world premiere of HIMMELS-TÜR at the Rossini Theater in Lugo, Italy, June 13th, 2006.

Copyright: Stockhausen-Stiftung für Musik, Kürten, Germany (www.karlheinzstockhausen.org)

The score to HIMMELS-TÜR can be ordered directly through the Stockhausen-Verlag (www.stockhausen-verlag.com)
And the official CD recording (Stockhausen Complete Edition no. 86) can be ordered from (www.stockhausencds.com)

______________________

ArtsATL: I know there are actually two specially built doors for “Himmels-Tür,” the one in Europe that you played in the world premiere, but also one that you had built for the North American premiere in June 2007 at the Spoleto Festival USA in Charleston. That was also the door you were supposed to play in the White Light Festival, at Alice Tully Hall in New York City, back in October 2012, but the concert got canceled due to Hurricane Sandy.

Gerber: I was actually in New York. I took an earlier flight and made it up there. The people who were transporting the door moved it up early because I didn’t want [the festival] to cancel the concert just because I couldn’t get there. We were there, stranded, and couldn’t do the show. The piece hasn’t been done yet in New York, which is a shame.

Stuart Gerber

ArtsATL: Backing up a bit, when did you move in Atlanta?

Gerber: September of 2001, during the week after September 11. I was in Australia when September 11 happened. I’d won the job as percussion professor at Georgia State [and] found out about it in August, but I was already scheduled to be in Australia through the second week of September. We got waylaid about two extra days because of 9/11. I flew home, went to Cincinnati and got my stuff, then drove down to Atlanta about the third week of September. Pretty quickly, I realized what a great scene it was musically.

ArtsATL: You”re the sole remaining original founding codirector of contemporary music ensemble Bent Frequency. I remember being at the group’s first concert.

Bent Frequency

Gerber: When I came to town, I thought, well, what I do is contemporary music, and I wanted an avenue in which to do that. I met Alexander Micklethwaite who was, back then, assistant conductor of the Atlanta Symphony Orchestra, and we talked about how there should really be a really vibrant new music ensemble in Atlanta. That was part of the initial discussions when I started having coffee with Alexander in the fall of 2002.

At the same time, there were discussions with colleagues of mine, Nick Demos and Robert Ambrose, about starting a new music group. Rather than competing we just decided to pool our resources. So the first concert was the following May 2003 with a pretty diverse program.

ArtsATL: Aside from what Robert Spano was beginning to do at the ASO, how did you view the state of the new music scene at that time?

Gerber: Bent Frequency was by itself for a couple of years. But since then, Sonic Generator, Chamber Cartel, Terminus Ensemble — all these groups are also doing contemporary chamber music as their primary focus. So there’s quite a lot of it now in the city.

ArtsATL: You’ve directly influenced some of the newer groups through your example and through teaching. It was one of your former students, Caleb Herron, who started Chamber Cartel. Another, Olivia Kieffer, created the Clibber Jones Ensemble — more of a kind of rock-influenced minimalist fusion group.

Gerber: That’s pretty great, though, and it definitely adds to the scene. The other thing that is amazing to me, too, is the kind of “underground” scene — I don’t like that term — [Atlanta has] as well: improv, rock-based, free improv. Not just pop music but more a real deeper kind of rock music that embraces art music, and contemporary music. I’m thinking Faun and a Pan Flute and some of these other groups.

Gerber improvising with Klimchak. (Photo by Mark Gresham)

ArtsATL: Klimchak, with whom you have done some local performances, has noted that you’re really great at improv, but the public still doesn’t know you for improvisation the way they know you for taking a written score and doing really incisive performances of it. What’s your relationship to improvisation as a part of your own professional aesthetics?

Gerber: I was trained to be [a] “classical percussionist” — which means you get a score, you learn the notes, you interpret it, you bring your personality to it, but the music is pretty much a set thing. I still do that quite a bit.

I’d actually done some improvisation prior to moving to Atlanta, but after getting here and seeing how a lot of wonderful players in town do the sort of thing primarily, I was drawn to it, so started exploring that more deeply. I fell in love with it because I feel like it’s a real one-on-one connection with the other players and the audience and what I want to express at that moment. It really helps me as an artist. It’s a different dimension of my art.

Maker’s Dozen is an annual series that spotlights a dozen creatives whom we think you ought to know or know more about. The profiles will run on Tuesdays and Thursdays through April 16.

– See more at: http://www.artsatl.com/2015/03/makers-dozen-percussionist-stuart-gerber/#sthash.hjltlWua.dpu

What is the meaning of HEAVEN’S DOOR?

Klang (Stockhausen)

From Wikipedia, the free encyclopedia

Karlheinz Stockhausen in his garden on 20 April 2005, two weeks before the premiere of the First Hour of Klang

Klang (pronounced [klaŋ])—Die 24 Stunden des Tages (Sound—The 24 Hours of the Day) is a cycle of compositions by Karlheinz Stockhausen, on which he worked from 2004 until his death in 2007. It was intended to consist of 24 chamber-music compositions, each representing one hour of the day, with a different colour systematically assigned to every hour. The cycle was not yet finished when the composer died, so that the last three “hours” are lacking. The 21 completed pieces include solos, duos, trios, a septet, and Stockhausen’s last entirely electronic composition, Cosmic Pulses. The fourth composition is a theatre piece for a solo percussionist, and there are also two auxiliary compositions which are not part of the main cycle. The completed works bear the work (opus) numbers 81–101.

Fourth Hour: Himmels-Tür[edit]

Heaven’s Door, depicted on the main entrance of the Milan Cathedral

Himmels-Tür (Heaven’s Door), for a percussionist and a little girl, 2005 (ca. 28 mins.). Work number 84. The specified colour is bright blue [Hellblau] (Stockhausen 2007f, cover;Stockhausen 2008b, cover).

Himmels-Tür was commissioned by the Italian concert organisation Angelica, and composed in 2005. It was premiered on 13 June 2006 in the Teatro Rossini in Lugo, Italy, by the American percussionist Stuart Gerber and Arianna Garotti as the little girl. Gerber gave the German premiere a few weeks later at the Stockhausen Courses in Kürten (Stockhausen 2006b, 21 & 41; Toop 2012, 425).

The only overtly theatrical piece from Klang, the idea for Himmels-Tür came to Stockhausen in a dream, in which he found himself at the gates of heaven, which are locked against him. (Several of Stockhausen’s earlier theatrical compositions—such as Trans, Musik im Bauch, and the Helicopter String Quartet—also had their origins in dreams.) Because of the indefinite pitches of the instruments (a large double-panelled door and an assortment of cymbals and gongs), Himmels-Tür is the only work in the Klang cycle that does not use the 24-note series extrapolated from the all-interval “Gruppen” row (Kohl 2008, 17; Toop 2008b, 199–200).

“A percussionist beats with wooden beaters on a heaven’s door made of wood. It is divided from bottom to top into six fields. Sometimes he (she) stomps on the floor with his (her) nailed shoes.” There are fourteen main sections defined by moods, such as “cautious”, “entreating”, “agitated”, and “angry”, until finally, the door opens. “After a moment of silence, the percussionist cautiously steps through the doorway and disappears. A terrifying noise of tam-tams, hi-hats, and cymbals bursts out”, not to mention sirens. “A little girl comes out of the audience onto the stage, and disappears through the doorway. The metallic sounds become increasingly rare and gradually cease. Finally, the siren stops” (Stockhausen 2006b, 41).

It is probably no coincidence that many years earlier, in Kontakte, Stockhausen had associated metallic sounds with the “heavenly”, in contrast to the “earthly” sounds of skin percussion (entirely absent in Himmels-Tür), with wooden sounds functioning as a transition between them, like the door to heaven here. Although the graphic notation is unconventional, the improvisatory appearance of both the performance and the score is deceptive. Every stroke, every gesture is precisely specified in its rhythm, dynamics, and timbre (Kohl 2008, 17).

Although originally planned to occupy twenty-four pages (a number found generally throughout the cycle, reflecting the number of hours in a day), the final score consists of just twenty-two. The first sixteen are performed on the door, the remaining six behind the door, out of sight of the audience. In the first, larger section of the work the number of strokes, types of strokes, and door panels on which the percussionist performs are controlled by global serial factors, but the details are not serially determined. By contrast, the closing section, with the metal percussion instruments played backstage, is serially organised using number squares, including a version of the source square for the second set of Klavierstücke from 1954–55 (Toop 2012, 431–32, 463–65).

Türin[edit]

Japanese rin, one of the sound sources in Türin

In just two days in October 2006, Stockhausen realised a 13-minute electronic work to accompany Himmels-Tür on its first CD recording. The title Türin combines the names of the two sound sources used, the door (German: Tür) from the percussion piece, and a chromatic set of rin—Japanese bowl-gongs that Stockhausen had previously used in several compositions, such as Telemusik, Inori, Lucifer’s Dance from Samstag aus Licht, and the orchestra version of Hoch-Zeiten from Sonntag aus Licht, as well as in Himmelfahrt (Hour 1) and the twenty-second piece of Natural Durations (Hour 3) from Klang. The recorded sounds of strokes on the door are electronically processed to focus their pitch and extend their resonance, and a rin stroke of the corresponding pitch is added to each attack (Kohl 2008, 17).

The composition, written in September 2006 and realised on 7 and 8 October, consists of a single, stately presentation of the 24-tone Klang row in its original transposition, in rhythms derived from the pitches. Within each of these long tones, Stockhausen’s voice intones a different “noble word” (such as “hope”, “fidelity”, “balance”, “generosity”, etc.). The utter simplicity of this piece puts it at the opposite extreme from the hyper-complex Cosmic Pulses, work on which was already in progress at the time Türin was created (Kohl 2008, 17; Kohl 2012b, 478–79).

There are two versions of Türin, one with the words spoken in German, the other in English. According to the composer, these “noble words” are meant to keep the Himmels-Tür open (booklet accompanying Stockhausen Complete Edition CD 86, pp. 12 & 24). This composition was not assigned a work-number by Stockhausen, but is now included in the official catalogue of his works as “Nr. 84 extra”.

 

STOCKHAUSEN WAS A VERY RELIGIOUS MAN AND HE THOUGHT LONG AND HARD ABOUT THIS QUESTION BELOW:

“Why Should I Let You into My Heaven?”

Let’s suppose for a moment that you died today and stood before the Lord God and He asked you, “Why should I let you into My heaven?” What would you say? What do you think you would say?

Let’s suppose for a moment that you died today and stood before the Lord God and He asked you, “Why should I let you into My heaven?” What would you say? What do you think you would say?

That is one of the most important questions you can ask a person regarding their salvation. James Kennedy got the idea from Donald Grey Barnhouse who asked the same questions in a slightly different wording. “What right do you have to come into God’s heaven? What would be your answer?”

I like those questions because they force us to clarify our thoughts about salvation.

One thing is sure, one day you will die. You will be suddenly thrust into the face of God and He will ask the question, “Why should I let you come into My heaven?” “What right do you have to enter into the holy of holies?”

Your reply could be, “I am a religious person. I am trying to live a Christian life the best I can. I give to the poor, and try to help people in need. I an not a notorious sinner. I read religious books, my Bible, and I try to love people. I am serving God the best I can.” But no one will be justified before God on the basis of his good religious works. “The heart is deceitful above all things and desperately wicked” (Jer. 17:9). The apostle Paul said wrote, “For by grace you have been saved through faith; and that not of yourselves, it is the gift of God; not as a result of works, so that no one may boast” (Ephesians 2:8-9).

The only way a religious person will ever be saved is by faith in Jesus Christ who died on the cross paying the penalty for our sins. Jesus Christ offers His own perfect righteousness in the place of our self-righteousness, which can never save us. When we stand before the judgment throne of God no one will be able to offer any good works as the basis for their right relationship with God. Our sins and our guilt will stop our mouths because God demands perfect righteousness, and that we do not have on our own.

“Why should God let you into His heaven?” “Whatright do you have to enter into My heaven?” You may say, “I am a good Jewish person. I have been circumcised. I have fulfilled the requirements of the covenant.” Or you may say, “I have been baptized by immersion into the Christian faith.” Or “I have fulfilled the requirements of confirmation. I take the sacraments, and I give to the poor.” But God’s Word, the Bible, still says, “There is no one righteous, not even one. . . There is no one who does good, not even one.” No one will be declared righteous in God’s sight by his good works because the purpose of the Law is to make us conscious of our sins. “For no one is declared righteous before him by the works of the law, for through the law comes the knowledge of sin”(Rom. 3:20 NET).

The purpose of the Law is to bring us under conviction of our unrighteousness and point us to the perfect righteousness of Jesus Christ that alone can save us.

My only claim to heaven is the Lord Jesus Christ. He died for me. He took the punishment for my sins. He is my right to heaven, because He has become my righteousness.

The only answer that will satisfy God is one that focuses on the finished atoning work of Jesus Christ. If we are saved it is not on the basis of anything we do, but entirely on what Jesus Christ did for us on the cross in His death and resurrection. He suffered for our sins. He died for us. “The wages of sin is death.” He died my death. He bore my punishment for my sins in His death. There is no other way to come to God. Only the individual who comes to God trusting in the Lord Jesus Christ will enter into God’s presence in heaven.

Let’s suppose you died today and stood before God. What would be your answer to the question, “Why should I let you into My heaven?” “By whatright should God let you into His heaven?”

I pray that you will declare, “My only right to heaven is the Lord Jesus Christ. He died for me. He took my punishment for my sins. He is my righteousness. He is my only hope to enter into God’s holy presence. There is no other name given among men whereby I must be saved. Jesus alone can save me.”

Selah!

Message by Wil Pounds (c) 2006

Image result for sergent peppers album cover

Francis Schaeffer’s favorite album was SGT. PEPPER”S and he said of the album “Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings.”  (at the 14 minute point in episode 7 of HOW SHOULD WE THEN LIVE? ) 

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How Should We Then Live – Episode Seven – 07 – Portuguese Subtitles

Francis Schaeffer

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 202 the BEATLES’ last song FREE AS A BIRD (Featured artist is Susan Weil )

February 15, 2018 – 1:45 am

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 200 George Harrison song HERE ME LORD (Featured artist is Karl Schmidt-Rottluff )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 184 the BEATLES’ song REAL LOVE (Featured artist is David Hammonds )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 170 George Harrison and his song MY SWEET LORD (Featured artist is Bruce Herman )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 168 George Harrison’s song AWAITING ON YOU ALL Part B (Featured artist is Michelle Mackey )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 167 George Harrison’s song AWAITING ON YOU Part A (Artist featured is Paul Martin)

RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 133 Louise Antony is UMass, Phil Dept, “Atheists if they commit themselves to justice, peace and the relief of suffering can only be doing so out of love for the good. Atheist have the opportunity to practice perfect piety”

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 166 George Harrison’s song ART OF DYING (Featured artist is Joel Sheesley )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 165 George Harrison’s view that many roads lead to Heaven (Featured artist is Tim Lowly)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 164 THE BEATLES Edgar Allan Poe (Featured artist is Christopher Wool)

PART 163 BEATLES Breaking down the song LONG AND WINDING ROAD (Featured artist is Charles Lutyens )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 162 A look at the BEATLES Breaking down the song ALL WE NEED IS LOVE Part C (Featured artist is Grace Slick)

PART 161 A look at the BEATLES Breaking down the song ALL WE NEED IS LOVE Part B (Featured artist is Francis Hoyland )

 

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 160 A look at the BEATLES Breaking down the song ALL WE NEED IS LOVE Part A (Featured artist is Shirazeh Houshiary)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 159 BEATLES, Soccer player Albert Stubbins made it on SGT. PEP’S because he was sport hero (Artist featured is Richard Land)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 158 THE BEATLES (breaking down the song WHY DON’T WE DO IT IN THE ROAD?) Photographer Bob Gomel featured today!

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 118 THE BEATLES (Why was Tony Curtis on cover of SGT PEP?) (Feature on artist Jeffrey Gibson )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 117 THE BEATLES, Breaking down the song WITHIN YOU WITHOUT YOU Part B (Featured artist is Emma Amos )

Related posts:

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 41 Sarvepalli Radhakrishnan (Featured artist is Marina Abramović)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 40 Timothy Leary (Featured artist is Margaret Keane)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 39 Tom Wolfe (Featured artist is Richard Serra)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 38 Woody Allen and Albert Camus “There is but one truly serious philosophical problem, and that is suicide” (Feature on artist Hamish Fulton Photographer )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 37 Mahatma Gandhi and “Relieving the Tension in the East” (Feature on artist Luc Tuymans)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 36 Julian Huxley:”God does not in fact exist, but act as if He does!” (Feature on artist Barry McGee)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 35 Robert M. Pirsig (Feature on artist Kerry James Marshall)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 34 Aleksandr Solzhenitsyn (Feature on artist Shahzia Sikander)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 33 Aldous Huxley (Feature on artist Matthew Barney )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 32 Steven Weinberg and Woody Allen and “The Meaningless of All Things” (Feature on photographer Martin Karplus )

 

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Remembering Influence of Adrian Rogers on Society and Culture

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After being elected President of the Southern Baptist Convention in 1979, Adrian Rogers met with President Ronald Reagan.

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Earlier I wrote the post On 3-16-15 I found the first link between my spiritual heroes: Adrian Rogers and Francis Schaeffer!!!!!

Francis and Edith Schaeffer pictured below:

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Below my good friend Byron Tyler from my old days in the Bellevue Baptist Youth Group interviews our former music director Jim Whitmire. I respect both of these gentlemen tremendously.

This was the average sanctuary crowd when I was growing up at Bellevue Baptist in Memphis.  Now take what you see and multiply it by three, because they had three morning services.  This photo was taken sometime in the early 1980’s

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Adrian Rogers was my pastor from 1975 to 1983. I was amazed at he would teach the Bible and relate it to current events such as abortion. For instance, he stated, “Secular Humanism and so-called abortion rights are inseparably linked together.”

I took what he said and sent it to Carl Sagan and Sagan responded on December 5, 1995:

Thanks for your recent letter about evolution and abortion. The correlation is hardly one to one; there are evolutionists who are anti-abortion and anti-evolutionists who are pro-abortion.

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(Carl Sagan and his third wife Ann Druyan pictured above)

Earlier I wrote a post entitled THE SERMON ON EVOLUTION BY ADRIAN ROGERS THAT I SENT TO OVER 250 ATHEIST SCIENTISTS FROM 1992 TO 2015! That sermon was on evolution and it generated quite a robust response from skeptics in academia.

In fact, I took excerpts from Dr. Rogers’ sermons and sent them out to many skeptics, and received responses back from Nobel prize winners such as Milton Friedman, George Wald, James D. Watson, and Nicolaas Bloembergen. Other scholars who took time to respond were Ernest Mayr (1904-2005), Robert Shapiro (1935-2011), Brian Charlesworth (1945-), Francisco J. Ayala (1934-) Elliott Sober (1948-), Kevin Padian (1951-), Matt Cartmill (1943-) , Milton Fingerman (1928-), John J. Shea (1969-), , Michael A. Crawford (1938-), Paul Kurtz (1925-2012), Sol Gordon (1923-2008), Albert Ellis (1913-2007), Barbara Marie Tabler (1915-1996), Renate Vambery (1916-2005), Archie J. Bahm (1907-1996), Aron S “Gil” Martin ( 1910-1997), Matthew I. Spetter (1921-2012), H. J. Eysenck (1916-1997), Robert L. Erdmann (1929-2006), Mary Morain (1911-1999), Lloyd Morain (1917-2010), Warren Allen Smith (1921-), Bette Chambers (1930-), Gordon Stein (1941-1996) , John Hospers (1918-2011), and Michael Martin (1932-).

I remember the first time I went to a Operation Mobilization (OM) conference in 1979. We first drove from Memphis to Toronto with Rev. Earl Stevens and his wife of First Evangelical Church for the North American OM Conference.

Then we attended the European conference in Belgium  and we first flew to Paris and rode in the back of a truck across France to Belgium. My good friend David Rogers and I were the only ones from the Bellevue Baptist youth group to go with OM that summer to go on missions in Europe. David went to Austria and I went to Manchester, England. David later served several years with OM.

Also during our trip David’s father was elected President of the Southern Baptist Convention. I was sitting next to David when he took the call from his father that he had decided to place his name into the election. 

Adrian Rogers stood up for the inerrancy of the Bible and he did that during his time as President of the Southern Baptist Convention. This story below discusses that key part of Southern Baptist history.

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This Memphis pastor helped chart the conservative course of the Southern Baptist Convention

KATHERINE BURGESS | MEMPHIS COMMERCIAL APPEAL | 6:00 am CDT July 9, 2019

Joyce Rogers speaks about her husband, Memphis pastor Adrian Rogers, an influential Southern Baptist conservative.KATHERINE BURGESS, THE COMMERCIAL APPEAL

Forty years ago, a pastor from Memphis was elected president of the Southern Baptist Convention.

He didn’t know it at the time, his wife said, but the election of Adrian Rogers would launch the “Conservative Resurgence” — called the “Fundamentalist Takeover” by its opponents — that solidified conservative control of the largest Protestant denomination in the country. 

For Rogers, the debate centered around how the Bible was viewed, said his wife Joyce Rogers, who recently spoke with The Commercial Appeal about her late husband. 

“He would like to be remembered as a man of God, one who stood for the Bible,” she said. “He would have died for his belief about the Bible.”

Adrian Rogers speaks at the 1988 annual meeting of the Southern Baptist Convention.

Adrian Rogers speaks at the 1988 annual meeting of the Southern Baptist Convention.SOUTHERN BAPTIST HISTORICAL LIBRARY AND ARCHIVES

By 1979, Southern Baptists had been fiercely divided for years, with particularly heated debates occurring in the seminaries, where many professors were accused of holding liberal views of the Bible.

Southern Baptists were divided among two camps called “conservatives” and “moderates.” The conservatives believed in the doctrine of inerrancy, which Baptist Press, the news arm of the convention, describes as “the doctrine that the Bible is completely free from error regarding theology, history, science and every other matter to which it speaks.”

Many of the moderates, according to Baptist Press, also believed in inerrancy but were comfortable with a variety of beliefs within the Southern Baptist Convention. 

Bill Leonard, professor emeritus at Wake Forest University who used to chair Baptist Studies, said it’s “academically impossible” to disengage politics from theology.

Memphis pastor Adrian Rogers was a three-term president of the Southern Baptist Convention.

Memphis pastor Adrian Rogers was a three-term president of the Southern Baptist Convention.SOUTHERN BAPTIST HISTORICAL LIBRARY AND ARCHIVES

For example, many leaders in the conservative resurgence were closely allied with the Republican Party, Leonard said.

“Many of them were Southern Baptist in ways that would move the denomination as much as possible into becoming a consistent Republican base, a consistent voting block,” Leonard said. “We know now that 40 years later, that was also successful.”

Moderates in the convention had also advocated in favor of abortion access and the ordination of women.

Rogers was a reluctant candidate, seen as a ‘rising star’

Even as Southern Baptists began to gather in Houston for the 1979 annual meeting, Rogers hadn’t agreed to run.

That didn’t stop well-known pastor W. A. Criswell from telling pastors days before the election that, “We will have a great time here if for no other reason than to elect Adrian Rogers as our president.” 

The statement caught Joyce Rogers off guard.

“At first I was so mad at him, because I thought he (hadn’t) got permission to say that or anything,” she said. “But it became obvious that God was in it.”

Memphis pastor Adrian Rogers was a three-term president of the Southern Baptist Convention and a leader in the denomination's conservative resurgence.

Memphis pastor Adrian Rogers was a three-term president of the Southern Baptist Convention and a leader in the denomination’s conservative resurgence.BAPTIST PRESS

Some moderates were also watching Rogers.

According to Baptist Press, moderate C.R. Daley later said, “Some of us saw the rising star out of Memphis named Adrian Rogers — in my mind the most brilliant of his group, the one who poses the gravest threat to the Southern Baptist Convention. It was obvious that he was to be the king. It was obvious to some of us that he wasn’t the kind of king we wanted.”

Southern Baptist leaders Paige Patterson and Paul Pressler developed a strategy of how to take control of the Southern Baptist Convention.They determined that if conservatives won the presidency for 10 consecutive years, they could use the president’s appointive power to gain majorities on all Southern Baptist boards and agencies. That included the six seminaries and the two mission boards, said Barry Hankins, professor of history and department chair at Baylor University.

Patterson, who was later president of the Southeastern Baptist Theological Seminary, the Southwestern Baptist Theological Seminary, has recently been discredited and removed as seminary head for his handling of sex abuse claims. Last year, Pressler was accused of rape and other sexual misconduct. He has denied the allegations, according to Baptist News Global.

But in 1979, Patterson and Pressler were influential and respected leaders. Pressler was a former state representative and a judge in Houston while Patterson was president of Criswell College in Dallas.

“What they needed was a good candidate, so they recruited Adrian Rogers to be the candidate they would run in 1979 to try and win,” Hankins said. “He was a winsome personality with a great preaching voice. He was staunchly conservative in his theology, in favor of conservatives having a sort of test for leadership in the convention, but he was not in any way a hard-edged personality type.”

If Rogers hadn’t been a pastor, he would have had to become some kind of orator, Hankins said, with his “golden voice.” In 1987, Rogers would go on to found “Love Worth Finding,” a television ministry that extended to 194 countries. 

At the time, Rogers was also pastor of one of the largest churches in the convention, Memphis’ Bellevue Baptist Church. The church was located in downtown Memphis, and rapidly growing.

By Rogers’ retirement in 2005, the church had grown from 9,000 members to more than 29,000 members and relocated to its campus in Cordova.

Hankins said his sense is that Rogers was able to “stay above the fray” during much of the division. He didn’t take on leadership because of politics, Hankins said, but because he believed the inerrancy of the Bible was necessary to furthering evangelism.

On the day of the election, Rogers was chosen with 51% of the vote.

Rogers was a pastor first

Raised in West Palm Beach, Florida, Rogers met his wife in the fourth grade. He liked to joke that they didn’t get serious until the sixth grade.

Joyce Rogers, who still lives in the Memphis area, said she isn’t sure how her husband developed his views about biblical inerrancy.

“I always say he was a man of conviction and courage,” she said. “He’d just sit with his Bible in his hand and see that (something) didn’t agree with what the Bible would say.” 

Adrian Rogers stands with his wife Joyce Rogers in a photo from before they were married. The couple were childhood sweethearts.

Adrian Rogers stands with his wife Joyce Rogers in a photo from before they were married. The couple were childhood sweethearts.SUBMITTED

Rogers became pastor of a small church during his freshman year of college at Stetson University in DeLand, Florida. The couple married at the beginning of their second year of college.

Later, Rogers pastored a church in Merritt Island, Florida, but agreed to visit Bellevue Baptist Church in Memphis when they said they wanted him as pastor. He told his church in Florida that he didn’t think he’d take on the job in Memphis, Joyce Rogers said, but when they arrived, “there was almost electricity in the air.”

Surprising the couple, leadership at Bellevue voted to approve Rogers then and there — before he said yes to accepting the position. The couple ended up agreeing and moving to Memphis, where Rogers remained until his death in 2005.

“His great desire in life was to be a pastor,” said the Rev. Bob Sorrell, who was associate pastor at Bellevue for many of Rogers’ years there. “That took first place in his life after his family. I think the service, as far as the convention was concerned, was an opportunity that was provided to him and for him, but his greatest desire was to be the pastor of the church.”

Even with speaking duties and other requirements as president of the Southern Baptist Convention, Rogers made sure to almost always be in the pulpit at Bellevue on Sundays, Sorrell said.

A plan with no compromise

Joyce Rogers holds a photo of her late husband Adrian Rogers, who was a key leader in the Southern Baptist Convention's conservative resurgence.

Joyce Rogers holds a photo of her late husband Adrian Rogers, who was a key leader in the Southern Baptist Convention’s conservative resurgence.KATHERINE BURGESS

Ultimately, Pressler and Patterson’s plan for the convention worked.

Rogers was the first in a long line of conservative presidents — culminating in a mid-1980s meeting in which 45,000 Southern Baptists showed up in Dallas to try to elect either a conservative or moderate candidate.

“By that time everyone realized what was at stake and both sides were recruiting, putting the word out, (saying to) go to the convention and vote,” Hankins said.

By the early 1990s, the convention was “fully in conservative hands,” Hankins said. Some moderate congregations left and formed the Cooperative Baptist Fellowship.

Rogers later held two more terms as president in the 1980s.

There’s a quotation from her husband that was placed on a plaque and gifted to Joyce Rogers that now hangs on the wall outside her Memphis area home.

It’s known as the “no-compromise” statement that he made at the height of the struggle over the future of the Southern Baptist Convention.

“We don’t have to get together. The Southern Baptist Convention doesn’t have to survive,” Adrian Rogers said. “I don’t have to be the pastor of Bellevue. I don’t have to live. But I’m not going to compromise the word of God.” 

Katherine Burgess covers county government, religion and the suburbs. She can be reached at katherine.burgess@commercialappeal.com, 901-529-2799 or followed on Twitter @kathsburgess.

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The Remarkable Story of Professor Antony Flew —
The World’s Most Notorious Atheist Who Changed His Mind
There is No God (book cover)

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photo by John Lawrence

Antony Flew (photo by John Lawrence

 Twenty years I had the opportunity to correspond with two individuals that were regarded as two of the most famous atheists of the 20th Century, Antony Flew and Carl Sagan.  I had read the books and seen the films of the Christian philosopher Francis Schaeffer and he had discussed the works of both of these men. I sent both of these gentlemen philosophical arguments from Schaeffer in these letters and in the first letter I sent a cassette tape of my pastor’s sermon IS THE BIBLE TRUE? You may have noticed in the news a few years that Antony Flew actually became a theist in 2004 and remained one until his death in 2010. Carl Sagan remained a skeptic until his dying day in 1996.Antony Flew wrote me back several times and in the  June 1, 1994 letter he  commented, “Thank you for sending me the IS THE BIBLE TRUE? tape to which I have just listened with great interest and, I trust, profit.” I later sent him Adrian Rogers’ sermon on evolution too. 

 The ironic thing is back in 2008 I visited the Bellevue Baptist Book Store and bought the book There Is A God – How the World’s Most Notorious Atheist Changed His Mind, by Antony Flew, and it is in this same store that I bought the message by Adrian Rogers in 1994 that I sent to Antony Flew. Although Antony Flew did not make a public profession of faith he did admit that the evidence for God’s existence was overwhelming to him in the last decade of his life. His experience has been used in a powerful way to tell  others about Christ. Let me point out that while on airplane when I was reading this book a gentleman asked me about the book. I was glad to tell him the whole story about Adrian Rogers’ two messages that I sent to Dr. Flew and I gave him CD’s of the messages which I carry with me always. Then at McDonald’s at the Airport, a worker at McDonald’s asked me about the book and I gave him the same two messages from Adrian Rogers too.

Dr. Rogers on Evolution

With the steadfast support of friends like you, Love Worth Finding will continue to hold high the banner of Jesus Christ.

THREE TELLING ARGUMENTS AGAINST EVOLUTION

1. The fossil record. Not only is the so-called missing link still missing, all of the transitional life forms so crucial to evolutionary theory are missing from the fossil record. There are thousands of missing links, not one!
2. The second law of thermodynamics. This law states that energy is winding down and that matter left to itself tends toward chaos and randomness, not greater organization and complexity. Evolution demands exactly the opposite process, which is observed nowhere in nature.

Dr. George Wald of Harvard:

“When it comes to the origin of life, we have only two possibilities as to how life arose. One is spontaneous generation arising to evolution; the other is a supernatural creative act of God. There is no third possibility…Spontaneous generation was scientifically disproved one hundred years ago by Louis Pasteur, Spellanzani, Reddy and others. That leads us scientifically to only one possible conclusion — that life arose as a supernatural creative act of God…I will not accept that philosophically because I do not want to believe in God. Therefore, I choose to believe in that which I know is scientifically impossible, spontaneous generation arising to evolution.” – Scientific American, August, 1954.

3. The origin of life. Evolution offers no answers to the origin of life. It simply pushes the question farther back in time, back to some primordial event in space or an act of spontaneous generation in which life simply sprang from nothing.

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I actually had the chance to correspond with George Wald twice before his death. He wrote me two letters and in the first one he suggested that he was just using hyperbole when he made the assertion that is quoted by Dr. Rogers. He also suggested the religion of Buddhism although he said he was not a Buddhist himself, but he thought that would be closest to the truth which he thought was atheism.

My correspondence with the famous evolutionist Ernst Mayr!!!

My correspondence with Daniel Bell and Irving Kristol about the rebirth of Israel!!!!

Corresponding with Nobel Prize Winner Nicolaas Bloembergen

Related posts:

My correspondence with George Wald and Antony Flew!!!

May 12, 2014 – 1:14 am

During the 1990′s I actually made it a practice to write famous atheists and scientists that were mentioned by Adrian Rogers and Francis Schaeffer and challenge them with the evidence for the Bible’s historicity and the claims of the gospel. Usually I would send them a cassette tape of Adrian Rogers’ messages “6 reasons I know […]

Antony Flew in his book THERE IS A GOD talks about his “notoriety” as an atheist! ( also 7 News : Web Extra: Ricky Gervais on God)

May 9, 2014 – 1:24 am

  7News : Web Extra: Ricky Gervais on God Published on Mar 23, 2014 He’s not shy about sharing his opinion with 5 million social media followers so Ricky Gervais was happy to clear a few things up for us too. __________________________________ Discussion (2 of 3): Antony Flew, N.T. Wright, and Gary Habermas ___________ The Bible and Science […]

Antony Flew tells what the book THERE IS A GOD is all about (Ricky Gervais talks about atheim on Piers Morgan Tonight)

May 8, 2014 – 1:07 am

Piers Morgan Tonight : CNN Official Interview: Ricky Gervais says atheism shouldn’t offend Uploaded on Jan 20, 2011 Ricky Gervais tells CNN’s Piers Morgan why he’s an atheist, and why his jokes about God shouldn’t offend believers. The Bible and Science (Part 01) __________________________________ Antony Flew tells what the book THERE IS A GOD: “How the world’s most […]

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 275 My February 8, 2016 Letter to Hugh Hefner on Ecclesiastes and the HOPELESS ROMANTIC (Featured artist is Tala Madani)

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Over 3,000 years ago, King Solomon wrote poignantly about his life and about the purpose and meaning of life in general “under the sun.”  His observations could be an appropriate epitaph for Hugh Hefner, the founder of the Playboy empire:

 1 I said in my heart, “Come now, I will test you with pleasure; enjoy yourself.” But behold, this also was vanity. I said of laughter, “It is mad,” and of pleasure, “What use is it?” I searched with my heart how to cheer my body with wine—my heart still guiding me with wisdom—and how to lay hold on folly, till I might see what was good for the children of man to do under heaven during the few days of their life.

. . . 10 And whatever my eyes desired I did not keep from them. I kept my heart from no pleasure, for my heart found pleasure in all my toil, and this was my reward for all my toil. 11 Then I considered all that my hands had done and the toil I had expended in doing it, and behold, all was vanity and a striving after wind, and there was nothing to be gained under the sun. [Ecclesiastes 2:1-3, 10-11 (ESV)]

Perhaps as a metaphor for his pleasure-filled life, Hefner paid $75,000 for a crypt next to Marilyn Monroe, where presumably he will be buried.

As one evaluates the legacy of Hugh Hefner, it is difficult to say anything positive about that legacy.  Columnist Tim Morris observes that “Hefner didn’t love women [which he claimed].  He lusted for them.  He loved only himself and a hedonistic life that was mostly an adolescent fantasy.”  Jill Filipovic of Time argues, “What Hefner and Playboy never did was present women as human, or consider us anything like men.  Hefner made female sex objects more relatable and accessible . . . . Brilliantly, Hefner attached himself to the sexual revolution and the feminist gains that precipitated it.  From his vantage point, publishing a magazine full of naked women was just one part of the new culture of ‘free love.’”  In short, he built an empire on male desire!

New York Times columnist Ross Douthat offers the most honest evaluation of Hugh Hefner’s legacy I have read.  Permit me extensive quotation from his essay:

  • “Hef was the grinning pimp of the sexual revolution, with Quaaludes for the ladies and Viagra for himself—a father of smut addictions and eating disorders, abortions and divorce and syphilis, a pretentious huckster who published Updike stories no one read while doing flesh procurement for celebrities, a revolutionary whose revolution chiefly benefitted men much like himself.”
  • “Hef the vanquisher of puritanism, Hef the political progressive, Hef the great businessman and all the rest . . . What a lot of garbage . . . the things that were distinctly Hefnerian, that made him influential and important, were all rotten, and to the extent they were part of stories that people tend to celebrate, they showed the rot in larger things as well.”
  • “The social liberalism he championed was the rotten and self-interested sort, a liberalism of male and upper-class privilege, in which the strong and beautiful and rich take their pleasure at the expense of the vulnerable and poor and not-yet-born.”
  • “And his appreciation of male-female difference was rotten, too—the leering predatory sort of appreciation, the Cosby-Clinton-Trump sort, the sort that nicknames Quaaludes ‘thigh openers’ and expects the girls to laugh, the sort that prefers breast implants to female intellect and rents the charms of youth to escape the realities of age.”
  • “But in every way that mattered he made those changes worse, our culture coarser and crueler and more sterile than liberalism or feminism or freedom of speech required. And in every way that mattered his life story proved that we were wrong to listen to him, because at the end of the long slide lay only a degraded, priapic senility, or the desperate gaiety of Prince Prospero’s court with the Red Death at the door.”
  • “Conservatives should ask how their crusade for faith and family and community ended up so Hefnerian itself—with a conservative news network that seems to have been run on Playboy principles and a conservative party that just elected a playboy as our president.”

As many have observed, Hugh Hefner validated the objectification of women.  But he did so by embracing and championing libertinism and materialism which hid the reality of philandering, licentiousness and exploitation–all in the name of freedom!  Hefner viewed himself as a moral revolutionary, one who “opened up the floodgates” of sexual libertinism which Playboy encouraged, commercialized and symbolized.  He thereby transformed American sexual morality by intentionally breaking down the Judeo-Christian sexual ethic that once defined American civilization.

Theologian Albert Mohler maintains that Hefner not only advocated a lifestyle of sexual libertinism but he also advocated a theology.  In an interview, Hefner declared that he was a “spiritual person, but I don’t mean that I believe in the supernatural.”  He believed in God as creator but not in “the God of the Bible.”  He championed that “I urge one and all to live life as if there is no reward in the afterlife and to do it in a moral way that makes it better for you and those around you, and that leaves this world a little better place than when you found it.”  Hefner’s moral philosophy and “theology” of libertinism and exploitation are now mainstreamed in American culture.  That is his legacy.

Hefner was not a moral revolutionary but a peddler of smut in the name of freedom.  His “freedom” produced bondage and enslavement to a sexual fantasy that has destroyed both men and women.  He died a pathetic, debauched, degraded old man who personified decadence not liberation.

King Solomon concluded his sobering evaluation of life with this observation about death:

This is an evil in all that is done under the sun, that the same event happens to all. Also, the hearts of the children of man are full of evil, and madness is in their hearts while they live, and after that they go to the dead.  [Ecclesiastes 9:3 (ESV)]

13 The end of the matter; all has been heard. Fear God and keep his commandments, for this is the whole duty of man. 14 For God will bring every deed into judgment, with every secret thing, whether good or evil.  [Ecclesiastes 12:13-14 (ESV)]

Hugh Hefner has now experienced the great equalizer—death.  He also now realizes that there is a God, the God of the Bible, and he will need to give an account of the life he has lived.  What a tragedy; what a waste!

See Ross Douthat in the New York Times (1 October 2017); Jill Filipovic in www.time.com (30 September 2017); Tim Morris in www.nola.com (2 October 2017); and Albert Mohler in www.albertmohler.com (14 October 2015). PRINT PDF

Many of the sermons that I heard or read that inspired me to write Hugh Hefner were from this list of gentlemen:  Daniel Akin, Brandon Barnard,Matt Chandler, George Critchley,  Darryl Dash, Steve DeWitt, Steve Gaines, Norman L. Geisler, Greg Gillbert, Billy Graham, Mark Henry, Dan Jarrell, Walter C. Kaiser, Jr., R. G. Lee,  C.S. Lewis, Chris Lewis, Kerry Livgren, Robert Lewis,    Bill Parkinson, Ben Parkinson, Blaise Pascal, Vance Pitman, Nelson Price, Ethan Renoe, Adrian Rogers, Philip Graham Ryken, Francis Schaeffer, Lee Strobel, Bill Wellons, Kirk Wetsell,  Ken Whitten, Ed Young ,  Ravi Zacharias, Tom Zobrist, and  Richard Zowie.

In this letter below I quote extensively from an article by Ethan Renoe. I also use quotes from Blaise Pascal and C. S. Lewis.  I also quoted Ravi Zacharias when I wrote, “The key to understanding the Book of Ecclesiastes is the term UNDER THE SUN — What that literally means is you lock God out of a closed system and you are left with only this world of Time plus Chance plus matter.”

Image result for ravi zacharias ecclesiastes

The Visit of the Queen of Sheba to King Solomon’, oil on canvas painting by Edward Poynter, 1890

Hugh Hefner with the movie maker Woody Allen below:

February 8, 2016

Hugh Hefner
Playboy Mansion  
10236 Charing Cross Road
Los Angeles, CA 90024-1815

Dear Mr. Hefner,

You have made it known how much you love your movie nights and also that you are a big fan of Woody Allen movies. I have also seen you talk of your glorious past. However, did you know that you may have overlooked some of the negative things that happened in your past.  On CBS THIS MORNING 4-9-14 you said you don’t deserve the label of “womanizer” but you are just a “hopeless romantic.” Is this just spinning the past to remove all the negative so you have a golden period? This is what people sometimes call GOLDEN AGE THINKING. People try to either glorify their past in comparison to the present or they try to visualize a time in the past that was golden and they would have been happy in that period.

Marion Cotillard plays Adriana and Owen Wilson plays Gil Pender

Woody Allen’s film MIDNIGHT IN PARIS is brilliant and I am sure you enjoyed it HUGH!!!!

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Later in this letter I share some words from Ethan Renoe and he talks about a summer that he had a lot of great experiences and anytime he thinks back on that  summer his memory is influenced by nostalgia and a longing to go back. He doesn’t recall the negative aspects. YOU MY FRIEND CAN NOT GO TO BED WITH 1000 WOMEN WITHOUT BEING A WOMANIZER.

In this series of letters I have written to you I have often compared you to King Solomon who was the 2nd most wise person mentioned in the Bible behind only Jesus. You should find it intriguing that I have noticed that many hundreds of preachers have mentioned you also in comparison to Solomon. In this letter I want to look both at the Woody Allen movie MIDNIGHT IN PARIS and the final conclusion that Solomon gives in the Book of Ecclesiastes.

In MIDNIGHT IN PARIS Gil Pender concludes there is no GOLDEN AGE, but people dream of a GOLDEN AGE because they find the PRESENT AGE unsatisfying. Actually Solomon said a long time ago,  “[God]has placed eternity on the hearts of men.” Scientist Blaise Pascal put it this way,  “There is a God-shaped vacuum in the heart of every man which cannot be filled by any created thing, but only by God the Creator, made known through Jesus Christ.” No wonder life is unsatisfying to Gil since he is an agnostic that is not seeking a relationship with God. King Solomon wrote 3,000 years ago in the Book of Ecclesiastes that attempting to find satisfaction in life UNDER THE SUN is equal to CHASING THE WIND. Take a look at a portion of an excellent article by Ethan Renoe:

Eternity In Paris

MAY 8, 2012 / ETHANRENOE

midnight in paris top post-thumb-600x400-53668

I have this new theory. It’s not based in anything really, but tell me if you agree. This post is going to be rather extensive in its scope, as I attempt to critique a Woody Allen film, present a theory on memories, and include a Biblical basis for all of it.

The theory is this: Every time you think back to a memory from your own past, you are not thinking directly back to the event itself; you are thinking of the last time you thought of it. You are recalling the feelings, emotions, and colors present the last time you thought of the previous memory. For example, the summer of 2007 was the greatest time of my life. Every day was painted with scenes from the best romantic comedies, mixed with endless East coast adventures, and wrapped in the blanket of my three best friends and I doing everything together.

Now, for the sake of explanation, let’s say I have thought of this summer five times since it happened. By that, I mean I really thought about it and everything that happened over those three months. So, whenever my mind glances in the rear view mirror to that time period, I have to access it through the tunnels of the previous five times I thought of it. In other words, my mind must take a detour through all the times I have recalled it before, rather than taking a highway directly to the events themselves. When this occurs, I also see the summer of ’07 through the fog of all the emotions I had the other five times I thought of it. In this situation, the typical emotion held toward that summer is nostalgia and a longing to go back. In reality,I am sure that there were parts of the summer that were not so great, but because of the detours through my other memories, I can’t see them now. I am convinced that there were things happening in my life that were not enjoyable, or decisions that did not turn out my way, or some other longings I was entertaining at the time. In this way, the memories only get blurrier and blurrier as an icon from my life of a time when things were perfect.

Woody Allen explored this phenomena in his film Midnight in Paris, and dubbed the occurrence ‘Golden Age Thinking.’ Now some readers of my blog may see this review as an excuse to talk once more about the dazzling Marion Cotillard.  You would not be wrong. However, Allen presents a few compelling ideas in this piece. Owen Wilson plays Gil; a romantic screenwriter who daydreams about seeing Paris in the 1920’s when it is raining. Somehow, he gets his wish when on a walk one night in Paris and a cab full of old-timey people pulls up and invites him in. He enters and is taken back to the time of Hemingway, Dali, Picasso, and Cole Porter. He is in love with the time. Every night, he returns to the enchanted time of the 20’s, and every morning returns to his drag of a fiancee. Soon after the time travels begin, he meets the mysteriously beautiful Adriana (Cotillard), the supposed muse of Picasso and Hemingway, and is smitten. After a couple nights spent  wandering in and out of parties and the streets of Paris in the 1920’s, Adriana reveals that she would much rather live in the time of la Belle Epoque; about a century earlier. They travel back in time even further, this time by magical horse drawn carriage, to the 1890’s. Adriana is overjoyed and wants to stay there rather than in her own time; the 1920’s.

One of the main ideas Allen is conveying here is that everyone has a time they view as the ‘Golden Age;’ the time when nothing was wrong and everything was perfect and alive and beautiful.  Even people living in our own personal golden ages. I’m sure that the Ethan living in the summer of 2007 was longing for some time other than the one he was in then, just as the Ethan writing this now does.

Someone else took note of this empty yearning that every human has, several millennia prior to Woody. The wisest man alive, in fact. I know I have used this scripture before, but that’s because I find it so central to the human experience that to overlook it is pure foolishness. Ecclesiastes 3:11 says that “He has placed eternity on the hearts of men.” How many of you long for THAT? How many of you have ever said to yourself, “Boy, I wish I could just go back to forever, when everything was good and okay?” We can’t even fathom eternity, therefore, we cannot even comprehend longing for it. C.S. Lewis is famously quoted in his short piece “The Weight of Glory” for writing,  “It would seem that our Lord finds our desires, not too strong, but too weak.” The kind of desire that each one of us has is placed in us for a reason–not to bring us to satisfaction in the promising, yet empty, objects of the world, but in Him [Jesus] alone! There’s a reason that every human being has an unquenchable thirst for another time period, place, or group of friends. We have eternity planted in our hearts. We wants things we can’t even comprehend.This is why the past looks perfect to us only from one side, hindsight, and the present is always left unsatisfied…

FRANCIS SCHAEFFER PICTURED BELOW:

Solomon wrote the Book of Ecclesiastes and he penned the words, “[God] has placed eternity on the hearts of men.” Solomon is pursuing satisfaction in life UNDER THE SUN in the Book of Ecclesiastes. FRANCIS SCHAEFFER noted that Solomon took a look at the meaning of life on the basis of human life standing alone between birth and death “under the sun.” This phrase UNDER THE SUN appears over and over in Ecclesiastes. The Christian Scholar Ravi Zacharias noted, “The key to understanding the Book of Ecclesiastes is the term UNDER THE SUN — What that literally means is you lock God out of a closed system and you are left with only this world of Time plus Chance plus matter.” However, even though Solomon is finding all these pursuits are dead ends he also has this eternity that has been placed in his heart.

BLAISE PASCAL pictured below:

Image result for BLAISE PASCAL

Again this brings me back full circle to Pascal. BLAISE PASCAL, a famous French mathematician and philosopher, put it like this: “There is a God-shaped vacuum in the heart of every man which cannot be filled by any created thing, but only by God the Creator, made known through Jesus Christ.” That ties in nicely with with Ecclesiastes 3:11  “He has placed eternity on the hearts of men.”

Thanks for your time.

Sincerely,

Everette Hatcher, everettehatcher@gmail.com, http://www.thedailyhatch.org, cell ph 501-920-5733, Box 23416, LittleRock, AR 72221

PS: This is the 17th letter I have written to you and again I have taken an aspect of your life and responded with what the Bible has to say on that subject. HUGH you may look back on the 1000 women that you slept with and try to rationalize that you are a HOPELESS ROMANTIC but just like Solomon you must admit that your pursuits at womanizing was like an effort of  CHASING THE WIND. Don’t you see that Solomon was an old man when he wrote Ecclesiastes and just like you he had also slept with 1000 women but he had not found satisfaction UNDER THE SUN. In fact he exclaimed, GOD HAS PLACED ETERNITY ON THE HEARTS OF MEN!!!! Don’t you think it is time that you take Solomon’s advice in the last chapter?  “The end of the matter; all has been heard. Fear God and keep his commandments, for this is the whole duty of man. For God will bring every deed into judgment, with every secret thing, whether good or evil.”

Featured artist is Tala Madani

Tala Madani was born in Tehran, Iran in 1981. She skewers stereotypes in her sharply satirical paintings that evoke clashes of culture: men and women, the rational and the absurd, Western and non-Western. Madani’s figurative paintings often feature a riotous cast of middle-aged men, balding and stocky, whose libidinal mayhem wreaks havoc on any situation the artist thrusts them into. Acerbic caricatures of both machismo and a childlike desire for mischief, the physical comedy at work in Madani’s paintings is anchored by intense pleasures, pathos, and a pervasive sense of violence.

The history of painting itself is also a target in Madani’s witty works, with spread-eagled characters resembling Color Field paintings, or characters wearing stripes appearing to be both prisoners and Minimalist abstractions. Painted with quick gestures, where oozing paint often doubles as bodily fluids, food, and stains, Madani’s compositions are derived from sketchbooks where countless studies provide the skeleton for her speedy execution. Madani’s pictures are also transformed into stop-motion animations where the artist photographs a freshly created scene over time—wet paint still glistening—resulting in stories of small calamities that are once hilarious, tender, and ghoulish.

Tala Madani attended Yale University (MFA, 2006) and Oregon State University, Corvallis (BFA, 2004). Madani’s awards and residencies include a Tiffany Foundation grant (2014), the Catherine Doctorow Prize for Contemporary Painting (2013), ArtPace Residency (2013), De Volkskrant Art Award (2012), Future Generation Art Prize (shortlisted, 2012), British School of Rome (2010), and The Rijksakademie, Amsterdam (2007). Madani has had major exhibitions at the MIT List Center for Contemporary Art (2016); CAM, St. Louis (2016); Nottingham Contemporary (2014); Taipei Biennial (2014); Marrakech Biennale (2014); Hammer Museum, Los Angeles (2014); Moderna Museet, Stockholm (2013); Moderna Museet, Malmö (2013); Göteborg Biennial (2013); Stedelijk Museum (2011); Venice Biennale (2011); MoMA P.S. 1, New York (2010); Liverpool Biennial, (2010); and The New Museum, New York (2009). Tala Madani lives and works in Los Angeles, CA, USA.

Links:
Artist on Facebook

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Kansas Jayhawk’s depth eye-opening for freshman point guard Issac McBride (formerly of Baptist Prep)

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KU’s depth eye-opening for freshman point guard Issac McBride 

Matt Tait

Story by Matt Tait

Friday, July 5, 2019

Kansas newcomer Issac McBride throws a pass during a scrimmage on Tuesday, June 11, 2019 at Allen Fieldhouse.

Throughout his time as a standout basketball player on the Arkansas prep hoops scene, Kansas freshman Issac McBride made a name for himself as a prolific scorer. 

Last season, as a senior at Baptist Prep in Little Rock, Ark., McBride averaged 29 points per game and earned All-State and Gatorade Player of the Year honors. 

But he might not need to tap into those skills quite as much during his freshman season at KU.

“This is the deepest roster I’ve ever played on in my life, the deepest roster I’ve ever seen,” McBride said recently during a break in summer workouts. “I mean, I know our names don’t scream McDonalds All-Americans across the board, but I feel like, at the end of the day, when you get to college, all that five-star stuff and McDonalds All-American (designation) goes out the door.”

So what can that type of talent and depth do for a player like McBride, who, when on the floor, figures to be asked to run the team and get others involved before looking to add to his own point total? 

“It definitely gives us confidence,” he said, speaking of KU’s point guards as a whole. 

One of those point guards, of course, is sophomore Devon Dotson, who elected to return to KU for a second season instead of taking his chances in the NBA Draft. 

Dotson took his decision down to the wire, pulling his name out of the draft just a few hours before the deadline hit. And McBride admitted recently that he was watching the entire time. But he never let what might happen factor into his thinking about the future. 

“No, sir,” he said. “I mean, we’re just playing basketball. I know that may seem cliché or a vague statement. But at the end of the day we’ve got some players. I wished him [Dotson] the best of luck in (testing) the draft waters, but I had a feeling that he was going to come back and try to lead this team to where we need to go.”

Now that they’re here to do that together, McBride is eager to see just what he and Dotson can get out of the rest of the KU roster. 

“When you look at this lineup, you see experience and you see guys that are ready to go each and every day,” McBride said. “The team we have right now is experienced and we have a lot of depth and we’ll be able to shoot the ball better. It’s different out there (during a camp scrimmage). But when you see it in a game, you’ll be able to see the improvements we’re making in practice.”

McBride very well could be one of those players who plays an important role as a shooter for the Jayhawks this season. During his senior season, McBride shot 47.5% from 3-point range and his elevation on every attempt and attention to proper technique are signature traits of his jumper.

McBride knows, however, that he still has some work to do before he gets a consistent opportunity to add to KU’s outside shooting. 

“(Guys) getting under me and playing at a faster pace, I’m going to have to get used to that, of course,” said McBride when asked what he planned to work on the rest of the summer. “I’m just trying to be me within the game and be aggressive, not be timid. That’s one thing I’ll probably continue to work on all summer.

“(I’m) definitely getting used to the speed and the pressure. I could break anybody down in high school, but now Devon is pushing me and they’re telling me to push him, but he’s definitely getting on me and he’s telling me, ‘Hey, man, we’re going to need you.’”

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RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 154i My January 29, 2017 letter to Stephen Hawking

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Image result for stephen hawking movie

 

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Image result for stephen hawking harry kroto

On November 21, 2014 I received a letter from Nobel Laureate Harry Kroto and it said:

…Please click on this URL http://vimeo.com/26991975

and you will hear what far smarter people than I have to say on this matter. I agree with them.

Harry Kroto

Nick Gathergood, David-Birkett, Harry-Kroto

I have attempted to respond to all of Dr. Kroto’s friends arguments and I have posted my responses one per week for over a year now. Here are some of my earlier posts:

Arif Ahmed, Sir David AttenboroughMark Balaguer, Horace Barlow, Michael BatePatricia ChurchlandAaron CiechanoverNoam Chomsky,Alan DershowitzHubert Dreyfus, Bart Ehrman, Stephan FeuchtwangDavid Friend,  Riccardo GiacconiIvar Giaever , Roy GlauberRebecca GoldsteinDavid J. Gross,  Brian Greene, Susan GreenfieldStephen F Gudeman,  Alan Guth, Jonathan HaidtTheodor W. Hänsch, Brian Harrison,  Hermann HauserRoald Hoffmann,  Bruce HoodHerbert Huppert,  Gareth Stedman Jones, Steve JonesShelly KaganMichio Kaku,  Stuart Kauffman,  Lawrence KraussHarry Kroto, George LakoffElizabeth Loftus,  Alan MacfarlanePeter MillicanMarvin MinskyLeonard Mlodinow,  Yujin NagasawaAlva NoeDouglas Osheroff,  Jonathan Parry,  Saul PerlmutterHerman PhilipseCarolyn PorcoRobert M. PriceLisa RandallLord Martin Rees,  Oliver Sacks, John SearleMarcus du SautoySimon SchafferJ. L. Schellenberg,   Lee Silver Peter Singer,  Walter Sinnott-ArmstrongRonald de Sousa, Victor StengerBarry Supple,   Leonard Susskind, Raymond TallisNeil deGrasse Tyson,  .Alexander Vilenkin, Sir John WalkerFrank WilczekSteven Weinberg, and  Lewis Wolpert,

In  the first video below in the 15th clip in this series are his words and  my response is below them. 

50 Renowned Academics Speaking About God (Part 1)

Another 50 Renowned Academics Speaking About God (Part 2)

A Further 50 Renowned Academics Speaking About God (Part 3)

_________________________________

In the popular You Tube video “Renowned Academics Speaking About God” you made the following statement:

“M-Theory doesn’t disprove God, but it does make him unnecessary. It predicts that the universe will be spontaneously created out of nothing without the need for a creator.” –Stephen Hawking, Cambridge theoretical physicist

Earlier I responded to Dr. Hawking’s assertion.

__________________________________


I confronted D. James Kennedy about some of the UNCONFIRMED QUOTES that he was using concerning the FOUNDING FATHERS and he wrote me back explaining why he thought it was alright to use these quotes. 

Image result for d. james kennedy capitol

Letter # dated 1-29-17

Richard Dawkins & Daniel Dennett vs. Francis Collins & Benjamin Carson – Evolution Debate

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Bach

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Francis Schaeffer

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Image result for d. james kennedy what if jesus

Charles Darwin photograph by Herbert Rose Barraud, 1881

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Mark Henry, teaching pastor of Fellowship Bible Church

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Isaac Newton

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Louis Pasteur below

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Michael Faraday

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Henri Fabre

Image result for Henri Fabre

Blaise Pascal

Image result for Blaise Pascal

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January 29, 2017

Dr. Stephen Hawking, c/o Centre for Theoretical Cosmology
Department of Applied Mathematics and Theoretical Physics
Centre for Mathematical Sciences
Wilberforce Road, Cambridge
CB3 0WA, UK

Dear Dr. Hawking,

Something was said in  the sermon today that made me think of something you wrote in one of your books. I have now finished your  book THE GRAND DESIGN and I wanted to comment on it. Here is quote from your book THE GRAND DESIGN:

But if one takes the biblical view, then God 
not only created the laws but can be appealed to by 
prayer to make exceptions— to heal the terminally 
ill, to bring premature ends to droughts, or to 
reinstate croquet as an Olympic sport. In 
opposition to Des cartes' s view, almost all Christian 
thinkers maintained that God must be able to 
suspend the laws to accomplish miracles.

You may not be able to see a miracle performed right before your eyes but as a student of history can’t you see all the unbelievable good results that Christianity has brought to the world? You might wonder what our sermon had to do with what you said. The answer is that because of Christianity there has been an enormous amount of good done through the centuries since Christ left this earth and sent his Holy Spirit.  Actually our teaching pastor Mark Henry of FELLOWSHIP BIBLE CHURCH in Little Rock, Arkansas, pointed out that the Holy Spirit has empowered many Christians over the centuries to empty their hearts of their own worldly desires and to serve God through their actions. That is why I also wrote Richard Dawkins about the same subject. Instead of repeating everything I said to Richard I will just include his letter.

The reason that I have taken the time to read  your book is that  I am an evangelical Christian and I have enjoyed developing relationships with skeptics and humanists over the years. Back in 1996 I took my two sons who were 8  and 10 yrs old back then to New York, Washington, Philadelphia, Delaware, and New Jersey and we had dinner one night with Herbert A. Tonne, who was one of the signers of the Humanist Manifesto II. The Late Professor John George who has written books for Prometheus Press was my good friend during the last 10 years of his life. We often ate together and were constantly talking on the phone and writing letters to one another.

It is a funny story how I met Dr. George. As an evangelical Christian and a member of the Christian Coalition, I felt obliged to expose a misquote of John Adams’ I found in an article entitled “America’s Unchristian Beginnings” by the self-avowed atheist Dr. Steven Morris. However, what happened next changed my focus to the use of misquotes, unconfirmed quotes, and misleading attributions by the religious right.

In the process of attempting to correct Morris, I was guilty of using several misquotes myself. Professor John George of the University of Central Oklahoma political science department and coauthor (with Paul Boller Jr.) of the book THEY NEVER SAID IT! set me straight. George pointed out that George Washingtonnever said, “It is impossible to rightly govern the world without God and the Bible. I had cited page 18 of the 1927 edition of HALLEY’S BIBLE HANDBOOK. This quote was probably generated by a similar statement that appears in A LIFE OF WASHINGTON by James Paulding. Sadly, no one has been able to verify any of the quotes in Paulding’s book since no footnotes were offered.

After reading THEY NEVER SAID IT! I had a better understanding of how widespread the problem of misquotes is. Furthermore, I discovered that many of these had been used by the leaders of the religious right. I decided to confront some individuals concerning their misquotes. WallBuilders, the publisher of David Barton’s THE MYTH OF SEPARATION, responded by providing me with their “unconfirmed  quote” list which contained a dozen quotes widely used by the religious right.

Sadly some of the top leaders of my own religious right have failed to take my encouragement to stop using these quotesand they have either claimed that their critics were biased skeptics who find the truth offensive or they defended their own method of research and claimed the secondary sources were adequate. Even though I have quoted extensively from D. James Kennedy’s book What if Jesus Had Never Been BornKennedy was one of the leaders who failed to remove his quotes even though I gave him evidence that they were UNCONFIRMED QUOTES. 

Sincerely,

Everette Hatcher, cell ph 501-920-5733, P.O. Box 23416, Little Rock, AR 72221, everettehatcher@gmail.com

___________________

1-29-17

Richard Dawkins c/o Richard Dawkins Foundation, 1012 14th Street NW, Suite 209
Washington, DC 20005

Dear Mr. Dawkins,

I know that you are good friends with Daniel Dennett and I have noticed how many times he quotes you in his books.  He was kind enough to send me a very thoughtful response on January 12, 2017, and it just so happens that I am in the middle of reading his book DARWIN’S DANGEROUS IDEA. Of course, I have read several of your books  such as  The God DelusionAn Appetite for Wonder: The Making of a Scientist, and Brief Candle in the Dark: My Life in Science.

I also recently enjoyed watching both you and Dr.  Dennett on Jonathan Miller’s BBC program Atheism: A Rough History of Disbelief.  Francis Schaeffer used to quote Jonathan Miller back in the 1960’s during his teachings at L ‘Abri.

In your book The God Delusion on page 111 you stated:

I once was the guest of the week on a British radio show called Desert Island Discs. You have to choose the eight records you would take with you if marooned on a desert island. Among my choices was ‘Mache dich mein Herze rein’ from Bach’s St Matthew Passion. The interviewer was unable to understand how I could choose religious music without being religious. You might as well say, how can you enjoy Wuthering Heights when you know perfectly well that Cathy and Heathcliff never really existed?

But there is an additional point that I might have made, and which needs to be made whenever religion is given credit for, say, the Sistine Chapel or Raphael’s Annunciation. Even great artists have to earn a living, and they will take commissions where they are to be had. I have no reason to doubt that Raphael and Michelangelo were Christians – it was pretty much the only option in their time – but the fact is almost incidental. Its enormous wealth had made the Church the dominant patron of the arts. If history had worked out differently, and Michelangelo had been commissioned to paint a ceiling for a giant Museum of Science, mightn’t he have produced something at least as inspirational as the Sistine Chapel? How sad that we shall never hear Beethoven’s Mesozoic Symphony, or Mozart’s opera The Expanding Universe.

I thought of that quote from you today when I was in church. Our teaching pastor Mark Henry of FELLOWSHIP BIBLE CHURCH in Little Rock, Arkansas, pointed out that the Holy Spirit has empowered many Christians over the centuries to empty their hearts of their own worldly desires and to serve God through their actions.

2 RESPONSES TO YOUR ASSERTION THAT AN EARLIER ACCEPTANCE OF EVOLUTION WOULD HAVE ENRICHED MUSIC AND THE ARTS.

First, we have the testimony of Charles Darwin himself concerning this.

Second, we have the actual result of what Christianity’s impact on the world was.

Let us take a quick look at your idea of Mozart’s opera THE EXPANDING UNIVERSE. When I read the book  Charles Darwin: his life told in an autobiographical chapter, and in a selected series of his published lettersI also read  a commentary on it by Francis Schaeffer and I wanted to both  quote some of Charles Darwin’s own words to you and then include the comments of Francis Schaeffer on those words.

 CHARLES DARWIN’S AUTOBIOGRAPHY. Addendum. Written May 1st, 1881 [the year before his death].

I have said that in one respect my mind has changed during the last twenty or thirty years. Up to the age of thirty, or beyond it, poetry of many kinds, such as the works of Milton, Gray, Byron, Wordsworth, Coleridge, and Shelley, gave me great pleasure, and even as a schoolboy I took intense delight in Shakespeare, especially in the historical plays. I have also said that formerly pictures gave me considerable, and music very great delight. But now for many years I cannot endure to read a line of poetry: I have tried lately to read Shakespeare, and found it so intolerably dull that it nauseated me. I have also almost lost my taste for pictures or music. Music generally sets me thinking too energetically on what I have been at work on, instead of giving me pleasure. I retain some taste for fine scenery, but it does not cause me the exquisite delight which it formerly did…

This curious and lamentable loss of the higher æsthetic tastes is all the odder, as books on history, biographies, and travels (independently of any scientific facts which they may contain), and essays on all sorts of subjects interest me as much as ever they did. My mind seems to have become a kind of machine for grinding general laws out of large collections of facts, but why this should have caused the atrophy of that part of the brain alone, on which the higher tastes depend, I cannot conceive. A man with a mind more highly organised or better constituted than mine, would not, I suppose, have thus suffered; and if I had to live my life again, I would have made a rule to read some poetry and listen to some music at least once every week; for perhaps the parts of my brain now atrophied would thus have been kept active through use. The loss of these tastes is a loss of happiness, and may possibly be injurious to the intellect, and more probably to the moral character, by enfeebling the emotional part of our nature.

Francis Schaeffer commented:

This is the old man Darwin writing at the end of his life. What he is saying here is the further he has gone on with his studies the more he has seen himself reduced to a machine as far as aesthetic things are concerned. I think this is crucial because as we go through this we find that his struggles and my sincere conviction is that he never came to the logical conclusion of his own position, but he nevertheless in the death of the higher qualities as he calls them, art, music, poetry, and so on, what he had happen to him was his own theory was producing this in his own self just as his theories a hundred years later have produced this in our culture. I don’t think you can hold the evolutionary position as he held it without becoming a machine. What has happened to Darwin personally is merely a forerunner to what occurred to the whole culture as it has fallen in this world of pure material, pure chance and later determinism. Here he is in a situation where his mannishness has suffered in the midst of his own position.

Let’s take a closer look at the music by Bach that you call your favorite.

NO LUTHER, NO BACH

NOVEMBER 18, 20127 COMMENTS

From Francis Schaeffer’s How Should We Then Live? (p. 92):

Johann Sebastian Bach (1685 – 1750) was certainly the zenith of the composers coming out of the Reformation. His music was a direct result of the Reformation culture and the biblical Christianity of the time, which was so much a part of Bach himself. There would have been no Bach had there been no Luther. Bach wrote on his score initials representing such phrases as: “With the help of Jesus” – “To God alone be the glory” – “In the name of Jesus.” It was appropriate that the last thing Bach the Christian wrote was “Before Thy Throne I Now Appear.” Bach consciously related both the form and the words of his music to biblical truth. Out of the biblical context came a rich combination of music and words and a diversity of unity. This rested on the fact that the Bible gives unity to the universal and the particulars, and therefore the particulars have meaning. Expressed musically, there can be endless variety and diversity without chaos. There is variety yet resolution.

And this is why I love Bach.

IF JESUS WAS IN FACT A REAL MAN AND THE HOLY SPIRIT DID UPON HIS DISCIPLES THEN YOU WOULD EXPECT THE WORLD TO BE CHANGED.

___What if Jesus Had Never Been Bornby D. James Kennedy This book documents the positive impact Jesus Christ and the Christian Church has made on the world in nearly every conceivable area – morality, health, sex, hospitals, art, music, charity, economics, government, science, education and the founding of America. Some critics believe that all these advances would have happened sooner or later, but there is little evidence to support this other then hopeful conjecture. Despite excesses by self proclaimed Christians over the ages, the problems have not been due to Jesus’ teachings, rather the failure to follow those teachings. Even with imperfect people, Christianity has had a much more positive impact on the world than any other religion. This book is desperately needed to counter the constant attacks on the Christian faith.We need to understand that the changes made by Christianity did not happen overnight. Many people  – most couldn’t read or write – became Christian without examining or having the ability to examine current belief systems. At a time when books were only available to a select group of people – and then in limited number, it took decades for changes in morality to take hold of society as a whole.
It certainly is true that Christianity has had  shortcomings. However, the sins of the Church were no worse then the pagan world. Christianity at its worst was far better then Paganism at its best. Whereas the pagan world could never advance morally, the shortcomings of the Christian church were an aberration that were corrected by itself over time. Excerpts from the book: “Jesus Christ, the greatest man who ever lived, has changed virtually every aspect of human life – and most people don’t know it.”
 “Despite its humble origins, the Church has made more changes on earth for the good than any other movement or force in history. To get an overview of some of the positive contributions Christianity has made through the centuries, here are a fewhighlights:• Hospitals, which essentially began during the Middle Ages.• Universities, which also began during the Middle Ages. In addition, most of the world’s greatest universities were started by Christians for Christian purposes.• Literacy and education for the masses.• Capitalism and free-enterprise.• Representative government, particularly as it has been seen in the American experiment.• The separation of political powers.• Civil liberties.• The abolition of slavery, both in antiquity and in more modern times.• Modem science.• The discovery of the New World by Columbus.• The elevation of women.• Benevolence and charity; the good Samaritan ethic.• Higher standards of justice.• The elevation of the common man.• The condemnation of adultery, homosexuality, and other sexual perversions. This has helped to preserve the human race, and it has spared many from heartache.• High regard for human life.• The civilizing of many barbarian and primitive cultures.• The codifying and setting to writing of many of the world’s languages.• Greater development of art and music. The inspiration for the greatest works of art.• The countless changed lives transformed from liabilities into assets to society because of the gospel. •  The eternal salvation of countless souls! The last one mentioned, the salvation of souls, is the primary goal of the spread of Christianity. All the other benefits listed are basically just by-products of what Christianity has often brought when applied to daily living.  When Jesus Christ took upon Himself the form of man, He imbued mankind with a dignity and inherent value that had never been dreamed of before. Whatever Jesus touched or whatever He did transformed that aspect of human life. Many people will read about the innumerable small incidents in the life of Christ while never dreaming that those casually mentioned “little” things were to transform the history of humankind. Christ’s influence on the world is immeasurable. The purpose of this book is to glimpse what we can measure, to see those numerous areas of life where Christ’s influence can be concretely traced. Not all have been happy about Jesus Christ’s coming into the world. Friederich Nietzsche, the nineteenth-century atheist philosopher  who coined the phrase “God is dead,” likened Christianity to poison that has infected the whole world.  Nietzsche said that history is the battle between Rome (the pagans) and Israel (the Jews and the Christians); and he be-moaned the fact that Israel (through Christianity) was winning and that the cross “has by now triumphed over all other, nobler virtues.”  In his book,The Antichrist, Nietzsche wrote: I condemn Christianity; I bring against the Christian Church the most terrible of all the accusations that an accuser has ever had in his mouth. It is, to me, the greatest of all imaginable corruption; it seeks to work the ultimate corruption, the worst possible corruption. The Christian Church has left nothing untouched by its depravity; it has turned every value into worthlessness, and every truth into a lie, and every integrity into baseness of soul. Nietzsche held up as heroes a “herd of blond beasts of prey, a race of conquerors and masters.” According to Nietzsche, and later Hitler, by whom or what were these Teutonic warriors corrupted? Answer: Christianity. “This splendid ruling stock was corrupted, first by the Catholic laudation of feminine virtues, secondly by the Puritan and plebeian ideals of the Reformation, and thirdly by intermarriage with inferior stock.” Had Jesus never come, wailed Nietzsche, we would never have had the corruption of “slave morals” into the human race. Many of the ideas of Nietzsche were put into practice by his philosophical disciple, Hitler, and about 16 million died as a result. In Mein Kampf, Hitler blamed the Church for perpetuating the ideas and laws of the Jews. Hitler wanted to completely uproot Christianity once he had finished uprooting the Jews. In a private conversation “shortly after the National Socialists’ rise to power,” recorded by Herman Rauschning, Hitler said: Historically speaking, the Christian religion is nothing but a Jewish sect…. After the destruction of Judaism, the extinction of Christian slave morals must follow logically… . I shall know the moment when to confront, for the sake of the German people and the world, their Asiatic slave morals with our picture of the free man, the godlike man…. It is not merely a question of Christianity and Judaism. We are fighting against the most ancient curse that humanity has brought upon itself. We are fighting against the perversion of our soundest instincts. Ah, the God of the deserts, that crazed, stupid, vengeful Asiatic despot with his powers to make laws! … That poison with which both Jews and Christians have spoiled and soiled the free, wonderful instincts of man and lowered them to the level of doglike fright. Both Nietzsche and Hitler wished that Christ had never been born. Others share this sentiment. For example, Charles Lam Markmann, who wrote a favorable book on the history of the ACLU, entitled The Noblest Cry, said: “If the otherwise admirably civilized pagans of Greece and their Roman successors had had the wit to laugh Judaism into desuetude, the world would have been spared the 2000-year sickness of Christendom.”… the point of this book is to say to Nietzsche, Freud, Hitler, Robert Ingersoll, Lenin, Stalin, Mao, Madalyn Murray O’Hare, Phil Donahue, the ACLU, and other leading anti-Christians of the past and present, that the overwhelming impact of Christ’s life on Planet Earth has been positive, not negative. What these people refuse to acknowledge is that civil liberties have been bequeathed by Christianity and not by atheism or humanism. Prior to the coming of Christ, human life on this planet was exceedingly cheap. Life was expendable prior to Christianity’s influence.  Even today, in parts of the world where the gospel of Christ or Christianity has not penetrated, life is exceedingly cheap. But Jesus Christ … gave mankind a new perspective on the value of human life. Furthermore, Christianity bridged the gap between the Jews – who first received the divine revelation that man was made in God’s image – and the pagans, who attributed little value to human life. Meanwhile, as we in the post-Christian West abandon our Judeo-Christian heritage, life is becoming cheap once again. Children:In the ancient world, child sacrifice was a common phenomenon.  Only about half of the children born lived beyond the age of eight, in part because of widespread infanticide, with famine and illness also being factors. Infanticide was not only legal, it was applauded…it was commonly held in Rome that killing one’s own children could be an act of beauty. But then Jesus came. Since that time, Christians have cherished life as sacred, even the life of the unborn. In ancient Rome, Christians saved many of these babies and brought them up in the faith.  Abortion disappeared in the early church. Infanticide and abandonment disappeared. Foundling homes, orphanages, and nursery homes were started to house the children. These new practices, based on this higher view of life, helped to create a foundation in western civilization for an ethic of human life that persists to this day – although it is currently under severe attack. And it all goes back to Jesus Christ. If He had never been born, we would never have seen this change in the value of human life. Women:Prior to Christian influence, a woman’s life was also very cheap. In ancient cultures, the wife was the property of her husband. Prior to the Christian influences in India, widows were voluntarily or involuntarily burned on the husbands funeral pyres – a grisly practice known as suttee.  Furthermore, infanticide – particularly for girls – was common in India, prior to the great missionary William Carey.  These centuries-old practices, suttee and infanticide, were finally stopped only in the early nineteenth century… In other areas of the globe where the gospel of Christ has not penetrated, the value of woman’s lives is cheap.  How ironic that feminists today do not give any credit to Christ or Christianity. Slavery:Half of the population of the Roman Empire was slaves. Three fourths of the population of Athens was slaves. The life of a slave could be taken at the whim of the master. Over the centuries, Christianity abolished slavery, first in the ancient world and then later in the nineteenth century, largely through the efforts of the strong evangelical William Wilberforce. It didn’t happen over night, and certainly there have been dedicated Christians who were slaveowners. Nonetheless, the end of slavery, which has plagued mankind for thousands of years, has come primarily through the efforts of Christians. “Once the gospel did spread, the seeds were sown for the eventual dissolution of slavery. Thus by reforming the heart, Christianity, in time, reformed the social order! “Robert E. Lee, who freed the slaves he had inherited by marriage, once wrote that the War between the States was needless bloodshed in terms of ending slavery, for he believed the evil institution would have eventually withered away because of Christianity.”  Compassion and Mercy:The world before Christianity was like the Russian tundra – quite cold and inhospitable. One scholar, Dr. Martineau, exhaustively searched through historical documents and concluded that antiquity has left no trace of any organized charitable effort. Disinterested benevolence was unknown. When Christ and the Bible became known, charity and benevolence flourished.  While poverty has always been a part of life on earth, the Church of Jesus Christ has done more – and often still does more – than any other institution in history to alleviate poverty. Furthermore, it has set the pattern for relief that is copied worldwide. All charity points back to Jesus Christ, whether people recognize it or not. Capitalism:“If Jesus had never been born, it is unlikely that capitalism and the free enterprise system – which has brought unparalleled prosperity to billions of people – would ever have developed. In this chapter, I will trace the links between the Christian faith and the prosperity enjoyed in the West, particularly in the United States.” Science:“Hasn’t religion always been the enemy of science? No! Furthermore, many scholars agree that the scientific revolution that gained great momentum in the seventeenth century was birthed for the most part by Reformed Christianity.”
 Here is a list of some of the outstanding bible-believing scientists who founded the following branches of science:Antiseptic surgery, Joseph ListerBacteriology, Louis PasteurCalculus, Isaac NewtonCelestial Mechanics, Johannes keplerChemistry, Robert BoyleComparative Anatomy, Georges CuvierComputer Science, Charles BabbageDimensional Analysis, Lord RayleighDynamics, Isaac NewtonElectronics, John flemingElectrodynamics, James MaxwellElectromagnetics, Michael FaradayEnergetics, Lord kelvinEntomology of Living Insects, Henri FabreFluid Mechanics, George StokesGas Dynamics, Robert BoyleGenetics, Gregor mendelGynecology, James SimpsonHydrostatics, Blaise PascalNatural History, John Ray.When Christian Morals are removed from society:
“During one of the darkest periods of World War II, after the collapse of France and before American involvement, Churchill wrote that the question in the minds of friends and foes was: ‘Will Britain surrender too?’ At that time he made a speech that contained this sentence: ‘I expect that the Battle of Britain is about to begin. Upon this battle depends the survival of Christian civilization’ The great statesman recognized the link between Christianity and civility, in contrast with new-paganism and tyranny. Providentially, Christian civilization won. But where it has lost, all manner of terrors have been unleashed.”
“No century has been like ours in terms of man killing his fellow man. About 130 million . . . died because of atheistic ideology” – Hitler, Stalin and Mao of China. When a person denies the existence of God, you only have the material world. You’ve killed the spiritual world.
“The frightening thing about a humanist and atheistic state is that there is nothing beyond man to which one can make an appeal. The founders of this country said that men have been created equal and have been endowed by their Creator with certain inalienable rights. We have an appeal beyond man, beyond the State, to God Himself, whereas in the humanist state there is nothing but man. The humanist state inevitably leads to tyranny and despotism. As Dostoevsky said, ‘If God is dead, then all things are permissible.’”
“With atheism there are no objective moral standards. This is not to say that all atheists are immoral people. In reality, there are many nice people who are atheists, but their niceness isborrowed capital from Christianity; it is not because of their atheism, but despite it.” If the atheist had been raised in an atheistic society, they would be very different people, while the Christian would be the same. The Christian who is unloving, is unloving despite of his professed Christianity, not because of it.
Historian Will Durant, who is a humanist, said in the February 1977 issue of the Humanist Magazine: There is no significant example in history, before our time, of a society successfully maintaining moral life without the aid of religion.
Boston College professor William Kilpatrick has written a book on the subject of morality in public schools. In Why Johnny Can’t Tell Right from Wrong (1992) he writes:  “Youngsters are forced to question values and virtues they’ve never acquired in the first place or upon which they have only a tenuous hold.”
“When you devalue God, you devalue human life. How could Hitler ruthlessly exterminate six million Jews and millions of other? How could the Communists kill and torture over a hundred million people? How could they do that to other human beings?”
“The answer you give to the question ‘What is a human being?’ will determine precisely what you can do to one.” “. . .when the restraining influence of Christianity is removed from a country or culture, unmitigated disaster will naturally follow.”
“One of our Supreme Court Justices, Oliver Wendell Holmes said: ‘I see no reason for attributing to man a significant difference in kind from that which belongs to a grain of sand.’”
“And yet we sometimes hear the statement that ‘more people have been killed in the name of Christ than in any other name.’” This is simply a lie.
Where do we go from here?Is secularism inevitable? From Harvard University to the YMCA, so many of the institutions we discussed in this book were started by Christians for Christian purposes, often at great sacrifice and expense; and then eventually they drifted away from their original [intent]. Is this trend unavoidable? “Religion begat prosperity, but the daughter hath consumed the mother.” Cotton Mather made this observation toward the end of the seventeenth century after the Christianity of the Pilgrims and Puritans had begun to wane. They had only been in the New World for three or four generations, and they were already beginning to allow the prosperity they enjoyed to crowd out the cause of that prosperity; Christianity. “Many of the good things we enjoy today grew out of the religion of Jesus Christ, but He is often denied the credit” The proof of this denial is in nearly every history book in public schools in America.
 Source:1. http://www.access.gpo.gov/congress/senate/farewell/sd106-21.pdf

Sincerely,

Everette Hatcher, cell ph 501-920-5733, P.O. Box 23416, Little Rock, AR 72221, everettehatcher@gmail.com

XXXXXXXXX

________

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Francis Schaeffer correctly noted:

In this flow there was also the period of psychedelic rock, an attempt to find this experience without drugs, by the use of a certain type of music. This was the period of the Beatles’ Revolver (1966) and Strawberry Fields Forever (1967). In the same period and in the same direction was Blonde on Blond (1966) by Bob Dylan….No great illustration could be found of the way these concepts were carried to the masses than “pop” music and especially the work of the BEATLES. The Beatles moved through several stages, including the concept of the drug and psychedelic approach. The psychedelic began with their records REVOLVER, STRAWBERRY FIELDS FOREVER, AND PENNY LANE. This was developed with great expertness in their record SERGEANT PEPPER’S LONELY HEARTS CLUB BAND in which psychedelic music, with open statements concerning drug-taking, was knowingly presented as a religious answer. 

Top 30 Psychedelic Beatles Songs

The Beatles Strawberry Fields Forever

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Originally the song STRAWBERRY FIELDS FOREVER was on Sergeant Pepper’s but was later moved to MAGICAL MYSTERY TOUR.

The Beatles celebrate the completion of their album, ‘Sgt Pepper’s Lonely Hearts Club Band’, on May 19th, 1967 in London.

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Previously unseen footage of The Beatles shot during the making of a documentary about the Fab Four’s Magical Mystery Tour film has been made available .

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Magical Mystery Tour beatles on bus

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The Beatles Strawberry Fields Forever

Great Album

The Beatles are featured in this episode below by Francis Schaeffer:

The Beatles were looking for lasting satisfaction in their lives and their journey took them down many of the same paths that other young people of the 1960’s were taking INCLUDING THE PATH OF PSYCHEDELIC MUSIC AND FRAGMENTATION. No wonder in the video THE AGE OF NON-REASON Schaeffer noted,  ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings.” 

How Should We then Live Episode 7 small (Age of Nonreason)

(Francis Schaeffer pictured below)

 Today we take a look at the psychedelic music of the Beatles. In the book THE GOD WHO IS THERE, Francis Schaeffer noted:

In this flow there was also the period of psychedelic rock, an attempt to find this experience without drugs, by the use of a certain type of music. This was the period of the Beatles’ Revolver (1966) and Strawberry Fields Forever (1967). In the same period and in the same direction was Blonde on Blond (1966) by Bob Dylan….No great illustration could be found of the way these concepts were carried to the masses than “pop” music and especially the work of the BEATLES. The Beatles moved through several stages, including the concept of the drug and psychedelic approach. The psychedelic began with their records REVOLVER, STRAWBERRY FIELDS FOREVER, AND PENNY LANE. This was developed with great expertness in their record SERGEANT PEPPER’S LONELY HEARTS CLUB BAND in which psychedelic music, with open statements concerning drug-taking, was knowingly presented as a religious answer. The religious form was the same vague pantheism which predominates much of the new mystical thought today. One indeed does not have to understand in a clear way the modern monolithic thought in order to be infiltrated by it. SERGEANT PEPPER’S LONELY HEARTS CLUB BAND was an ideal example of the manipulating power of the new forms of “total art.” This concept of total art increases the infiltrating power of the message involved.

Here is an excerpt of a fine article about Schaeffer’s take on the 1960’s music:

Aldous Huxley(1894-1963) proposed drugs to give the high experience and wrote several books about it. He also used LSD.   Hallucinogenic drugs brought with it many rock groups including Cream, Jefferson Airplane, Grateful Dead, Incredible Sting Band, Pink Floyd, and Jimi Hendrix.  Some of the Beatles work also fit here.  As a whole, the music was a vehicle to carry the drug culture and the mentality which went with it across frontiers which were impassible by other means. There is the culture of psychedelic rock fostered by the Beatles and Bob Dylan. The next area of religious experience was Hinduism and Buddhism where there is a grasping of non-rational meaning to life. These eastern religions grew popular as Goethe and Wagner had recommended this thinking with vague pantheism. These seek truth inside one’s own head by meditation, but negate reason.

In the article, “Soli Deo Gloria,” 1-8-14, Stephen Feinstein pointed out:

The psychedelic music of the Beatles were a deliberate attempt to destroy antithesis, promote relativism, undermined the truths of Christianity, and promote New Age Spirituality and drug use. The musicians that followed them simply brought more of the wickedness. Since the message was set to catchy tunes and directed toward drug-battered minds, an entire generation bought into the counterculture movement of the 1960s, and we are still living in the ramifications of it today. Music has only become more relative and meaningless. It has only promoted more drug use, violence, and sexual promiscuity…

This all stems from the fact that fallen man rejects absolute truth because they reject the God of the Bible. In the past, they clung to idolatry so that they could appeal to some authority other than God in order to account for their absolute standards. But when the chief thinkers rejected any purpose or meaning to things, and instead insisted upon an atheistic existence, absolute standards were rejected. The philosophers wrote and articulated it, the artists painted it on canvas, the musicians promoted it with their new styles, and the general culture (literature, poetry, drama, cinema, TV, and pop music) unwittingly accepted it. Now this is the default mode of thinking for the people of Western Civilization. People reject absolutes even if they don’t know why. Most people would not call themselves atheists, but their entire view of truth and reality stems from an atheist worldview. It is amazing how the absurd ideas of a few philosophers were able to change the way of thought for the entire modern world.

So Christian, what is your view on truth? In a world where antithesis is rejected, we need to push the antithesis again and again until the culture understands they cannot escape it. There are ways to do this, and perhaps they will be shared in later posts. We know that it is impossible to live without absolutes. We know the universe does have meaning. Therefore we are not hypocritical or inconsistent when we live as such. But the culture is hypocritical and inconsistent when it rejects God’s absolutes and yet forms its own, while with the same breath claiming such absolutes do not really exist. We need to confront them with God’s absolute truth, which is the only absolute truth that exists.

Strawberry Fields Forever

From Wikipedia, the free encyclopedia
For other uses, see Strawberry Fields.
“Strawberry Fields Forever”

US picture sleeve
Single by The Beatles
A-side Penny Lane
Released 13 February 1967 (US)
17 February 1967 (UK)
Format 7″ vinyl
Recorded November–December 1966
EMI Studios, London
Genre
Length 4:05
Label Parlophone (UK)
Capitol (US)
Writer(s) Lennon–McCartney
Producer(s) George Martin
The Beatles singles chronology
Yellow Submarine” / “Eleanor Rigby
(1966)
Strawberry Fields Forever” / “Penny Lane
(1967)
All You Need Is Love
(1967)
Magical Mystery Tour track listing
Music sample
MENU
0:00

Strawberry Fields Forever” is a song by the English rock band the Beatles. The song was written by John Lennon and credited to the Lennon–McCartney songwriting partnership. It was inspired by Lennon’s memories of playing in the garden of Strawberry Field, a Salvation Army children’s home near where he grew up in Liverpool.[3]

The song was the first track recorded during the sessions for the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band (1967),[4] and was intended for inclusion on the album. Instead, with the group under record-company pressure to release a single, it was issued in February 1967 as a double A-side with “Penny Lane“. The combination reached number two in Britain, breaking the band’s four-year run of chart-topping singles there, while “Strawberry Fields Forever” peaked at number eight on the Billboard Hot 100 in America.

Numerous music critics consider it to be one of the group’s best and most adventurous recordings.[5][6] Among the breakthroughs it established in studio techniques of the time, for a single release, the track incorporates reverse-recorded instrumentation and tape loops, and was created from the editing together of two separate versions of the song – each one entirely different in tempo, mood and musical key. The song was later included on the US Magical Mystery Tour LP (although not on the British double EP package of the same name).

“Strawberry Fields Forever” is one of the defining works of the psychedelic rock genre and has been covered by many artists.[1] The Beatles made a promotional film clip for the song that is similarly recognised for its influence in the medium of music video. The Strawberry Fields memorial in New York’s Central Park is named after the song.[7][8]

Background and writing[edit]

The gatepost to Strawberry Field, which is now a popular tourist attraction in Liverpool

Strawberry Field was the name of a Salvation Army children’s home just around the corner from Lennon’s childhood home in Woolton, a suburb of Liverpool.[9] Lennon and his childhood friends Pete Shotton, Nigel Walley, and Ivan Vaughan used to play in the wooded garden behind the home.[10][11] One of Lennon’s childhood treats was the garden party held each summer in Calderstones Park, near the home, where aSalvation Army band played.[12] Lennon’s aunt Mimi Smith recalled: “As soon as we could hear the Salvation Army band starting, John would jump up and down shouting, ‘Mimi, come on. We’re going to be late.'”[11][13]

Lennon’s “Strawberry Fields Forever” and McCartney’s “Penny Lane” shared the theme of nostalgia for their early years in Liverpool. Although both referred to actual locations, the two songs also had strong surrealistic and psychedelic overtones.[14] Producer George Martin said that when he first heard “Strawberry Fields Forever”, he thought it conjured up a “hazy, impressionistic dreamworld”.[15]

The Beatles had just retired from touring after one of the most difficult periods of their career,[16] including the “more popular than Jesus” controversy and the band’s unintentional snubbing of Philippines First Lady Imelda Marcos.[17][18] Lennon talked about the song in 1980: “I was different all my life. The second verse goes, ‘No one I think is in my tree.’ Well, I was too shy and self-doubting. Nobody seems to be as hip as me is what I was saying. Therefore, I must be crazy or a genius – ‘I mean it must be high or low’ “,[19] and explaining that the song was “psycho-analysis set to music”.[15]

Lennon began writing the song in Almería, Spain, during the filming of Richard Lester‘s How I Won the War in September–October 1966.[20][21] The earliest demo of the song, recorded in Almería, had no refrain and only one verse: “There’s no one on my wavelength / I mean, it’s either too high or too low / That is you can’t you know tune in but it’s all right / I mean it’s not too bad”. He revised the words to this verse to make them more obscure, then wrote the melody and part of the lyrics to the refrain (which then functioned as a bridge and did not yet include a reference to Strawberry Fields). He then added another verse and the mention of Strawberry Fields.[22] The first verse on the released version was the last to be written, close to the time of the song’s recording. For the refrain, Lennon was again inspired by his childhood memories: the words “nothing to get hung about” were inspired by Aunt Mimi’s strict order not to play in the grounds of Strawberry Field, to which Lennon replied, “They can’t hang you for it.”[23] The first verse Lennon wrote became the second in the released version, and the second verse Lennon wrote became the last in the release.

Musical structure[edit]

The song was originally written on acoustic guitar in the key of C major. The recorded version is approximately in B-flat major; owing to manipulation of the recording speed, the finished version is not in standard pitch (some, for instance consider that the tonic is A).[24] The introduction was played by McCartney on a Mellotron,[16] and involves a I–ii–I– VII–IV progression.[25] The vocals enter with the refrain instead of a verse.[5] In fact we are not “taken down” to the tonic key, but to “non-diatonic chords and secondary dominants” combining with “chromatic melodic tension intensified through outrageous harmonisation and root movement”.[26] The phrase “to Strawberry” for example begins with a somewhat dissonant G melody note against a prevailing F minor key, then uses the semi-tone dissonance B and B notes (the natural and sharpened 11th degrees against the Fm chord) until the consonant F note is reached on “Fields”. The same series of mostly dissonant melody notes cover the phrase “nothing is real” against the prevailing F#7 chord (in A key).[26]

A half-measure complicates the meter of the verses, as well as the fact that the vocals begin in the middle of the first measure. The first verse comes after the refrain, and is eight measures long. The verse (for example “Always, no sometimes …”) starts with an F major chord in the key of B (or E chord in the key of A) (V), which progresses to G minor, the submediant, a deceptive cadence. According to Alan Pollack, the “approach-avoidance tactic” (i.e., the deceptive cadence) is encountered in the verse, as the leading-tone, A, appearing on the words “Always know”, “I know when” “I think a No” and “I think I disagree”, never resolves into a I chord (A in A key) directly as expected.[27] Instead, at the end of the verse, the leading note, harmonized as part of the dominant chord, resolves to the prevailing tonic (B) at the end of the verse, after tonicizing the subdominant (IV) E chord, on “disagree“.[24]

In the middle of the second chorus, the “funereal brass” is introduced, stressing the ominous lyrics.[5] After three verses and four choruses, the line “Strawberry Fields Forever” is repeated three times, and the song fades out with guitar, cello, and swarmandal instrumentation. The song fades back in after a few seconds into the “nightmarish” ending, with the Mellotron playing in a haunting tone – one achieved by recording the Mellotron “Swinging Flutes” setting in reverse[28] – scattered drumming, and Lennon murmuring, after which the song completes.[5][27]

Recording[edit]

The working title was “It’s Not Too Bad”,[29] and Geoff Emerick, the sound engineer, remembered it being “just a great, great song, that was apparent from the first time John sang it for all of us, playing an acoustic guitar.”[16]Recording began on 24 November 1966, in Abbey Road’s Studio Two on a 4-track machine.[30] It took 45 hours to record, spread over five weeks.[31][32][33] The song was meant to be on the band’s 1967 album Sgt. Pepper’s Lonely Hearts Club Band, but was released as a single instead.[34]

A 1960s-era Mellotron, similar to that used on the Beatles recording

The band recorded three distinct versions of the song. After Lennon played the song for the other Beatles on his acoustic guitar, the band recorded the first take. Lennon played anEpiphone Casino; McCartney played a Mellotron, a new home instrument purchased by Lennon on 12 August 1965 (with another model hired in after encouragement from Mike Pinder ofThe Moody Blues);[35] George Harrison played electric guitar, and Ringo Starr played drums.[36] The first recorded take began with the verse, “Living is easy …”, instead of the chorus, “Let me take you down”, which starts the released version. The first verse also led directly to the second, with no chorus between. Lennon’s vocals were automatically double-tracked from the words “Strawberry Fields Forever” through the end of the last verse. The last verse, beginning “Always, no sometimes”, has three-part harmonies, with McCartney and Harrison singing “dreamy background vocals”.[22][37] This version was soon abandoned and went unreleased until the Anthology 2 compilation in 1996.

Four days later the band reassembled to try a different arrangement. The second version of the song featured McCartney’s Mellotron introduction followed by the refrain. They recorded five takes of the basic tracks for this arrangement (two of which were false starts) with the last being chosen as best and subjected to further overdubs. Lennon’s final vocal was recorded with the tape running fast so that when played back at normal speed the tonality would be altered, giving his voice a slurred sound. This version was used for the first minute of the released recording.

After recording the second version of the song, Lennon wanted to do something different with it, as Martin remembered: “He’d wanted it as a gentle dreaming song, but he said it had come out too raucous. He asked me if I could write him a new line-up with the strings. So I wrote a new score[38] (with four trumpets and three cellos) and we recorded that, but he didn’t like it.”[30] Meanwhile, on 8 and 9 December, another basic track was recorded, using a Mellotron, electric guitar, piano, backwards-recorded cymbals, and the swarmandel (or swordmandel), an Indian version of the zither.[39][40] After reviewing the tapes of Martin’s version and the original, Lennon told Martin that he liked both versions,[41] although Martin had to tell Lennon that the orchestral score was at a faster tempo and in a higher key (B major) than the first version (A major).[27] Lennon said, “You can fix it, George”, giving Martin and Emerick the difficult task of joining the two takes together.[42][43] With only a pair of editing scissors, two tape machines, and a vari-speed control, Emerick compensated for the differences in key and speed by increasing the speed of the first version and decreasing the speed of the second.[16] He then spliced the versions together,[41] starting the orchestral score in the middle of the second chorus.[42](Since the first version did not include a chorus after the first verse, he also spliced in the first seven words of the chorus from elsewhere in the first version.) The pitch-shifting in joining the versions gave Lennon’s lead vocal a slightly other-worldly “swimming” quality.[44]

Some vocalising by Lennon is faintly audible at the end of the song, picked up as leakage onto one of the drum microphones (close listening shows Lennon making other comments to Ringo). In the “Paul is Dead” hoax these were taken to be Lennon saying “I buried Paul.”[45] In 1974, McCartney said, “That wasn’t ‘I buried Paul’ at all – that was John saying ‘cranberry sauce’ … That’s John’s humour … If you don’t realise that John’s apt to say cranberry sauce when he feels like it, then you start to hear a funny little word there, and you think, ‘Aha!'”[46] Shortly before his death in 1980, Lennon expressed dissatisfaction with the final version of the song, saying it was “badly recorded” and accusing McCartney of subconsciously sabotaging the recording.[47]

Release[edit]

When manager Brian Epstein pressed Martin for a new Beatles’ single, Martin told Epstein that the group had recorded “Strawberry Fields Forever” and “Penny Lane”, which in Martin’s opinion were their two finest songs to date.[48] Epstein said they would issue the songs as a double A-side single, as they had done with their previous single, “Yellow Submarine“/”Eleanor Rigby“. The single was released in the US on 13 February 1967, and in the United Kingdom on 17 February 1967.[48] Following the Beatles’ usual philosophy that songs released on a single should not appear on new albums, which wasn’t always the case, both songs were ultimately left off Sgt. Pepper’s Lonely Hearts Club Band. Martin later admitted that this was a “dreadful mistake”,[49] even though both were given a belated album appearance on side two of the LP of “Magical Mystery Tour“, which released as a double EP in the UK, but in the USA, the LP had the whole soundtrack on side one with the 1967 singles released on side two; however, the US LP version is now the CD version.

For the first time since “Love Me Do” in 1962, a single by the Beatles failed to reach number one in the UK charts. It was held at number two by Engelbert Humperdinck‘s “Release Me“. In a radio interview at the time, McCartney said he was not upset because Humperdinck’s song was a “completely different type of thing”.[50] Starr said later that it was “a relief” because “it took the pressure off”.[51][nb 1] “Penny Lane” reached number one in the US, while “Strawberry Fields Forever” peaked at number eight. In the US, both songs were included on the Magical Mystery Tour LP, which was released as a six-track double-EP in the UK.[53]

The song was the opening track of the compilation album 1967–1970, released in 1973,[54] and also appears on the Imagine soundtrack issued in 1988.[55] In 1996, three previously unreleased versions of the song were included on the Anthology 2 album: Lennon’s original home demo, an altered version of the first studio take, and the complete take seven, of which only the first minute was heard in the master version.[56] In 2006, a newly mixed version of the song was included on the album Love.[16] This version builds from an acoustic demo (which was run at the actual recorded speed) and incorporates elements of “Hello, Goodbye“, “In My Life“, “Sgt. Pepper’s Lonely Hearts Club Band“, “Penny Lane” and “Piggies“.[57]

Promotional film[edit]

The Beatles (McCartney, Harrison, Starr and Lennon) pouring paint over a piano in the video for the song

The Beatles produced a promotional film clip for “Strawberry Fields Forever”, which served as an early example of what became known as a music video.[58] It was filmed on 30 and 31 January 1967 at Knole Park in Sevenoaks, Kent. The clip was directed by Peter Goldmann,[59] a Swedish television director who had been recommended to the Beatles by their mutual friend Klaus Voormann.[60]

One of the band’s assistants, Tony Bramwell, served as producer. Bramwell recalls that, inspired by Voormann’s comment on hearing “Strawberry Fields Forever” – that “the whole thing sounded like it was played on a strange instrument” – he spent two days dressing up a large tree in the park to resemble “a piano and harp combined, with strings”. Writing for Mojomagazine in 2007, John Harris remarked that Bramwell’s set design reflected the “collision of serenity and almost gothic eeriness” behind the finished song.[61]

The film features reverse film effects, stop motion animation, jump-cuts from daytime to night-time, and the Beatles playing and later pouring paint over the upright piano.[62] During the same visit to Knole Park, the band shot part of the promotional film for “Penny Lane”.[63][nb 2]

Critical reception[edit]

Among initial reviews of the single, the NME‍ ’s Derek Johnson confessed to being both fascinated and confused by “Strawberry Fields Forever”, writing: “Certainly the most unusual and way-out single The Beatles have yet produced – both in lyrical content and scoring. Quite honestly, I don’t really know what to make of it.”[65] Time magazine hailed the song as “the latest sample of the Beatles’ astonishing inventiveness”.[66]

“Strawberry Fields Forever” has continued to receive acclaim from music critics. Richie Unterberger of AllMusic describes the song as “one of The Beatles’ peak achievements and one of the finest Lennon-McCartney songs”.[5]Ian MacDonald wrote in Revolution in the Head that it “shows expression of a high order … few if any [contemporary composers] are capable of displaying feeling and fantasy so direct, spontaneous, and original.”[67] In 2004, this song was ranked number 76 on Rolling Stone‍ ’s list of “The 500 Greatest Songs of All Time“.[6]

In 2010, Rolling Stone placed it at number three on the 100 Greatest Beatles Songs.[68][69] “Strawberry Fields Forever” was ranked as the second-best Beatles song by Mojo, after “A Day in the Life“.[70] The song is ranked as the 8th greatest of all time by Acclaimed Music.[71] XFM radio placed the song 73rd in their list of the 100 Best British Songs and 176th in their Top 1000 Songs of All Time list.[72][73]

Cultural influence[edit]

Paul Revere & the Raiders were among the most successful US groups during 1966 and 1967, having their own Dick Clark-produced television show, Where the Action Is. Mark Lindsay (singer/saxophonist) heard the song on the radio, bought it, and then listened to it at home with his producer at the time, Terry Melcher. When the song ended Lindsay said, “Now what the fuck are we gonna do?” later saying, “With that single, the Beatles raised the ante as to what a pop record should be”.[74]

It has been written by Steven Gaines in the biography Heroes and Villains that Brian Wilson of the Beach Boys heard the single while he was underway with his legendary unfinished album, Smile.[75] Later, the event was claimed by Gaines to have been one of many factors that accelerated Wilson’s already plummeting emotional state and the project’s imminent collapse, as Wilson could not find a way to complete the album to his satisfaction,[75] and by the Beach Boys’ former manager Jack Rieley‘s account, feared that what he had accomplished over the last several months of recording would sound dated to contemporary rock audiences.[76][nb 3] In 2014, Wilson stated that he thought “Strawberry Fields Forever” was “a weird record”, but denied that it had “weakened” him.[79]

The promotional films for “Strawberry Fields Forever” and “Penny Lane” were selected by New York‘s MoMA as two of the most influential music videos of the late 1960s.[80] Both were originally broadcast in the US on 25 February 1967, on the variety show The Hollywood Palace, with actor Van Johnson as host.[81] The Ed Sullivan Show and other variety shows soon dropped their time constraints to allow for psychedelic music performances.

A cartoon based on the song was the final episode produced for The Beatles animated television series.[82] “Strawberry Fields Forever” figures prominently in the award-winning Spanish film Living Is Easy with Eyes Closed, in which a fictional story is told of Lennon’s true, original development of the song in 1966 in Spain.

Cover versions[edit]

The song has been covered a number of other times, notably by Peter Gabriel in 1976 on the musical documentary All This and World War II,[83] and by Ben Harper for the soundtrack of the film I Am Sam.[84] Vanilla Fudge, the debut album by Vanilla Fudge, also contains a cover of “Strawberry Fields Forever” titled “ELDS”; the album in fact spelt out an acrostic of the song as an homage, with preceding tracks titled “STRA”, “WBER” and “RYFI.”[85]Todd Rundgren‘s version of the song was released on his 1976 album Faithful. The song was also covered by Jim Sturgess and Joe Anderson for the 2007 movie Across the Universe. Los Fabulosos Cadillacs recorded a ska version of the song featuring Debbie Harry for their album Rey Azúcar, which was a hit throughout Latin America.[86]

“Strawberry Fields Forever” has also been covered by Richie Havens at the Woodstock Festival, Trey Anastasio,[87] the Bee Gees, the Bobs, Campfire Girls, Eugene Chadbourne, Justin Currie, Design, Noel Gallagher, Richie Havens, Hayseed Dixie, Laurence Juber, David Lanz, Cyndi Lauper, Zlatko Manojlović,[88] Marilyn Manson, Me First and the Gimme Gimmes, Mother’s Finest, Odetta, Andy Partridge, Plastic Penny, Pip Pyle, the Residents,Miguel Ríos, the Runaways, the Shadows, Gwen Stefani, Tomorrow, Transatlantic, Michael Vescera, the Ventures, Cassandra Wilson, Otomo Yoshihide, XTC, Ultraviolet Sound and Karen Souza.[89]

The song returned to the charts 23 years later when British dance group Candy Flip released an electronic version of the song. The song was generally well-received, AllMusic describing it as “funkier and more club-happy than the Beatles’ original”[90] and was a commercial success on both sides of the Atlantic, reaching number three in the UK pop charts[91] and number eleven on the US Modern Rock Tracks chart.[92]

Personnel[edit]

Personnel per Ian MacDonald[93]

The Beatles
Additional musicians and production staff

Chart positions[edit]

Chart (1967) Peak
position
Australian Go-Set National Top 40[94] 1
Austria (Ö3 Austria Top 40)[95] 13
Netherlands (Dutch Top 40)[96] 1
Netherlands (Single Top 100)[97] 1
Norway (VG-lista)[98] 1
UK Singles (Official Charts Company)[48] 2
US Billboard Hot 100[53] 8

______

Top 10 Beatles Psychedelic Songs

Keystone/Hulton Archive, Getty Images

Ahh, psychedelia…that warm fuzzy glow of surrealism that drips over — and then into –one’s head. Though it’s debatable as to who invented the musical form, the Beatles were certainly one of the first architects to lend a hand, and mind’s eye, to the proceedings. Whether from the wellspring of hallucinized minds, or just a natural occurrence of the utterly creative, it’s a trip for the listener that carries on nearly 50 years later. So tune in, turn on and rock out as we give you our Top 10 Beatles Psychedelic Songs.

10

‘She Said, She Said’

From: ‘Revolver’ (1966)

With a biting guitar riff kicking things off, this beauty form ‘Revolver,’ oozes and throbs in technicolor glory. Written by John Lennon (obviously the most psychedelically inclined of the four) after an incident at an L.A. acid party. “Peter Fonda came in when we were on acid and he kept coming up to me and sitting next to me and whispering, ‘I know what it’s like to be dead” Lennon told Journalist David Sheff in 1980. “He was describing an acid trip he’d been on. We didn’t want to hear about that! We were on an acid trip and the sun was shining and the girls were dancing and the whole thing was beautiful.” In all of its two-and-a-half minutes of glory, it manages not only genuine psychedelia but pristine pop of the highest order as well.

9

‘It’s All Too Much’

From: ‘Yellow Submarine’ (1969)

This George Harrison-penned tune is one of the band’s most captivating works from the psychedelic era, and one of the Beatles’ great lost songs. The song was originally written in the later half of 1967 and was considered for inclusion as part of ‘Magical Mystery Tour,’ but ultimately shelved. It finally found a home on the ‘Yellow Submarine’ soundtrack in early-1969. Clocking in at just under seven minutes, it’s an unrestrained ride for a good portion complete with guitar feedback, trumpets, bass clarinet and general merriment.

8. ‘A Day In The Life’

From: ‘Sgt. Pepper’s Lonely Hearts Club Band’ (1967)

It’s easy to forget 46 years later, but the entire ‘Sgt. Pepper’s Lonely Hearts Club Band’ album was truly groundbreaking stuff on all levels, songwriting, production, presentation and spirit. The finale of the LP, ‘A Day In The Life,’ is a piece of day-glo pop art in 4/4 time and still remains a breathtaking adventure. From the unassuming intro of acoustic guitar, piano and vocal, the song twists and turns as it adds color and flavor along the way, until its mid song chaotic climax explodes and suddenly becomes a totally different song. The perfect example of one of Lennon’s ideas and one of Paul McCartney‘s woven together seamlessly into a totally unique creature. We return to the Lennon theme and once again crescendo out-of-bounds at songs end. Recorded on a four-track machine under the impossible-to-understate guidance of Sir George Martin. No Pro Tools were harmed in the making of this record.

7. ‘Within You Without You’

From: ‘Sgt. Pepper’s Lonely Hearts Club Band’ (1967)

“We were talking about the space between us,” so begins this heady masterpiece of ethereal drone from the ‘Sgt. Pepper’s Lonely Hearts Club Band‘ LP. The pure bliss of 1967 is in full bloom on this Harrison-penned beauty. Sitars and strings wow and flutter, as tabla instigates the rhythm that flows like an Eastern river into previously uncharted pop group waters, while George delivers some suitably intriguing lyrics. Though in many ways a Harrison solo track, it was an important piece of the ‘Sgt. Pepper’ puzzle and totally of the moment in time that was the ‘Summer of Love.’

6. ‘I’m Only Sleeping’

From: ‘Revolver’ (1966)

One of John Lennon’s most haunting songs, and of course, that’s saying a lot. ‘I’m Only Sleeping’ first appeared in the U.S. on the hodgepodge LP ‘Yesterday And Today’ in June 1996. It would appear in a different mix on the U.K. ‘Revolver’ album a couple months later. With Lennon’s droning vocal sitting atop a lazy, shuffle rhythm, the song creeps along with a certain acidic nonchalance complete with some tasty backwards guitar lines throughout. The spot-on backing vocals and McCartney’s always splendid bass lines drive it onward.

5. ‘Strawberry Fields Forever’

From: ‘Magical Mystery Tour’ (1967)

As the Beatles began recording in early-1967, it was obvious a different approach was at play. The first song recorded during the sessions that would ultimately create ‘Sgt. Pepper’s Lonely Hearts Club Band,’ it was unlike anything anyone had ever heard from a pop group before. The final record of ‘Strawberry Fields Forever’ was famously made up of two totally different takes, with producer George Martin slightly speeding up one version, while slightly slowing down the other, then splicing them together to create one of the most unique records ever made. The lyrical imagery, the variety of instruments used and the overall vibe of the recording were all miles away from ‘I Want To Hold Your Hand.’ Miles away indeed, but in reality, it had been just three years between the two. The rate of change and growth in such a short time still boggles the mind.

4. ‘Lucy In The Sky With Diamonds’

From: ‘Sgt. Pepper’s Lonely Hearts Club Band’ (1967)

Although John Lennon always maintained that the lyrics were inspired by a painting his son Julian created, no one was buying it. It just so happened that the letters L, S and D feature so prominently in the title of a colorfully blazing pop song circa 1967? well, believe what you like, it lead to such other preposterous gems like ‘Albert Common Is Dead‘ and ‘Love Seems Doomed‘ (both by the Blues Magoos by the way!) Ultimately, that’s neither here nor there, it’s this song we are concerned with and what a song it is!  Three-and-a-half minutes of pure lysergic bliss, full of picturesque and surreal lyrics set to one of the Beatles’ most trippy songs. Trippy yes, but surging skyward at the same time, especially on the dynamic chorus. The inventive bass playing of Paul McCartney kept getting more crucial to the band’s sound, and it is in full flight here. Later covered successfully by Elton John, and brilliantly by William Shatner.

3. ‘Only A Northern Song’

From: ‘Yellow Submarine’ (1969)

Though it was recorded during the ‘Sgt. Pepper’ sessions, ‘Only A Northern Song’ wouldn’t see the light of day until it was used on the ‘Yellow Submarine’ soundtrack in early-1969, nearly two years after it was originally put to tape. The song creeps in slowly and builds as it moves along. A variety of wild tape loops, harsh trumpets and percussion are used to create a slightly disorienting effect. Lyrically, it was Harrison’ jab at the Beatles publishing arrangement. “Only A Northern Song was a joke relating to Liverpool,” Harrison said in Anthology. “In addition, the song was copyrighted Northern Songs Ltd, which I don’t own, so: ‘It doesn’t really matter what chords I play… as it’s only a Northern Song.'” Would ‘Sgt. Pepper’ have been even greater had this mind-melter been included in favor of, say ‘When I’m Sixty Four?’ All signs point to a positive affirmation.

2. ‘I Am The Walrus’

From: ‘Magical Mystery Tour’ (1967)

‘I Am The Walrus’ is, without question, one of John Lennon’s finest creations and a 100% psychedelic adventure. The song appeared on the ‘Magical Mystery Tour’ LP as well as the flip of ‘Hello Goodbye.’ The LSD-inspired lyrics mesh with lyrics that Lennon himself called nonsense. “The first line was written on one acid trip one weekend. The second line was written on the next acid trip the next weekend” Lennon told interviewer David Sheff in 1980,  “I was writing obscurely, a la Dylan, in those days.” The percussive use of strings is brilliant and adds an ominous touch to the journey, while the end of song chaos that erupts is a mind-blower unto itself. ‘I Am The Walrus’ is pure genius all the way!

1.’Tomorrow Never Knows’

From: ‘Revolver’ (1966)

The be-all and end-all of psychedelic rock and roll, ‘Tomorrow Never Knows’ has no equal. The final song on the landmark ‘Revolver’ album is one of the most mesmerizing slices of rock and roll ever recorded. Written by Lennon, the song’s shape was helped immeasurably by Paul McCartney who suggested the insistent drum pattern and also contributes the backwards guitar solo here. Though not much of a psychedelic-styled writer himself, Sir Paul certainly knew how to decorate the tree. The surging beat pushes the song into the clouds and beyond. The sitar drone, chanting, and tape loops all brew together in this psychedlic stew. The unconventional lyric was inspired by the Timothy Leary book ‘The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead.’ Lennon said he wanted it to sound like “a group of Tibetan monks chanting on a mountain top.” A truly unique record that still amazes 47 years on.

September 19, 2011

By Elvis Costello

My absolute favorite albums are Rubber Soul and Revolver. On both records you can hear references to other music — R&B, Dylan, psychedelia — but it’s not done in a way that is obvious or dates the records. When you picked up Revolver, you knew it was something different. Heck, they are wearing sunglasses indoors in the picture on the back of the cover and not even looking at the camera . . . and the music was so strange and yet so vivid. If I had to pick a favorite song from those albums, it would be “And Your Bird Can Sing” . . . no, “Girl” . . . no, “For No One” . . . and so on, and so on. . . .

Their breakup album, Let It Be, contains songs both gorgeous and jagged. I suppose ambition and human frailty creeps into every group, but they delivered some incredible performances. I remember going to Leicester Square and seeing the film of Let It Be in 1970. I left with a melancholy feeling.

35

‘Paperback Writer’

the beatles 100 greatest songs
Harry Benson/Getty Images

Main Writer: McCartney
Recorded: April 13 and 14, 1966
Released: May 30, 1966
10 weeks; no. 1

‘They were great vocalists — they knew instinctively what harmonies to pitch,” said George Martin. But in the sumptuous intro to “Paperback Writer,” Lennon, McCartney and Harrison went beyond mere formation singing. The trio transformed the title lyric into a medieval chorale that sounded like “She Loves You” dipped in acid. Fastened to a roaring pop song, that sleet of harmonies — combined with the paisley haze of the record’s B side, “Rain” — formally announced the Beatles’ immersion into psychedelia.

“The way the song itself is shaped and the slow, contrapuntal statements from the backing voices — no one had really done that before,” Martin claimed. The producer acknowledged that the Beach Boys were “a great inspiration” to the Beatles, but insisted that his charges had already perfected their vocal craft back when they were playing their club residencies in Hamburg, Germany: “Every night they’d be singing — they’d listen to American R&B records and imitate them,” he said.

McCartney came up with the song’s unusual structure on the long drive out to Lennon’s house, where the duo frequently spent their afternoons writing songs. “I would often start thinking away and writing on my way out, and I developed the whole idea in the car,” he said. “I came in, had my bowl of cornflakes and said, ‘How’s about if we write a letter: “Dear Sir or Madam,” next line, next paragraph, etc.?'” (Some have suggested that the lyric about an aspiring hack was a jab at Lennon, who had published two books of cheeky surrealism, In His Own Write and A Spaniard in the Works.) Lennon later described “Paperback Writer” as the “son of ‘Day Tripper’ — meaning a rock & roll song with a guitar lick on a fuzzy, loud guitar.”

To engineer Geoff Emerick, the secret ingredient was the propulsive boom he got out of Starr’s bass drum. “No one, as far as I remember on record,” said Emerick, “had a bass drum sounding like that. We had the front skin off the bass drum and stuffed it with sweaters.” Emerick also placed a microphone within an inch of the drum, for which he was reprimanded by EMI studio executives: “You couldn’t go nearer than two feet to the bass drum, because the air pressure would damage the microphone.”

The success of “Paperback Writer” forced a revision of that policy. “I got a letter from EMI allowing me to do that,” Emerick said, “but only on Beatles sessions.”

Appears On: Past Masters

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Jamie Wyeth's 2009 painting "The Sea, Watched." (© Jamie Wyeth. Courtesy, Museum of Fine Arts, Boston)

 Updated August 10, 2014, 12:00 am

After the Sept. 11 attacks, the painter Jamie Wyeth drove around the Brandywine River Valley between Chadds Ford, Pennsylvania, and Wilmington, Delaware. And he spotted a white barn with a giant American flag painted on its broadside sitting atop the curve of a green hill. A pond in front reflected its red, white and blue. He decided to paint it with an end of day mood.

“I felt I had to record this stirring image,” he’s quoted saying in his retrospective exhibition “Jamie Wyeth” at Boston’s Museum of Fine Arts through Dec. 28. The museum describes this 2001 watercolor “Patriot’s Barn” as “speaking to the feeling of vulnerability so pervasive in the nation at the time.”

“I look at myself as just a recorder,” Wyeth is quoted saying in a video screening in the exhibition. “I’m doing a diary.”

But that’s not really true—or, at most, only describes part of what he’s up to. Wyeth is an expert painter of handsome, realist portraits and landscapes in honeyed earth tones, but his ultimate goal is to describe an authentic America, what some might call the real America. It’s a celebration—in vivid fact slathered with plenty of myth-making fantasy—of an East Coast Yankee vision of a Marlboro Man United States.

Wyeth's 1963 painting "Portrait of Shorty." (© Jamie Wyeth. Courtesy, Museum of Fine Arts, Boston)

That mythologizing extends to Jamie Wyeth’s own place in one of the most storied creative American families. “Wyeth was born in 1946 to a family of artists famous for their distinctive and imaginative realism,” the first lines of the first sign of the exhibit read. Wyeth’s grandfather N.C. (Newell Convers) Wyeth (1882-1945) was a top illustrator who painted swashbuckling pirates, noble Plymouth Pilgrims, and cowboys and Indians of the Wild West. His father Andrew Wyeth (1917-2009) was renowned for painting flinty scenes, frequently seasoned with a dash of surrealism, depicting hardscrabble life in rural Pennsylvania and coastal Maine, people and places that seemed sandpapered down by the elements.

Jamie Wyeth learned the family trade from an aunt and his father. His 1963 oil “Portrait of Shorty” depicts a worn down Chadds Ford, Pennsylvania, neighbor with a stubbly chin and wearing a grimy tank top. Painted when Wyeth was just 17, this vividly realistic picture reads as a masterpiece in the old sense of the term—works crafted by apprentices to prove they had achieved the skill of master artists.

Jamie Wyeth with his painting "Portrait of John F. Kennedy" at the Museum of Fine Arts on June 23, 2014. (Courtesy Museum of Fine Arts, Boston)

Wyeth’s obvious talents, family connections and his 1968 marriage to the Du Pont descendent Phyllis Mills, opened doors to the top of American society—portraits of the Kennedys and involvement in NASA’s 1969 “Eyewitness to Space” art program aimed at bolstering support for moon voyages (when polls showed a majority of Americans opposed space spending). The exhibit includes a little 2005 ink sketch of President George W. Bush’s dogs and cat on White House stationary—with a curatorial note explaining that Wyeth has painted Christmas cards for presidents Ronald Reagan, George H.W. Bush and Bill Clinton.

Professionally, Jamie Wyeth has stuck close to the family’s stomping grounds of coastal Maine and the Brandywine River Valley. In Maine, he has studios on Monhegan Island, which he purchased at age 22 with earnings from his first solo art exhibition, and in a lighthouse on Southern Island, off the coast of Tenants Harbor near Rockland, which he’s used since 1991. At these places, he paints landscapes in a closely observed realist style close to his father’s work, which describes both their charm and points to the difficulty he’s had in emerging from his dad’s giant shadow.

Wyeth's 1984 painting "Kleberg." (© Jamie Wyeth. Courtesy, Museum of Fine Arts, Boston)

Jamie Wyeth arrived on the scene decades after realism had gone out of style in favor of various abstractions. His father’s conservative approach was so rigorous that it read as crotchety, lived-in, gravitas. But Jamie has just seemed conservative—even as contemporaries like David Hockney, Chuck Close and other artists at the top of the fine art game began to make realism cool again in the 1960s and ‘70s. The “Richard Estes’ Realism” retrospective exhibition at the Portland Museum of Art in Maine through Sept. 7 is another example. Those paintings look like time capsules today because these artists so faithfully reproduced the fashions and technologies of their era. A celebrated exception to this style among realists who emerged in that era is Lucian Freud, who ensconced himself in his studio to dissect the meat of his nude models with brushwork so rich and a gaze so intense that it read as soul.

The subjects of Jamie Wyeth’s Maine paintings are stacks of firewood, lobster traps, lighthouses, gulls, white clapboard churches, a curly-haired ram, a whale jawbone, a giant propeller left over from a shipwreck. In Pennsylvania, he paints chickens, hay bales, pigs, goats, angus cattle, horses, barns. He paints his wife—a “champion equestrian” before she was crippled in an auto accident when she was 21—standing in doorways brooding or sitting on benches dressed in prim 19th century dresses (or perhaps 1970s hippie prairie gowns?) or driving carriages pulled by white Welsh ponies through the dark woods of the Brandywine Valley.

Wyeth's 2005 painting "Envy - The Seven Deadly Sins." (© Jamie Wyeth. Courtesy, Museum of Fine Arts, Boston)

There’s always been a bit of showiness in Jamie’s painting that’s become more pronounced as he’s aged. This sweet tooth for fantasy can lead him astray—as in his Maine cornball idea to portray the “Seven Deadly Sins” using seagulls, including “Pride” represented by a bird with a red lobster in its beak.

“The danger with Maine is that it is so anecdotal and emblematic in terms of pretty houses, pretty lobster traps—‘quaint’ things,” Wyeth has said. “Maine is not that way. Maine has a lot of edge, a lot of angst.”

Wyeth’s landscapes are all rustic Americana, a cozy, misty-eyed vision of some imagined respectable, pastoral 19th century U.S. golden age. In that, his paintings stand as a sort of counter to the urban, industrial, diverse America that his images so carefully ignore.

Wyeth's 1972 portrait of ballet dancer Rudolf Nureyev, "Profile with Black Wash (Study #23)." (© Jamie Wyeth. Courtesy, Museum of Fine Arts, Boston)

Well, that he ignores except for time he spent in New York City in the 1960s and ‘70s hobnobbing with the top of the 1970s gay New York art world—though the MFA can’t bring itself to mention any sexuality here. One room of the show offers portraits of critic and ballet impresario Lincoln Kirstein, ballet dancer Rudolf Nureyev, and pop artist Andy Warhol.

MFA curator Elliot Bostwick Davis, who organized the exhibition, reports in the catalogue that Wyeth painted the full frontal nude here of the star dancer in 1977 “in an effort to become even closer to Nureyev.” Warhol, the MFA winkingly notes, appreciated Wyeth’s talent, artistic lineage and “cuteness.”

The male eroticism continues in a shirtless 1969 self-portrait, a 1977 rendering of a topless Arnold Schwarzenegger flexing his body builder bicep, and a 1990 full-body nude of a Maine teenage boy sitting on a chest, discreetly observed from the side, emphasizing his slender adolescent frame. The MFA exhibition makes no comment about how this engagement with part of contemporary America contrasts with the old time, “traditional” ways of life represented in Wyeth’s better-known landscapes.

Perhaps acknowledging it would distract from Wyeth’s main subject—alluring nostalgia for some imagined American past. In his signature Northeast landscapes, nobody is seen farming or fishing. The trappings of these invisible labors become picturesque background decor for rural estates and seaside summer cottages. The grinding work has been tidied away. Wyeth paints so beautifully, so seductively that it’s easy to not notice that he’s painting clichés—Maine and Pennsylvania as old timey, rustic “vacation land.”

Greg Cook is co-founder of ARTery. Follow him on Twitter @AestheticResear and be his friend on Facebook.

Jamie Wyeth

From Wikipedia, the free encyclopedia
Jamie Wyeth
Born James Browning Wyeth
July 6, 1946 (age 69)
Wilmington, Delaware
Nationality American
Education Home-schooled
Known for Painting
Notable work Portrait of John F. Kennedy
Portrait of Andy Warhol
Movement American realism
Elected National Academy of Design

James (“Jamie”) Browning Wyeth (born July 6, 1946) is a contemporary American realist painter, son of Andrew Wyeth, and grandson of N.C. Wyeth. He was raised in Chadds Ford Township, Pennsylvania, and is artistic heir to the Brandywine School tradition, painters who worked in the rural Brandywine River area of Delaware and Pennsylvania, portraying its people, animals, and landscape.

Biography[edit]

Early life[edit]

James Wyeth is the second child of Andrew and Betsy Wyeth, born three years after brother Nicholas, his only sibling. He was raised on his parents’ farm “The Mill” in Chadds Ford, Pennsylvania, in much the same way as his father had been brought up, and with much the same influences. He demonstrated the same remarkable skills in drawing as his father had done at comparable ages. He attended public school for six years and then, at his request was privately tutored at home, so he could concentrate on art. His brother Nicholas would later become an art dealer.[1]

Artistic study[edit]

At age 12, Jamie studied with his aunt Carolyn Wyeth, a well-known artist in her own right, and the resident at that time of the N. C. Wyeth House and Studio, filled with the art work and props of his grandfather. In the morning he studied English and history at his home, and in the afternoon joined other students at the studio, learning fundamentals of drawing and composition. He stated later, “She was very restrictive. It wasn’t interesting, but it was important.” Through his aunt, Jamie developed an interest in working with oil painting, a medium he enjoyed at a sensory level: the look, smell and feel of it. Carolyn Wyeth and Howard Pyle were his greatest early influences in developing his technique in working with oil paint. While Jamie’s work in watercolor was similar to his father’s, his colors were more vivid.[1][2]

As a boy, Jamie was exposed to art in many ways: the works of his talented family members, art books, attendance at exhibitions, meeting with collectors, and becoming acquainted with art historians.[1] He also developed an offbeat sense of humor, sometimes veering to the macabre.[2]

For at least three years in the early 1960s, when Wyeth was in his middle to late teens, Wyeth painted with his father. Of their close relationship, Wyeth has said: “Quite simply, Andrew Wyeth is my closest friend—and the painter whose work I most admire. The father/son relationship goes out the window when we talk about one another’s work. We are completely frank—as we have nothing to gain by being nice.”[3] At age 19 [about 1965] he traveled toNew York City, to better study the artistic resources of the city and to learn human anatomy by visiting the city morgue.[4]

Marriage[edit]

Tenants Harbor Lighthouse, Maine prior to construction of a new house and reconstruction of the tower

In 1968, Wyeth married Phyllis Mills, daughter of Alice du Pont Mills and James P. Mills[5] and one of his models. Although she had earlier been permanently crippled in a car accident and must use crutches (and later a motorized chair)[5] to get around, Wyeth finds her a very strong, determined woman whose elusive nature means that he continually discovers something new about her. Mills is the subject of many of his paintings (which usually depict her seated) including And Then into the Deep Gorge (1975), Wicker (1979), and Whale (1978), as well as, by implication, his painting of Phyllis’ hat in Wolfbane (1984).[6]

Phyllis had worked for John F. Kennedy when he was a senator and president.

Portrait of Andy Warhol Jamie Wyeth (American, born in 1946) 1976

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Jamie Wyeth, Bianca Jagger, Larry Rivers, Andy Warhol, New York, 1977

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Artists Jamie Wyeth, left, and his father, Andrew, who died in 2009

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Image result for sergent peppers album cover

Francis Schaeffer’s favorite album was SGT. PEPPER”S and he said of the album “Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings.”  (at the 14 minute point in episode 7 of HOW SHOULD WE THEN LIVE? ) 

Image result for francis schaeffer how should we then live

How Should We Then Live – Episode Seven – 07 – Portuguese Subtitles

Francis Schaeffer

Image result for francis schaeffer

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 202 the BEATLES’ last song FREE AS A BIRD (Featured artist is Susan Weil )

February 15, 2018 – 1:45 am

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 200 George Harrison song HERE ME LORD (Featured artist is Karl Schmidt-Rottluff )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 184 the BEATLES’ song REAL LOVE (Featured artist is David Hammonds )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 170 George Harrison and his song MY SWEET LORD (Featured artist is Bruce Herman )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 168 George Harrison’s song AWAITING ON YOU ALL Part B (Featured artist is Michelle Mackey )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 167 George Harrison’s song AWAITING ON YOU Part A (Artist featured is Paul Martin)

RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 133 Louise Antony is UMass, Phil Dept, “Atheists if they commit themselves to justice, peace and the relief of suffering can only be doing so out of love for the good. Atheist have the opportunity to practice perfect piety”

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 166 George Harrison’s song ART OF DYING (Featured artist is Joel Sheesley )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 165 George Harrison’s view that many roads lead to Heaven (Featured artist is Tim Lowly)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 164 THE BEATLES Edgar Allan Poe (Featured artist is Christopher Wool)

PART 163 BEATLES Breaking down the song LONG AND WINDING ROAD (Featured artist is Charles Lutyens )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 162 A look at the BEATLES Breaking down the song ALL WE NEED IS LOVE Part C (Featured artist is Grace Slick)

PART 161 A look at the BEATLES Breaking down the song ALL WE NEED IS LOVE Part B (Featured artist is Francis Hoyland )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 160 A look at the BEATLES Breaking down the song ALL WE NEED IS LOVE Part A (Featured artist is Shirazeh Houshiary)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 159 BEATLES, Soccer player Albert Stubbins made it on SGT. PEP’S because he was sport hero (Artist featured is Richard Land)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 158 THE BEATLES (breaking down the song WHY DON’T WE DO IT IN THE ROAD?) Photographer Bob Gomel featured today!

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 118 THE BEATLES (Why was Tony Curtis on cover of SGT PEP?) (Feature on artist Jeffrey Gibson )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 117 THE BEATLES, Breaking down the song WITHIN YOU WITHOUT YOU Part B (Featured artist is Emma Amos )

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FRIEDMAN FRIDAY 9 Unforgettable Quotes From Milton Friedman

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9 Unforgettable Quotes From Milton Friedman

Ben Duronio Jul. 31, 2012, 12:02 PM

milton friedman

Today would be Nobel Prize winning economist Milton Friedman’s 100th birthday.

To celebrate what would have been a century of Milton Friedman, here are some of Friedman’s best quotes.

  • If you put the federal government in charge of the Sahara Desert, in 5 years there’d be a shortage of sand. – Think Exist
  • The Great Depression, like most other periods of severe unemployment, was produced by government mismanagement rather than by any inherent instability of the private economy. – Capitalism and Freedom
  • Governments never learn. Only people learn. – Think Exist
  • There is no such thing as a free lunch. – Book Title
  • I am in favor of cutting taxes under any circumstance and for any excuse, for any reason, whenever it’s possible. –Interview With John Hawkins regarding Bush Tax Cuts
  • When everybody owns something, nobody owns it, and nobody has a direct interest in maintaining or improving its condition. That is why buildings in the Soviet Union — like public housing in the United states — look decrepit within a year or two of their construction. – Free to Choose: A Personal Statement.
  • One of the great mistakes is to judge policies and programs by their intentions rather than their results. –Interview With Richard Heffner
  • Nothing is so permanent as a temporary government program. – Good Reads
  • I’m in favor of legalizing drugs. According to my values, if people want to kill themselves, they have every right to do so. Most of the harm that comes from drugs is because they are illegal. – Interview With Randy Paige

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Milton Friedman – The Negative Income Tax

Volume 1: Power of the Market Volume 2: The Tyranny of Control
Volume 3: Anatomy of a Crisis
Volume 4: From Cradle to Grave
Volume 5: Created Equal
Volume 6: What’s Wrong With Our Schools?
Volume 7: Who Protects the Consumer?
Volume 8: Who Protects the Worker?
Volume 9: How to Cure Inflation
Volume 10: How to Stay Free

Updated 1990 Series:
Volume 1: The Power of the Market
Volume 2: The Tyranny of Control
Volume 3: Freedom & Prosperity
Volume 4: The Failure of Socialism
Volume 5: Created Equal

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 274 My February 2, 2016 (GROUNDHOG DAY) Letter to Hugh Hefner on Ecclesiastes Chapter 1 from message by Chris Lewis pastor of Foothill Church in Glendora, CA (Featured artist is Elliott Hundley )

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Image result for hugh hefner

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Over and over I have read that Hugh Hefner was a modern day King Solomon and Hefner’s search for satisfaction was attempted by adding to the number of his sexual experiences. Greg Laurie noted:

WASTED YEARS: DOES THAT DESCRIBE YOUR LIFE?

Published: 11/17/2007

He was a young man who loved God – yet he became a hedonist extraordinaire, a playboy who made Hugh Hefner look like a lightweight. He was highly educated, yet went on unbelievable drinking binges. He was an architectural genius, masterminding the building of incredible structures, and yet chased after women like there was no tomorrow. And he was worth billions.

King Solomon lived thousands of years ago, yet the lessons and experiences of his life are as current as tomorrow’s newspaper. It was he who coined the phrase, “There’s nothing new under the sun.”

Solomon became the king of Israel after his father David’s death. No one, not even David, had such incredible potential to be a great king. He had a godly heritage from his dad, was given wisdom on a scale that had never been known up to that point and wealth beyond anyone’s most fevered imagination. As a result, he had virtually unlimited power to do good.

Solomon started his reign beautifully. But the joy and beauty began to fade all too soon, as he turned away from the Lord who had so richly blessed him. By the time he came to the end of himself in his later years, he had thrown away a life with unbelievable potential. Here’s how he began his memoirs in the book of the Bible called Ecclesiastes:

These are the words of the Teacher, King David’s son, who ruled in Jerusalem.

“Everything is meaningless,” says the Teacher, “utterly meaningless!”

Solomon liked the word “meaningless,” using it again and again as he wrote about life. In the original language, the word meant emptiness, futility, a wisp of a vapor, a hollow, empty ring, nothingness, a bubble that bursts.

Ecclesiastes tells us that nothing on this earth will satisfy us completely. No thing, no pleasure, no relationship, no accomplishment will bring enduring value in life. It’s like riding one of those stationary bikes. You peddle and peddle but never really go anywhere. You get off in the very same place where you started.

In Ecclesiastes, Solomon was looking back on a life lived without God. He was reflecting on man’s attempt to meet the deepest needs of human life, while leaving God out of the equation.

Initially, Solomon followed the Lord and his father’s good example. But as time passed, the young king forgot this commitment, allowing his heart to become at first divided, and then hardened. He began to love both the Lord and the world. According to Scripture, however, that will never wash. And in this rebellion against God, much like the prodigal son, Solomon broke away from his roots, his foundation, and decided to take a crash course in sin.

Did he ever! And he had the resources to do it! Unlimited sex, gallons of booze, non-stop partying, unrestrained materialism – not to mention the finest education, entertainment and art collecting. You name it, Solomon tried it. He actually did what most people only dream of. But in the end, it all turned into a nightmare.

And then, after many wasted years, Solomon finally came to his senses. He had learned the bitter lessons of life the hard way, but he really had no one to blame but himself. Among other things, he deeply regretted wasting his youth, warning others not to make the same mistake. He wrote: “Don’t let the excitement of youth cause you to forget your Creator. Honor him in your youth before you grow old and no longer enjoy living” (Ecclesiastes 12:1, NLT).

Solomon wraps up his book, saying, “Look, take it from a seasoned pro. Believe me, I know what I’m talking about here! If you leave God out of the picture – no matter what else you may have going – your life will be empty, meaningless and futile. Do you want to have a full life, a more abundant life? Do you truly want to live out your life as a whole woman, a whole man? Well, here’s your answer: Fear God and keep His commandments.”

Many of the sermons that I heard or read that inspired me to write Hugh Hefner were from this list of gentlemen:  Daniel Akin, Brandon Barnard,Matt Chandler, George Critchley,  Darryl Dash, Steve DeWitt, Steve Gaines, Norman L. Geisler, Greg Gillbert, Billy Graham, Mark Henry, Dan Jarrell, Walter C. Kaiser, Jr., R. G. Lee,  Chris Lewis, Kerry Livgren, Robert Lewis,    Bill Parkinson, Ben Parkinson,Vance Pitman, Nelson Price, Adrian Rogers, Philip Graham Ryken, Francis Schaeffer, Lee Strobel, Bill Wellons, Kirk Wetsell,  Ken Whitten, Ed Young ,  Ravi Zacharias, Tom Zobrist, and Richard Zowie.

My letter below is based primarily on a sermon by Chris Lewis (pictured below).

Image result for Chris Lewis pastor of Foothill Church

I also quoted Ravi Zacharias when I wrote, “The key to understanding the Book of Ecclesiastes is the term UNDER THE SUN — What that literally means is you lock God out of a closed system and you are left with only this world of Time plus Chance plus matter.”

Image result for ravi zacharias ecclesiastes

February 2, 2016

Hugh Hefner
Playboy Mansion  
10236 Charing Cross Road
Los Angeles, CA 90024-1815

Dear Mr. Hefner,

Today it is GROUNDHOG DAY and that is the reason I am going to quote extensively from Chris Lewis pastor of Foothill Church in Glendora, CA and  his sermon GROUNDHOG DAY. He got the title from the experience that Solomon pictures in the first 11 verses in Ecclesiastes. You will notice that the theme is CYCLE  and how this cycle repeats over and over again just like the cycle that Bill Murray is caught in as portrayed in the movie GROUNDHOG DAY where is character is caught repeating the same events over and over and over again.

“Ned, I would love to stand here and talk with you… but I’m not going to.”

“What if there is no tomorrow? There wasn’t one today.”

Bill Murray punching clock groundhog day alarm

“This is pitiful. A thousand people freezing their butts off waiting to worship a rat. What a hype.”

“Chance of departure today, one hundred percent.”

“Well, it’s Groundhog Day… again…”

“There is no way this winter is ever going to end, as long as this groundhog keeps seeing his shadow. I don’t see any other way out. He’s got to be stopped. And I have to stop him.”

_

1 The words of the Preacher, the son of David, king in Jerusalem.

Vanity of vanities, says the Preacher,
    vanity of vanities! All is vanity.
What does man gain by all the toil
    at which he toils under the sun?

4 A generation goes, and a generation comes,
    but the earth remains forever.
The sun rises, and the sun goes down,
    and hastens  to the place where it rises.
The wind blows to the south
    and goes around to the north;
around and around goes the wind,
    and on its circuits the wind returns.
All streams run to the sea,
    but the sea is not full;
to the place where the streams flow,
    there they flow again.
All things are full of weariness;
    a man cannot utter it;
the eye is not satisfied with seeing,
    nor the ear filled with hearing.

9 What has been is what will be,
    and what has been done is what will be done,
    and there is nothing new under the sun.
10 Is there a thing of which it is said,
    “See, this is new”?
It has been already
    in the ages before us.
11 There is no remembrance of former things,
    nor will there be any remembrance
of later things yet to be
    among those who come after.

Notice this phrase UNDER THE SUN since it appears about 30 times in Ecclesiastes. Francis Schaeffer noted that Solomon took a look at the meaning of life on the basis of human life standing alone between birth and death “under the sun.” This phrase UNDER THE SUN appears over and over in Ecclesiastes. The Christian Scholar Ravi Zacharias noted, “The key to understanding the Book of Ecclesiastes is the term UNDER THE SUN — What that literally means is you lock God out of a closed system and you are left with only this world of Time plus Chance plus matter.”

Image result for francis schaeffer

As you know I have been writing you regularly for several months now and I have looking at statements you have made about your life and your philosophy. Many times I have compared them to the active searching that Solomon was doing in the BOOK OF ECCLESIASTES. Today I am going to do that same and it will be about your views on working and what can be gained from it.

Recently I read this in the article, Playboy at 60: Hugh Hefner Looks Back,” The legendary publisher looks back on the first 25 years of his culture-changing creation” By Scott Huver:

Looking back over his 87 years – 60 of which have been defined by his creation, Playboy – Hugh Hefner admits it took being a workaholic during his media empire’s formative years to transform him into an icon of sexual liberation and sophisticated indulgence.

“I had been really consumed the first few years on the magazine – I had this phenomenal success on my hands,” Hefner remembers. “And I didn’t want to miss the party that I had created.”

You did not want to miss out on the success of your magazine and you worked hard to see the rewards that would come from that. HUGH NOW LOOKING BACK WHAT LASTING PROFIT OR GAIN DID YOU GET FROM ALL YOUR HARD WORK? There are two ways to look at it. FIRST, what lasting meaning will there be from it UNDER THE SUN (a phrase Solomon uses over and over). SECOND, once you die what value will it have to you?

Image result for Chris Lewis pastor of Foothill Church

Chris Lewis pastor of Foothill Church in Glendora, CA in his sermon GROUNDHOG DAY about Ecclesiastes  noted:Because of the wisdom, wealth and power that God gave to Solomon, Solomon is probably the smartest, richest, most brilliant, powerful, good looking man that ever walked the face of the earth. He was like Albert Einstein, Bill Gates, Hugh Hefner, Brad Pitt and George Clooney all rolled into one. It is incredible the gifts that God gave him.God is looking for people who don’t take their direction from the Bible and not the culture. Solomon does follow God early on but later he abandons his God….In the USA we spend 8.5 hours a day working and that is more than every other country except Japan. What are we working so hard for? What are we chasing?Mary Bell of Houston has counseled many high level executives. Achievement, Bell begins, is the alcohol of our time. These days, the best people don’t abuse alcohol. They abuse their lives. “You’re successful, so good things happen,” Bell says. “You complete a project, and you feel dynamite, so you move up to euphoria. That feeling doesn’t last forever, and you slide back to normal.But you love the feeling of euphoria, so you’ve got to have it again. The problem is, you can’t stay on that high. The highs don’t seem quite so high. You may win a deal that’s even bigger than the one that got away, but somehow that deal doesn’t take you to euphoria. .”An “achievement addict” is no different from any other kind of addict, Bell suggests.ECCLESIASTES chapter 1.

1 The words of the Preacher,[a] the son of David, king in Jerusalem.

2  VANITY of vanities, says the Preacher,
    vanity of vanities! All is vanity.
What does man gain by all the toil
    at which he toils UNDER THE SUN?The word “VANITY” means a vapor or breath. If it is a cold night you can go outside and you watch your breath and you see it for a moment and then it is gone. Solomon is saying that everything disappears. Time just flies by. LOOK AT HOW FAST YOUR KIDS GREW UP!!!!This also can be translated MEANINGLESS. It’s not just that life is brief but also that nothing has meaning. Your career is meaningless [UNDER THE SUN]. The clothes you have bought recently will someday be at Goodwill. Everything will end up in the junkyard.Verse 3 says, “What does man gain by all the toil  at which he toils UNDER THE SUN?”  In the end for all our hard work we gain NOTHING. What is the profit? Profit is what you have to show for all your hard work. Solomon says the answer UNDER THE SUN to that question is NOTHING.  UNDER THE SUN is a vital phrase. This is what Solomon means by UNDER THE SUN (used 29 times in Ecclesiastes) and that is life through the lense of a Godless world. It is seeing what can only be seen by natural eyes. It is a horizontal view that can not even look up and see that God has something to do with us.What gain or profit is left after I have lived in life UNDER THE SUN apart from God and Solomon says there is NOTHING and it is MEANINGLESS.Jesus in Matthew 16:26 asks a similar question:   “For what will it profit a man if he gains the whole world and forfeits his soul? Or what shall a man give in return for his soul?”The answer to Jesus’ question is also NOTHING. So if you decide that this life is all there is and you just see this life UNDER THE SUN without reference to God then you end up with NOTHING. All your success is not irrelevant. All your toil is for NOTHING. All the years you put in at work you leave NOTHING to show for it.The wisest man who ever lived said life is FUTILE if you only look at life UNDER THE SUN. Solomon saw that people were crooked, bent and broken, but he couldn’t straighten them out…Solomon knew the problem. Everybody in the world knows something is wrong with the world. You do whether you are a Christian or not. Just go to a bookstore and look at the thousands of SELF HELP books that are selling in the millions. Jesus came to answer every frustration that Solomon had [in the Book of Ecclesiastes about life UNDER THE SUN]. When Adam and Eve sinned and they rebelled the earth became frustrated. Who will give us the answer to this? Christ said, “The queen of the south shall rise up in the judgment with this generation, and shall condemn it: for she came from the uttermost parts of the earth to hear the wisdom of Solomon; and, behold, a greater than Solomon is here”(Matthew 12:42).Why is Jesus greater than Solomon? It is because Jesus is God.I Corinthians 15:58 says, “Therefore, my beloved brothers, be steadfast, immovable, always abounding in the work of the Lord, knowing that in the Lord your labor is not in vain.”Philippians 1:21 (English Standard Version)  “For to me to live is Christ, and to die is gain.”(International Standard Version) “For to me, to go on living is the Messiah, and to die is gain.”Jesus came not to just inform us but to transform us. Jesus came not to only share our grief but to conquer our sin. So Jesus died in our place for our sin. He became our sin for us so we might become the righteousness of God. Anyone who is in Christ is a new creature, and one day we will hear Christ say, “I am making everything new” (Revelation 21:5). 

There is evidence that points to the fact that the Bible is historically true as Schaeffer pointed out in episode 5 of WHATEVER HAPPENED TO THE HUMAN RACEThere is a basis then for faith in Christ alone for our eternal hope. In some of the past letters I have written you I have included such examples of historical evidence. Please take time and examine the evidence HUGH.

Thank you again for your time and I know how busy you are.

Everette Hatcher, everettehatcher@gmail.com, http://www.thedailyhatch.org, cell ph 501-920-5733, Box 23416, LittleRock, AR 72221 PS: This is the 16th letter I have written to you and I have tried in almost every letter to take your own words and then quote them back to you. Also since so many people have compared your life to the life of King Solomon in the Bible I have often used Solomon’s book Ecclesiastes because it is there where Solomon takes a long look back over his life UNDER THE SUN. Just like you Solomon was a workaholic and  I will return to this subject again in a future letter.

Groundhog Day – Ecclesiastes: The Meaning Of Life Part 1

Published on Oct 22, 2013

Sermon preached on Saturday, October 12th, 2013 by Pastor Chris Lewis at Foothill Church in Glendora, CA. Sermon text is Ecclesiastes 1.1-11. For more information please visit http://www.foothillchurch.net.

Featured Artist is Elliott Hundley

Elliott Hundley: Evoking Emotions | Art21 “Exclusive”

Elliott Hundley

Elliott Hundley was born in 1975 in Greensboro, North Carolina. Hundley draws inspiration for his paintings from diverse sources, but especially from his Southern heritage, steeped in family history. Many of his works also contain references to Greek tragedy and classical mythology, and to Japanese woodblock prints. He also stages improvisational photo shoots to generate imagery for his multi-panel tableaus, casting friends and family in roles from antiquity and various other sources.

With these and other images anchored by thousands of pins to bulletin-board-like surfaces, his shallow reliefs form a palimpsest that teems with humble materials such as cut-up magazines, string, plastic, gold leaf, and other ephemera. He frequently recycles leftover scraps from one work to the next and uses images of completed paintings as substructures for new projects, creating continuity between old and new.

Elliot Hundley received a BFA from the Rhode Island School of Design (1997), an MFA from UCLA (2005), and has been awarded residencies at Fine Arts Work Center (2001), Vermont Studio Center (2002), Skowhegan School of Painting and Sculpture (2002), and the Bemis Center for Contemporary Art (2003). His work has appeared in major exhibitions at Nasher Sculpture Center (2012); Wexner Center for the Arts (2011); and the Hammer Museum (2006); and has been included in exhibitions at the ICP Triennial (2013); Pérez Art Museum Miami (2013); Museum of Contemporary Art, Los Angeles (2011); LACMA (2011); SFMOMA (2010); New Museum (2010); Louisiana Museum of Modern Art, Denmark (2009); Las Vegas Art Museum (2009); Guggenheim Museum (2007); DESTE Foundation for Contemporary Art (2007); Saatchi Gallery (2006); and ICA, Philadelphia (2003). Elliott Hundley lives and works in Los Angeles, California.

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_

WOODY WEDNESDAY Open Letter to Woody Allen on the movie Irrational Man Part 6

Woody Allen On Bergman

Woody Allen On Bergman

Woody Allen Show

Essay on Woody Allen films

(May 15, 1984)

____

______

XXXXX

Harold J. Blackham (1903-2009)

Francis Schaeffer (1912-1984)

Jacques Monod (1910-1976), Nobel Prize in Physiology or Medicine (1965)

CRIMES AND MISDEMEANORS was written and directed by Woody Allen

Judah has his mistress eliminated through his brother’s underworld connections

Anjelica Huston

__

__

.

__________

_______________

May 15, 2016

Letty Aronson, c/o New York, New York 10001

Dear Mrs. Aronson,

In the movie IRRATIONAL MAN,  Joaquin Phoenix‘s character Abe Lucas references Simone de Beauvoir,  Jean-Paul Sartre, Martin Heidegger, Søren Kierkegaard, and Immanuel Kant. I read about all of these writers or philosophers for the first time when I read the works of Francis Schaeffer. 

Thirty two years ago today my philosophical hero Francis Schaeffer died. It was on May 15, 1994 (the 10th anniversary of that date) that I made a concerted effort to write hundreds of secular scholars that he had mentioned in his books and films that he produced since the 1960’s. Not only did Schaeffer mention Woody in several of his books but about a year ago  a video was posted on You Tube that showed that Schaeffer mentioned Woody in his last public speech. If you go to You Tube and type in FRANCIS SCHAEFFER KNOXVILLE then you can watch this special Q&A time with Francis and Edith Schaeffer at the 1984 L’Abri conference in Knoxville, filmed two months before Dr. Schaeffer’s passing (May 15, 1984). There is one portion of this question and answer time that I have put in a letter in December of 2015 and sent to about 100 prominent atheistic scholars who consider themselves OPTIMISTIC HUMANISTS and I challenge them to watch the movie CRIMES AND MISDEMEANORS and that portion is below:

XXXXXXXXXXXXXXXXXXX

H. J. Blackham was the founder of the BRITISH HUMANIST ASSOCIATION and he asserted:

On humanist assumptions, life leads to nothing, and every pretense that it does not is a deceit. If there is a bridge over a gorge which spans only half the distance and ends in mid-air, and if the bridge is crowded with human beings pressing on, one after the other they fall into the abyss. The bridge leads nowhere, and those who are pressing forward to cross it are going nowhere….It does not matter where they think they are going, what preparations for the journey they may have made, how much they may be enjoying it all. The objection merely points out objectively that such a situation is a model of futility“( H. J. Blackham, et al., Objections to Humanism (Riverside, Connecticut: Greenwood Press, 1967).

With that in mind I wanted to ask you what  does the AMERICAN or BRITISH HUMANIST ASSOCIATION have to offer in the area of meaning and values? Francis Schaeffer two months before he died said if he was talking to a gentleman he was sitting next to on an airplane about Christ he wouldn’t start off quoting Bible verses. Schaeffer asserted:

I would go back rather to their dilemma if they hold the modern worldview of the final reality only being energy, etc., I would start with that. I would begin as I stress in the book THE GOD WHO IS THERE about their own [humanist] prophets who really show where their view goes. For instance, Jacques Monod, Nobel Prize winner from France, in his book NECESSITY AND CHANCE said there is no way to tell the OUGHT from the IS. In other words, you live in a totally silent universe. 

The men like Monod and Sartre or whoever the man might know that is his [humanist] prophet and they point out quite properly and conclusively what life is like, not just that there is no meaningfulness in life but everyone according to modern man is just living out some kind of game plan. It may be knocking 1/10th of a second off a downhill ski run or making one more million dollars. But all you are doing is making a game plan within the mix of a meaningless situation. WOODY ALLEN exploits this very strongly in his films. He really lives it. I feel for that man, and he has expressed it so thoroughly in ANNIE HALL and MANHATTAN and so on.

According to the Humanist worldview Jacques Monod the universe is silent about values and therefore his good friend Woody Allen demonstrated this very fact so well in his 1989 movie CRIMES AND MISDEMEANORS. In other words, if we can’t get our values from the Bible then  the answer is MIGHT MAKES RIGHT!!!!

I CHALLENGE YOU TO TAKE 90 MINUTES AND WATCH THE MOVIE “CRIMES AND MISDEMEANORS” AND THEN ANSWER THE QUESTION: “What reason is there that Judah should not have his mistress eliminated if there is no God and afterlife of judgment and rewards?”

XXXXXXXXXXXXXXXXXXXXXXX

Many of these humanists are familiar  with Woody’s films and I hope some at least are willing to take on my challenge. In fact, I have been writing letters with this message for over 20 years now, and one of the first humanist scholars had the opportunity to correspond with was the famous atheist Antony Flew. Since then I have more articles posted on my blog about the last few years of Antony Flew’s life than any other website in the world probably. The reason is very simple. I had the opportunity to correspond with Antony Flew back in the middle 90’s and he said that he had the opportunity to listen to several of the cassette tapes that I sent him with messages from Adrian Rogers and he also responded to several of the points I put in my letters that I got from Francis Schaeffer’s materials. The ironic thing was that I purchased the sermon IS THE BIBLE TRUE? originally from the Bellevue Baptist Church Bookstore in 1992 and in the same bookstore in 2008 I bought the book THERE IS A GOD by Antony Flew. Back in 1993 I decided to contact some of the top secular thinkers of our time and I got my initial list of individuals from those scholars that were mentioned in the works of both Francis Schaeffer and Adrian Rogers. Schaeffer had quoted Flew in his book ESCAPE FROM REASON. It was my opinion after reviewing the evidence that Antony Flew was the most influential atheistic philosopher of the 20th century.

Woody in his famous satirical article SPEECH TO THE GRADUATES wrote, “My good friend Jacques Monod spoke often of the randomness of the cosmos. He believed everything in existence occurred by pure chance with the possible exception of his breakfast, which he felt certain was made by his housekeeper.” Wouldn’t it be more logical to believe that we were put here for a purpose and that universe was fine tuned for us? 

The Fine Tuning Argument for the Existence of God fromAntony Flew!

Imagine entering a hotel room on your next vacation. The CD player on the bedside table is softly playing a track from your favorite recording. The framed print over the bed is identical to the image that hangs over the fireplace at home. The room is scented with your favorite fragrance…You step over to the minibar, open the door, and stare in wonder at the contents. Your favorite beverage. Your favorite cookies and candy. Even the brand of bottled water you prefer…You notice the book on the desk: it’s the latest volume by your favorite author…

Chances are, with each new discovery about your hospitable new environment, you would be less inclined to think it has all a mere coincidence, right? You might wonder how the hotel managers acquired such detailed information about you. You might marvel at their meticulous preparation. You might even double-check what all this is going to cost you. But you would certainly be inclined to believe that someone knew you were coming.      There Is A God  (2007)  p.113-4

The question now becomes do you want to know if there is a God or not? Are you willing to examine the same evidence that I provided to the world’s leading atheistic philosopher in 1994 (Antony Flew) and take time to listen to this short CD I have enclosed?

Below is a piece of that evidence given by Francis Schaeffer and Dr. C. Everett Koop in their book WHATEVER HAPPENED TO THE HUMAN RACE? Chapter 5 concerning the accuracy of the Bible:

Ahab’s line did not last long and was brutally overthrown by a man called Jehu. As one walks toward the Assyrian section in the British Museum, one of the first exhibits to be seen is the famous Black Obelisk. This stands about six feet high and was discovered at Nimrud (Calah) near the Assyrian capital at Nineveh. It describes how King Shalmeneser III compelled Jehu to submit to his authority and to pay him tribute. Here one can see a representation of the kneeling figure of either Jehu or his envoy before the Assyrian king. The inscription tells of Jehu’s submission: “The tribute of Jehu, son of Omri: I received from him silver, gold, a golden bowl, a golden vase with pointed bottom, golden tumblers, golden buckets, tin, a staff for a king and purukhti fruits.”

Jehu is referred to by the Assyrian records as a son of Omri, not because he was literally his son, but because he was on the throne which had been occupied previously by the house of Omri. This event took place about 841 B.C.

Putting them all together, these archaeological records show not only the existence historically of the people and events recorded in the Bible but the great accuracy of the details involved.

The answer to find meaning in life is found in putting your faith and trust in Jesus Christ. The Bible is true from cover to cover and can be trusted.

Thank you again for your time and I know how busy you are.

Everette Hatcher, everettehatcher@gmail.comhttp://www.thedailyhatch.org, cell ph 501-920-5733, Box 23416, LittleRock, AR 72221, United States

Match point Trailer

Match point

Crimes and misdemeanors

Part 2

Part 3

Woody commenting on Midnight in Paris

Midnight in Paris trailer

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The mass media turned Picasso into a celebrity, and the public deprived him of privacy and wanted to know his every step, but his later art was given very little attention and was regarded as no more than the hobby of an aging genius who could do nothing but talk about himself in his pictures. Picasso’s late works are an expression of his final refusal to fit into categories. He did whatever he wanted in art and did not arouse a word of criticism.

With his adaptation of “Las Meninas” by Velászquez and his experiments with Manet’s Luncheon on the Grass, was Picasso still trying to discover something new, or was he just laughing at the public, its stupidity and its inability to see the obvious.

A number of elements had become characteristic in his art of this period: Picasso’s use of simplified imagery, the way he let the unpainted canvas shine through, his emphatic use of lines, and the vagueness of the subject. In 1956, the artist would comment, referring to some schoolchildren: “When I was as old as these children, I could draw like Raphael, but it took me a lifetime to learn to draw like them.”

In the last years of his life, painting became an obsession with Picasso, and he would date each picture with absolute precision, thus creating a vast amount of similar paintings — as if attempting to crystallize individual moments of time, but knowing that, in the end, everything would be in vain.

The movie MIDNIGHT IN PARIS offers many of the same themes we see in Ecclesiastes. The second post looked at the question: WAS THERE EVER A GOLDEN AGE AND DID THE MOST TALENTED UNIVERSAL MEN OF THAT TIME FIND TRUE SATISFACTION DURING IT?

In the third post in this series we discover in Ecclesiastes that man UNDER THE SUN finds himself caught in the never ending cycle of birth and death. The SURREALISTS make a leap into the area of nonreason in order to get out of this cycle and that is why the scene in MIDNIGHT IN PARIS with Salvador Dali, Man Ray, and Luis Bunuel works so well!!!! These surrealists look to the area of their dreams to find a meaning for their lives and their break with reality is  only because they know that they can’t find a rational meaning in life without God in the picture.

The fourth post looks at the solution of WINE, WOMEN AND SONG and the fifth and sixth posts look at the solution T.S.Eliotfound in the Christian Faith and how he left his fragmented message of pessimism behind. In the seventh post the SURREALISTS say that time and chance is all we have but how can that explain love or art and the hunger for God? The eighth  post looks at the subject of DEATH both in Ecclesiastes and MIDNIGHT IN PARIS. In the ninth post we look at the nihilistic worldview of Woody Allen and why he keeps putting suicides into his films.

In the tenth post I show how Woody Allen pokes fun at the brilliant thinkers of this world and how King Solomon did the same thing 3000 years ago. In the eleventh post I point out how many of Woody Allen’s liberal political views come a lack of understanding of the sinful nature of man and where it originated. In the twelfth post I look at the mannishness of man and vacuum in his heart that can only be satisfied by a relationship with God.

In the thirteenth post we look at the life of Ernest Hemingway as pictured in MIDNIGHT AND PARIS and relate it to the change of outlook he had on life as the years passed. In the fourteenth post we look at Hemingway’s idea of Paris being a movable  feast. The fifteenth and sixteenth posts both compare Hemingway’s statement, “Happiness in intelligent people is the rarest thing I know…”  with Ecclesiastes 2:18 “For in much wisdom is much vexation, and he who increases knowledge increases sorrow.” The seventeenth post looks at these words Woody Allen put into Hemingway’s mouth,  “We fear death because we feel that we haven’t loved well enough or loved at all.”

In MIDNIGHT IN PARIS Hemingway and Gil Pender talk about their literary idol Mark Twain and the eighteenth post is summed up nicely by Kris Hemphill‘swords, “Both Twain and [King Solomon in the Book of Ecclesiastes] voice questions our souls long to have answered: Where does one find enduring meaning, life purpose, and sustainable joy, and why do so few seem to find it? The nineteenth post looks at the tension felt both in the life of Gil Pender (written by Woody Allen) in the movie MIDNIGHT IN PARIS and in Mark Twain’s life and that is when an atheist says he wants to scoff at the idea THAT WE WERE PUT HERE FOR A PURPOSE but he must stay face the reality of  Ecclesiastes 3:11 that says “God has planted eternity in the heart of men…” and  THAT CHANGES EVERYTHING! Therefore, the secular view that there is no such thing as love or purpose looks implausible. The twentieth post examines how Mark Twain discovered just like King Solomon in the Book of Ecclesiastes that there is no explanation  for the suffering and injustice that occurs in life UNDER THE SUN. Solomon actually brought God back into the picture in the last chapter and he looked  ABOVE THE SUN for the books to be balanced and for the tears to be wiped away.

The twenty-first post looks at the words of King Solomon, Woody Allen and Mark Twain that without God in the picture our lives UNDER THE SUN will accomplish nothing that lasts. Thetwenty-second post looks at King Solomon’s experiment 3000 years that proved that luxuries can’t bring satisfaction to one’s life but we have seen this proven over and over through the ages. Mark Twain lampooned the rich in his book “The Gilded Age” and he discussed  get rich quick fever, but Sam Clemens loved money and the comfort and luxuries it could buy. Likewise Scott Fitzgerald  was very successful in the 1920’s after his publication of THE GREAT GATSBY and lived a lavish lifestyle until his death in 1940 as a result of alcoholism.

In the twenty-third post we look at Mark Twain’s statement that people should either commit suicide or stay drunk if they are “demonstrably wise” and want to “keep their reasoning faculties.” We actually see this play out in the film MIDNIGHT IN PARIS with the character Zelda Fitzgerald. In the twenty-fourthtwenty-fifth and twenty-sixth posts I look at Mark Twain and the issue of racism. In MIDNIGHT IN PARIS we see the difference between the attitudes concerning race in 1925 Paris and the rest of the world.

The twenty-seventh and twenty-eighth posts are summing up Mark Twain. In the 29th post we ask did MIDNIGHT IN PARIS accurately portray Hemingway’s personality and outlook on life? and in the 30th post the life and views of Hemingway are summed up.

In the 31st post we will observe that just like Solomon Picasso slept with many women. Solomon actually slept with  over 1000 women ( Eccl 2:8, I Kings 11:3), and both men ended their lives bitter against all women and in the 32nd post we look at what happened to these former lovers of Picasso. In the 33rd post we see that Picasso  deliberately painted his secular  worldview of fragmentation on his canvas but he could not live with the loss of humanness and he reverted back at crucial points and painted those he loved with all his genius and with all their humanness!!! In the 34th post  we notice that both Solomon in Ecclesiastes and Picasso in his painting had an obsession with the issue of their impending death!!!

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