MUSIC MONDAY George Harrison’s song “Dehra Dun” says MANY ROADS WILL GET YOU TO HEAVEN

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George Harrison – “Dehra Dun”

Uploaded on Mar 21, 2011

George Harrison “Dehra Dun”

Dehra dehra dun, dehra dun dun
Dehra dehra dun, dehra dun dun
Dehra dehra dun, dehra dun dun
Dehra dehra dun…
Many roads can take you there, many different ways
One direction takes you years, another takes you days
Dehra dehra dun, dehra dun dun
Dehra dehra dun, dehra dun dun
Dehra dehra dun, dehra dun dun
Dehra dehra dun…
Many people on the roads looking at the sights
Many others with their troubles looking for their rights
Dehra dehra dun, dehra dun dun
Dehra dehra dun, dehra dun dun
Dehra dehra dun, dehra dun dun
Dehra dehra dun…
See them move along the road in search of life divine
Beggers in a goldmine
Dehra dehra dun, dehra dun dun
Dehra dehra dun, dehra dun dun
Dehra dehra dun, dehra dun dun
Dehra dehra dun…
Many roads can take you there, many different ways
One direction takes you years, another takes you days
Dehra dehra dun, dehra dun dun
Dehra dehra dun, dehra dun dun
Dehra dehra dun, dehra dun dun
Dehra dehra dun

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George Harrison sings, “Many roads can take you there, many different ways.” However, Christ said in John 14:6:

Jesus said to him, “I am the way, and the truth, and the life. No one comes to the Father except through me.”

John MacArthur: Is Jesus the Only Way?

Published on May 12, 2015

Religious pluralism is one of the greatest challenges facing Christianity in today’s world. Is Jesus Christ just one way among many valid paths to God? In this message, Dr. John MacArthur explains how pluralism conflicts with the exclusive claims of Christ and undermines Christ’s Great Commission.

This message is from our 2008 West Coast Conference, Tough Questions Christians Face: http://www.youtube.com/playlist?list=…

Purchase this conference on DVD: http://www.ligonier.org/store/tough-q…

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If God has not revealed Himself, then there are no absolutes. Good is evil and evil is good. We see this in Hinduism.

The new theologians also have no way to explain why evil exists, and thus they are left with the same problem the Hindu philosophers have; that is, they must say that finally everything that is is equally in God. In Hindu thought one of the manifestations of God is Kali, a feminine representation of God with fangs and skulls hanging about her neck. Why do Hindus picture God this way? Because to them everything that exists now is a part of what has always been, a part of that which the Hindus would call “God”—and therefore cruelty is equal to noncruelty. Modern humanistic man in both his secular and his religious forms has come to the same awful place. Both have no final way to say what is right and what is wrong, and no final way to say why one should choose noncruelty instead of cruelty.

IN THE VIDEO BELOW take notice at the 14:00 minute mark Schaeffer talks about the BEATLES and at the 22:30 minute mark  Schaeffer mentions the Hindu god Kali.

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

Rishikesh – Beatles With The Maharishi (1968)

The Biblical view concerning how sin entered the world is explained in the book GENESIS  IN SPACE AND TIME by Francis Schaeffer, Chapter 5  pages 33  -41:

chapter 5

The space-time fall and its results

Eve was faced with a choice, she pondered the situation and then she put her hand into the history of man and changed the course of human events.

The Fruit Is Eaten

The Genesis account is short and to the point: “And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with her; and he did eat” (Gen. 3:6).1 The flow is from the internal to the external; the sin began in the thought-world and flowed outward. The sin was, therefore, committed in that moment she believed Satan instead of God. At this point the whole matter was decided. Nonetheless, a history is involved, for first she believed Satan, then she ate, and then she gave the fruit to Adam.

Genesis 3:17 refers to this historical flow, for God in speaking to Adam says that he has “hearkened unto the voice of thy wife, and hast eaten of the tree.” And we are reminded, as we have seen in 2 Corinthians 11:3, that as the serpent beguiled Eve through his subtlety (at her point of history) so our own minds (at our point of history) may also be corrupted from the simplicity that is in Christ.

Paul in 1 Timothy 2:14 points out something further: “And Adam was not deceived, but the woman being deceived was in the transgression.” Temptation is extremely hard to resist when it is bound up with the man-woman relationship. For example, in Exodus 34:16 we are warned not to let the man-woman relationship lead us into idolatry (spoken of as going “a whoring after their gods”).

Two great drives are built into man. The first is his need for a relationship to God, and the second his need for a relationship to the opposite sex. A special temptation is bound up with this sexual drive. How many young women are there who are faithful as Christians until they come to a certain age and feel with their whole being, without ever analyzing it, the need for marriage and are then swept over into marrying a non-Christian man? And how many men are there who are faithful until they feel the masculine drive and give up their faithfulness to God by marrying a woman who carries them into spiritual problems for the rest of their life? I look upon such young men and young women as I see them going through this, and I cry for them, because in a way there is no greater agony than suddenly to fall in love and then to realize that one must say no to this natural drive because it leads in that particular case to a severing of our greater relationship-our relationship to God. While what happened in the Garden of Eden was a spacetime historic event, the man-woman relationship and force of temptation it must have presented to Adam is universal.

The Results of the Fall for the Human Race

The results of Adam and Eve’s action are recorded in many places in Scripture, but nowhere more clearly than in Romans 5:12-19 where Paul emphasizes that Adam and Eve’s action marked the entrance of sin into the human  race. I will quote here part of this passage: “Therefore, as through one man sin entered into the world, and death through sin; and so death passed [spread] unto all men, for that all sinned:-for until the law sin was in the world; but sin is not imputed when there is no law. Nevertheless death reigned from Adam until Moses, even over them that had not sinned after the likeness of Adam’s transgression, who is a figure of him that was to come…. For if by the trespass of the one the many died…. For if, by the trespass of the one, death reigned through the one…. So then as through one trespass the judgment came unto all men to condemnation…. For as through the one man’s disobedience the many were made sinners . . .” (ASV).

The repetition makes the point obvious: By the action of one man in a historic, space-time situation, sin entered into the world of men. But this is not just a theoretical statement that gives us a reasonable and sufficient answer to man’s present dilemma, explaining how the world can be so evil and God still be good. It is that in reality, from this time on, man was and is a sinner. Though some men do not like the teaching, the Bible continues like a sledge hammer, driving home the fact that evil has entered into the world of man, all men are now sinners, all men now sin. Listen to God’s declaration concerning the human race in Jeremiah 17:9: “The heart is deceitful above all things, and desperately wicked: who can know it?”

Incidentally, in one way it is easier today than it was a few years ago to proclaim the sinfulness of man. On every side artists, novelists and protest singers are saying, “What’s wrong with man? Something’s wrong with man.” The Bible agrees and gives us a realistic view of life: “The heart is deceitfully wicked.”

I think the strongest words were spoken by Jesus himself in John 8:44, where he turns on those who are claiming the fatherhood of God and says: “Ye are of your father the devil, and the lusts of your father it is your will to do” (ASV). In other words, Jesus is saying, “You choose to be in Satan’s parade.”

Isaiah writes, “All we like sheep have gone astray; we have turned every one to his own way” (Is. 53:6). It is obvious that if “all we like sheep have gone astray,” I can no longer merely say they have gone astray, but I must say I have gone astray. I, too, sin. Paul picks this up in the letter to the Romans as he summarizes the status of all the races-first the Gentiles and then the Jews: “As it is written, There is none righteous, no, not one: There is none that understandeth, there is none that seeketh after God. They are all gone out of the way, they are together become unprofitable; there is none that doeth good, no, not one” (Rom. 3:10-12). If there is none that is righteous, no, not one, then I am included. I have written the word me in the margin of my Bible at this place. Galatians 3:10 carries the force: “For as many as are of the works of the law are under the curse: for it is written, Cursed is everyone that continueth not in all things which are written in the book of the law to do them.” All mankind stands in this place. Not only the revealed law of God but also every moral motion of every man who has ever lived condemns men, because men keep neither the revealed law of God nor even live consistently according to their own moral motions. This is the point of Romans 2:1-2: “Therefore thou art inexcusable, O man, whosoever thou art that judgest: for wherein thou judgest another, thou condemnest thyself; for thou that judgest doest the same things. But we are sure that the judgment of God is according to truth against them which commit such things.”

What Paul says involves the whole man as he comes to Scripture. The Bible never leaves this as a generalization or as an abstraction. Paul writes, “Therefore thou art inexcusable, O man.” Perhaps the most important part of this is that it is in the singular, for it speaks to every individual who hears or reads: “Whosoever thou art that judgest: for wherein thou judgest another, thou condemnest thyself; for thou that judgest doest the same things.” The simple fact is that it is not only the man who has the written law of God, the Bible, who stands under the judgment of law, but every man who ever lived. I have pointed out elsewhere that wherever anthropologists and sociologists have been, they have found that men have moral motions. The specific standards may be different, but all men operate under moral categories. So Paul says here that a man stands condemned on the basis of his own moral motions, for every time he condemns another man he has put himself under the same condemnation. Every man makes moral judgments concerning other men and then does not keep them himself. The results? All men are sinners, and all men sin.

This indictment includes those who are now Christians as well as non-Christians. Men are not born Christians, a sort of special race. Every single man who is now a child of God was at one time a rebel. We are all hewn from the same rock, whether we come from a church background or a non-church background. No sacerdotalism can help man.

Am I a Christian today? Never forget, then, that yesterday I was as much a rebel as anyone who walks on the face of the earth. As Ephesians 2:2-3 says in burning words: “Wherein in time past ye walked according to the course of this world, according to the prince of the power of the air, the spirit that now worketh in the children of disobedience.” He is talking here to the church at Ephesus. But he continues and adds himself to the list, he steps over and joins us, for it is not just “ye” but “we”: “Among whom also we all had our conversation [meaning here our total way of life, our “life-form”] in the lusts of our flesh, fulfilling the desires of the flesh and of the mind; and were by nature the children of wrath, even as others.” This is who we are. If we are Christians today, this is who we have been. We had a different king-the father of lies. We must not be proud, for as Ephesians 5:8 says, “For ye were sometimes darkness, but now ye are light in the Lord.” Remember, you were also marked by Adam’s sin, and you were sinners: “And you, that were sometime alienated and enemies in your mind by wicked works, yet now hath he reconciled” (Col. 1:21).

Don’t be proud. As you look out across the world of sinners, weep for them. Be glad indeed if you are redeemed, but never forget as you look at others that you have been one of them, and in a real sense we are still one with them, for we still sin. Christians are not a special group of people who can be proud; Christians are those who are redeemed-and that is all!

Everywhere we turn we find the same thing: “For we ourselves [notice the “we” again] also were sometimes foolish, disobedient, deceived, serving divers lusts and pleasures, living in malice and envy, hateful, and hating one another” (Tit. 3:3). Paul never allowed those who followed his teaching to forget that they were not a special kind just because they may have been Jews at the beginning and circumcised or just because they were now baptized Christians. Each one must say, “I have been the rebel, I have been the sinner.” The force of this is perhaps brought most fully in the great statement in 1 John 1:10: “If we say that we have not sinned, we make him [God] a liar, and his word is not in us.” To forget in our emotional reactions as well as in our words that we indeed have been sinners, not only involved in the results of Adam’s sin but deliberately sinning ourselves over and over and over again -to forget this is to call God a liar.

Thus, all men are under the judgment of God. Even the marvelous chapter that speaks so clearly of hope, the third go chapter of the Gospel of John, twice emphasizes that men are under God’s judgment. We read, for example, these words in John 3:18: “He that believeth on him is not condemned: but he that believeth not is condemned already, because he hath not believed in the name of the only begotten Son of God.” The testimony of John the Baptist in the last verse of this chapter is even more emphatic: “He that believeth on the Son has everlasting life: but he that believeth not the Son shall not see life; but the wrath of God abideth on him” (v. 36). In a world that loves synthesis, the Bible stands with a message of total antithesis: He who believes has life but he who does not is subject to the wrath, the judgment, of God. Here, then, is the basic result of the space-time fall that we are considering in the flow of history-men are rebels and under the judgment of God.

Guilt before God

Other results of sin were immediately evident in the Garden of Eden: “And the eyes of them both were opened, and they knew that they were naked; and they sewed fig leaves together, and made themselves aprons” (Gen. 3:7). The word aprons in the Hebrew is interesting. Actually, it simply means to “gird yourself about,” so people have translated the word in various ways. One Bible, the Breeches Bible of 1608, got its name from the way it translated this word. But whatever an apron is, it is something one puts around himself.

The significance is that Adam and Eve were brought to a realization of what they had done. They began to feel afraid and to feel guilt-and well they might, for their guilt feelings were rooted in true guilt. When a man has sinned against God, he not only has guilt feelings, he has true guilt; and he has true guilt even if he does not have feelings of guilt.

“And they heard the voice of the LORD God walking in the garden in the cool of the day: and Adam and his wife hid themselves from the presence of the LORD God amongst the trees of the garden” (v. 8). This is the verse we have used in our previous studies to indicate the wonder of the open communication which God had with man. In the garden in the cool (or the wind) of the day, there was open fellowship, open communion-open propositional communication between God and man before the Fall. But now that which was his wonder and his joy, the fulfillment of his need, an infinite, personal reference point with whom he could have communion and communication became the reason for his fear. He was going to meet God face to face! Once man had shaken his fist in the face of God, what had been so wonderful became a just reason for fear, because God was really there.

So we read: “And the LORD God called unto Adam, and said unto him, Where art thou? And he said, I heard the voice in the garden, and I was afraid, because I was naked; and I hid myself. And he said, Who told thee that thou wast naked? Hast thou eaten of the tree, whereof I commanded thee that thou shouldst not eat? And the man said, The woman whom thou gavest to be with me, she gave me of the tree, and I did eat. And the LORD God said unto the woman, What is this that thou hast done? And the woman said, The serpent beguiled me, and I did eat” (vv. 9-13).

The first thing we notice here is that Adam and Eve immediately begin to try to pass the guilt from themselves to another, and we have, therefore, the division which is at the very heart of man’s relationship with man from this point on. The human race is divided-man against man. We do not have to wait for modern psychologists to talk about alienation. Here it is. Man is alienated from his wife-the wife from her husband-as they turn against each other, especially at the points of blame and guilt. All the alienation that any poet will ever write about is here already. In a way, both Adam and Eve were right. Eve had given the fruit to Adam, and Satan had tempted Eve. But that does not shift the responsibility. Eve was responsible and Adam was responsible, and they stood in their responsibility before God.

God’s Judgment on Man and Nature

As God speaks to the parties involved at this moment of history, we find four steps in his judgment of their action. First, he speaks to the serpent who has been used by Satan: “And the LORD God said unto the serpent, Because thou hast done this, thou art cursed above [from among] all cattle, and above [from among] every beast of the field; upon thy belly shalt thou go, and dust shalt thou eat all the days of thy life” (v. 14). As we shall see, all nature becomes abnormal yet the serpent is singled out in a special way “from among all cattle.'”

Second, in verse 15 he speaks to Satan; we will return to that.

Third, he speaks to the woman: “Unto the woman he said, I will greatly multiply thy pain [this is more accurate than the King James word sorrow] and thy conception; in pain thou shalt bring forth children; and thy desire shall be to thy husband, and he shall rule over thee.” There are two parts here: the first relates to the womanness of the woman-the bearing of children-and the second to her relationship to her husband. In regard to the former, God says that he will multiply two things-not just the pain but also the conception. It seems clear that if man had not rebelled there would not have been as many children born.

In regard to the relationship to her husband, he says, “And thy desire shall be to thy husband, and he shall rule over thee.” This one sentence puts an end to any pure democracy. In a fallen world pure democracy is not possible. Rather, God brings structure into the primary relationship of man-the man-woman relationship. In a fallen world (in every kind of society-big and smalland in every relationship) structure is needed for order. God himself here imposes it on the basic human relationship. Form is given and without such form freedom would only be chaos.

It is not simply because man is stronger that he is to have dominion (that’s the argument of the Marquis de Sade). But rather he is to have dominion because God gives this as structure in the midst of a fallen world. The Bible makes plain that this relationship is not to be without love. As the New Testament puts it, the husband is to love his wife as Christ loved the church (Eph. 5:23). In a fallen world it is not surprising to find that men have turned this structure into a kind of slavery. It is not meant to be a slavery. In fact, it is in cultures where the Bible has been influential that the balance has been substantially restored. The Bible balances the structure and the love.

Nevertheless, it is still true: Since the Fall what God. says in verse 16 is to be the structure or the form of the basic human relationship-the man-woman relationship. It is right that a woman should feel a need for freedom, a feeling of being a “human being” in the world. But when she tries to smash the structure of this basic relationship, finally what she does is to hurt herself. It is like unravelling the knot that holds the string of human relationships together. All other things flow from it-the loss of her own children’s obedience and the crumbling of society about her. In a fallen world we need structure in every social relationship.

The Abnormal Universe

Fourth, God speaks to the man: “And unto Adam he said, Because thou hast hearkened unto the voice of thy wife, and hast eaten of the tree, of which I commanded thee, saying, Thou shalt not eat of it: cursed is the ground for thy sake; in toil [the word sorrow in the King James is inaccurate] shalt thou eat of it all the days of thy life” (v. 17). In other words, at this point the external world is changed.

It is interesting that almost all of the results of God’s judgment because of man’s rebellion relate in some way to the external world. They are not just bound up in man’s thought life; they are not merely psychological. Profound changes make the external, objective world abnormal. In the phrase for thy sake God is relating these external abnormalities to what Adam has done in the Fall.

All of these changes came about by fiat. Creation, as we have already seen, came by fiat. And, though we have come to the conclusion of creation with the creation of Eve, yet fiat has not ceased. The abnormality of the external world was brought about by fiat. Putting it into twentieth-century terminology, we can say this: The universe does not display a uniformity of cause and effect in a closed system; God speaks and something changes. We are reminded here of the long arguments that date back to the time of Lyell and Darwin concerning whether there could be such a thing as catastrophe-something that cut across the uniformity of cause and effect. Scripture answers this plainly: Yes, God spoke and that which he had created was changed.

So now the earth itself is abnormal. We read, for example, in Genesis 5:29, which speaks of the world before the flood: “And he [Noah’s father] called his name Noah, saying, This same shall comfort us concerning our work and toil of our hands, because of the ground which the LORD hath cursed.” The name Noah itself simply means rest or comfort. The Scripture says that at this point in the flow of biblical history men knew very well that the toil of their hands was a result of God’s having changed the earth.

Why is it like this? Because, one might say, you, O unprogrammed and significant Adam, have revolted. Nature has been under your dominion (in this sense it is as an extension of himself, as a king’s empire is an extension of himself). Therefore, when you changed, God changed the objective, external world. It as well as you is now abnormal.

It is interesting that in each of the steps of God’s judgment toil is involved: The serpent goes upon his belly; the woman has pain in childbirth; the man has toil in his work.

Verse 18 continues: “Thorns also and thistles shall it bring forth to thee.” The word thistles here means luxuriously-growing but useless plants. The phrase it shall bring forth to thee has in the Hebrew the sense of “it shall be caused to bud.” This phrase, therefore, suggests that here, too, the change was wrought by fiat. Furthermore, the phrase suggests the modern biological term mutation, a non-sterile sport. That is, the plants had been one kind of thing and were reproducing likewise, and then God spoke and the plants began to bring forth something else and continue to reproduce in that new and different form.

The introduction of toil does not mean the introduction of work, because in Genesis 2:15, as we have seen, God took man and put him in the Garden of Eden “to dress it and to keep it.” There was work before the Fall, but certainly we can see the force of the distinction before and after the Fall, in the language of Genesis 5:29, where labor is called the “toil of our hands, because of the ground which the LORD hath cursed.” Since the whole structure of the external world has changed, the meaning of work has changed. Thus Genesis 3:19 says: “In the sweat of thy face shalt thou eat bread, till [the concept of “until” is important here] thou return unto the ground; for out of it was thou taken: for dust thou art, and unto dust shalt thou return.”

The results are twofold. First, man shall have his food (and all else) by the sweat of his brow. Second, there is an end to this-an end that is not a release. The end is the greatest abnormality in the external world-the dissolution of the total man. A time will come at the end of each man’s life when he physically dies and the unity of man the unity of body and soul-is torn asunder. Christianity is not platonic; the soul is not considered all-important. Rather, at physical death that unity which man is meant to be is fractured. This is the second kind of death brought about by the Fall, the first being immediate separation from fellowship with God and the third being eternal death as men are judged in their rebellion and separated from God forever.

Christianity as a system does not begin with Christ as Savior, but with the infinite-personal God who created the world in the beginning and who made man significant in the flow of history. And man’s significant act in revolt has made the world abnormal. Thus there is not a total unbroken continuity back to the way the world originally was. Non-Christian philosophers almost universally agree in seeing everything as normal, assuming things are as they have always been. The Christian sees things now as not the way they have always been. And, of course, this is very important to the explanation of evil in the world. But it is not only that. It is one way to understand the distinction between the naturalistic, non-Christian answers (whether spoken in philosophic, scientific or even religious language) and the Christian answer. The distinction is that as I look about me I know I live in an abnormal world.

Among contemporary philosophers Martin Heidegger in his later writings has suggested a sort of space-time fall. He says that prior to Aristotle, the pre-Socratic Greeks thought in a different way. Then when Aristotle introduced the concept of rationality and logic, there was an epistemological fall. His notion, of course, has no moral overtones at all, but it is intriguing to me that Heidegger has come to realize that philosophy cannot explain reality if it begins with the notion that the world is normal. This the Bible has taught, but the Bible’s explanation for the present abnormal world is in a moral Fall by a significant man, a fall which has changed the external flow of history as no epistemological fall could do. Heidegger’s problem is that, while he well sees the need of a fall, he will not bow before the existence of the God who is there and the knowledge that God has given us. Hence he ends up with an insufficient fall and an insufficient answer.

Separations

Another way to look at the results of the Fall is to notice the separations that are caused by sin. First is the great separation, the separation between God and man. It underlies all other separations, not only in eternity but right now. Man no longer has the communion with God he was meant to have. Therefore, he cannot fulfill the purpose of his existence-to love God with all his heart, soul and mind-to stand as a finite personal point before an infinite-personal reference point and be in relationship with God himself. When man sinned, the purpose of his existence was smashed. And modern man is right when he says that man is dead. It is not that man is nothing, but that he is no longer able to fulfill his mannishness. Genesis 3:23-24 shows this separation between man and God in a real, historic, graphic sense.

As evangelicals we sometimes emphasize the first separation and fail to properly emphasize all the others that now exist. The second great separation is separation of man from himself. Man has fear. Man has psychological problems. How does a Christian understand these? Primarily as the abnormal separation of man from himself. Man’s basic psychosis is his separation from God carried into his own personality as a separation from himself. Thus we have self-deception. All men are liars, but, most importantly, each man lies to himself. The greatest falsehood is not lying to other men but to ourselves. A related aspect is the loss of ability to acquire true knowledge. All his knowledge is now out of shape because the perspective is wrong, the framework is wrong. That is, man does not lose all his knowledge, but he loses “true knowledge,” especially as he makes extensions from the bits and pieces of knowledge he does have.

Furthermore, man has separated his sexual life from its original high purpose as a vehicle of communication of person to person. Sexuality loses its personal dimension; men and women treat each other as things to be exploited. Finally, at physical death comes the separation of the soul from the body, the great separation of a man from himself.

The third of the great separations is man from man. This is the sociological separation. We have seen already how Adam was separated from Eve. Both of them immediately tried to pass off the blame for the Fall. This signals the loss of the possibility of their walking truly side by side in utopian democracy. Not only was man separated from his wife, but soon brother became separated from brother, Cain killing Abel. And, as we will see in the following chapter, there is a separation between the godly and the ungodly line of men. The godly line (those men who have returned to God) and the ungodly line (the unsaved humanity going on in rebellion) constitute two humanities. In one sense, of course, there is one humanity because we all come from one source. We are one blood, one flesh. But in the midst of one humanity, there are two humanities the humanity that still stands in rebellion and the humanity that is redeemed.

Soon in the flow of history we come to the tower of Babel, and with it we have the division of languages. Modern linguistics has helped us to understand how great the issues are here. So much is involved with language. Then after the time of Abraham comes the division between Jew and Gentile. These separations (and others related to them) are like titanic sonic booms in the sociological upheavals coming down to, and perhaps especially in, our day.

The fourth separation is a separation of man from nature and nature from nature. Man has lost his full dominion, and now nature itself is often a means of judgment. There is, for example, the flood at the time of Noah and, of course, nature pitted against Job. The separation of man from nature and nature from nature seems also to have reached a climax in our day.

Man’s sin causes all these separations between man and God, man and himself, man and man, and man and nature. The simple fact is that in wanting to be what man as a creature could not be, man lost what he could be. In every area and relationship men have lost what finite man could be in his proper place.

But there is one thing which he did not lose, and that is his mannishness, his being a human being. Man still stands in the image of God-twisted, broken, abnormal, but still the image-bearer of God. Man did not stop being human. As we have seen in Genesis 9:6 and in James 3:9, even after the Fall men are still in the image of God. Modern man does not see man as fallen, but he can find no significance for man. In the Bible’s teaching man is fallen but significant.

Let us not be misled: Man is still man. The unsaved painter can still paint. The unsaved lover can still love. He still has moral motions. And, though twisted, the unsaved thinker can still think. And furthermore, he lives on after his own death. He doesn’t just come to the end of his life and suddenly the clock stops. Man has meaning and significance. He may think that his history is just trash and junk, but it is not so.

Watch a man as he dies. Five minutes later he still exists. There is no such thing as stopping the existence of man. He still goes on. He has not lost his being as a human being. He has not lost those things which he intrinsically is as a man. He has not become an animal or a machine. And as I look out over the human race and see the lost-separated from God, separated from themselves, separated from other man, separated from nature-they are still men. Man still has tremendous value.

(Francis Schaeffer pictured below)

Image result for francis schaeffer whatever happened to human race?

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Before you even come to the Bible and begin to read it one must realize there are 2 ways to read the Bible. One is just one more religious thing among thousands of other religious is nothing more than another form of a trip, not very, very different actually from a drug trip. The other way is to understand that the Bible is truth and as such what we are listening to is something that is completely contrary to what here about us on every side namely merely statistical averages, relativistic things. Now having said this then I would have to guard myself for the simple reason that it doesn’t mean a person has to believe all of this before he can begin to read the Bible and find truth in the Bible.

I would just say in just passing I was not raised in a Christian family and I was reading much philosophy when I was a young man and I didn’t read the Bible because I believed it was true. I read it simply out of an intellectual honesty, but I did do one thing. I read it exactly as it was written beginning with Genesis 1:1 and going right on, I read it just as I would read another book expecting what was being given was a straight forward statement of what was meant and it wasn’t supposed to be read on a different level than that I would read in another kind of book. As I read it, it answered the questions already at that time I realized that humanistic philosophy couldn’t answer and over a six month period I came to conclude it was truth. Nevertheless, we must keep in the back of our mind how are we reading the Bible, just as another religious trip or am I really wrestling with the question of what is given in all the areas in which it speaks. Is it truth in comparison to merely relativism?

The Bible and Archaeology – Is the Bible from God? (Kyle Butt 42 min)

You want some evidence that indicates that the Bible is true? Here is a good place to start and that is taking a closer look at the archaeology of the Old Testament times. Is the Bible historically accurate? Here are some of the posts I have done in the past on the subject: 1. The Babylonian Chronicleof Nebuchadnezzars Siege of Jerusalem2. Hezekiah’s Siloam Tunnel Inscription. 3. Taylor Prism (Sennacherib Hexagonal Prism)4. Biblical Cities Attested Archaeologically. 5. The Discovery of the Hittites6.Shishak Smiting His Captives7. Moabite Stone8Black Obelisk of Shalmaneser III9A Verification of places in Gospel of John and Book of Acts., 9B Discovery of Ebla Tablets10. Cyrus Cylinder11. Puru “The lot of Yahali” 9th Century B.C.E.12. The Uzziah Tablet Inscription13. The Pilate Inscription14. Caiaphas Ossuary14 B Pontius Pilate Part 214c. Three greatest American Archaeologists moved to accept Bible’s accuracy through archaeology.

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A longtime LINKIN PARK fan responds to Chester Bennington’s suicide and some suggestions from a Christian perspective to those who feel depressed and suicidal

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I have been a longtime LINKIN PARK fan and was very sad to hear of Chester Bennington’s suicide. My favorite song from LINKIN PARK is SOMEWHERE I BELONG and I think that Chester never really found that out for himself. I am hopeful that people will rise up and try to reach those around them that are suffering with depression and help them. Here are some of those lyrics:

I wanna heal, I wanna feel what I thought was never real
I wanna let go of the pain I’ve felt so long
(Erase all the pain till it’s gone)
I wanna heal, I wanna feel like I’m close to something real
I wanna find something I’ve wanted all along
Somewhere I belong

I like the way Colin Foreman put it because I think he is right about Christianity having the answer to the meaning of life (and more on that at the end of this post) :

I firmly believe God will use this generation to revive his body the church on these shores and beyond. I personally have experienced the power of prayer, and know it was the prayers of my family and commuted Christians in my school that saved my soul and brought me to repentance and faith in Christ from the depths of sin. And God can do likewise for the many lost prodigals who are desperately searching for meaning in life.

As Linkin Park put it :
“ I WANT TO HEAL; I WANT TO FEEL;
LIKE I’M CLOSE TO SOMETHING REAL;
I WANT TO FIND SOMETHING I’VE WANTED ALL ALONG;
SOMEWHERE I BELONG”

Young people are searching for somewhere to belong throughout this land and beyond, if only the church would hear their cry.

Somewhere I Belong (Official Video) – Linkin Park

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Crawling (Official Video) – Linkin Park

Linkin Park singer Chester Bennington dies at 41 from apparent suicide

 

 

_-

Leave Out All The Rest (Official Video) – Linkin Park

New Divide (Official Video) – Linkin Park

In The End (Official Video) – Linkin Park

New Details Emerge in Death of Linkin Park’s Chester Bennington

Linkin Park Chester Bennington
Kathy Flynn, WickedGoddessPhotography.com

 

In the aftermath of the death of Linkin Park singer Chester Bennington, more details on his death are coming to light. We warn readers before moving forward that the details concern the manner in which he apparently took his own life.

What I’ve Done (Official Video) – Linkin Park

According to TMZ, law enforcement officials explained that Bennington committed suicide by hanging. The musician was discovered hanging from a door separating his bedroom from his closet. The rocker reportedly was found with a belt around his neck and sources state that there was a partially empty bottle of alcohol in the room where Chester died, but no evidence of drugs. Bennington has spoken frankly in the past about his issues with drugs and alcohol. The singer reportedly left no suicide note.

Faint (Official Video) – Linkin Park

TMZ’s article points out the similarities between Bennington’s death and that of his close friend, Chris Cornell, who died in a hanging incident after a show in Detroit earlier this year. Bennington’s death coincided with the date of Cornell’s birthday.

Numb (Official Video) – Linkin Park

As previously reported, Bennington was discovered by a housekeeper and police were called to the scene. It’s been reported that one of his Linkin Park bandmates arrived at his residence shortly after police arrived as he was picking Bennington up to head to a photo shoot.

One Step Closer (Official Video) – Linkin Park

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Where do we go from here? We can’t bring Chester back but we can help those around us who are dealing with depression and drug addiction.

 

I don’t want to dismiss the problems of alcohol and drug addiction, because they certainly can contribute to depression which can lead to suicide. Rather I want to concentrate in this post to how a person can respond to depression. Sadly Chester  chose suicide because he felt there was no other way like so many others today  depression can overwhelm people.  It is sad that this is such a pressing problem. I think of songs that point this out: Adam’s Song, The Last Resort, etc.

There are two usual approaches to this problem that young people take.

First, you have the worm approach. They crawl into the ground because they don’t want to be close to anyone.

Second, the puppy approach. They do anything they can to get people to like them.

The better approach is to act like the child of God that you are. Feeling loved and accepted starts with your relationship with Christ who is the only one able to meet the deepest needs of your life. (Fast forward to the end of this post if you need a relationship with Christ.) Talking to Jesus and reading his Word- The Bible – are steps to strengthening your friendship with him. He laid down his life for you, so it is obvious that he regards you as a friend worth dying for (John 15:13) That is powerful comfort when you wonder if anyone cares.

Portions of the above post were taken from the excellent devotional book by Josh McDowell, and Ed Stewart “Youth Devotions 2,” published in 2003 by Tyndale. Back then my kids were 17, 14, 9 and 7 and we went through several of these devotions together. Just recently I got the book out of the garage and three of my kids have been meeting with me at 5:30 am every morning and we are going through some of these same devotions again. I thank God for kids who came to me and asked to start meeting with me every morning to spend 30 minutes studying Bible applications and praying together. To God be the glory.

Papa Roach – Last Resort (Censored Version)

This series of posts concerns the song “The Last Resort.”

Amy Winehouse died a few years ago and it was a tragic loss. That really troubled me that she did not seek spiritual help instead of turning to drugs and alcohol. This post today will give hope to those who feel like it is all hopeless.

The band’s place in the pop music landscape was established with the release of their breakout single, “Last Resort,” which was quickly picked up by MTV and nominated for a “Best New Artist Video” award at the 2000 Video Music Awards. The song is a gut-wrenching first-person chronicle of hopelessness that’s gone so deep the singer is seriously contemplating suicide.   But the band is adamant about the fact that the song is about fighting to survive by overcoming depression, rather than allowing it to lead to suicide. “It’s not saying I can’t go on living. It’s saying I can’t go on living this way,” says Dick (Spin, 10/00).

I know there are some curse words in the following song. I have eliminated both times the curse word is used. I really think that there needs to be a response to the young people who are saying things like the words in this song Here are some of the words:

Do you even care if I die pleading, Would it be wrong, would it be right, If I took my life tonight, Chances are that I might, and I’m contimplating suicide, ‘Cause I’m losing my sight, losing my mind, Wish somebody would tell me I’m fine, Nothing’s alright, nothing is fine, I’m running and I’m crying, I never realized I was spread too thin, Till it was too late andI was empty within, Hungry, feeding on my chaos and living in sin, Downward spiral, where do i begin, It all started when i lost my mother, No love for myself and no love for another,Searching to find a love upon a higher level, finding nothing but QUESTIONS AND DEVILS, I can’t go on living this way, Cut my life into pieces, This is my last resort.

My response to these words:”Do you even care if I die pleading, Would it be wrong, would it be right, If I took my life tonight, Chances are that I might, and I’m contimplating suicide” is that you should plead to someone who can do something about your situation and that is Christ!!!!

Below David Powlison asserts:

How do you get the living hope that God offers you in Jesus? By asking. Jesus said, “Ask and it will be given to you; seek and you will find; knock and the door will be opened to you. For everyone who asks receives; he who seeks finds; and to him who knocks, the door will be opened” (Matthew 7:7-8).

Suicide operates in a world of death, despair, and aloneness. Jesus Christ creates a world of life, hope, and community. Ask God for help, and keep on asking. Don’t stop asking. You need Him to fill you every day with the hope of the resurrection.

Below is a portion of the article “Papa Roach—Infesting and reflecting youth culture by Walt Mueller. 

Papa Roach’s Music

In a day and age where the walls are crumbling between what had been a variety of distinctive popular music genres, Papa Roach is like many other chart-topping bands whose music combines sounds that were once distinct. Coby Dick’s raspy and throat-wrenching vocals join with music that incorporates sounds of rap, rock, thrash, funk and metal. Listeners familiar with popular music will hear the influence of Faith No More, the band Dick cites as one of his early favorites. Similar contemporary bands include Korn, Limp Bizkit, The Deftones and P.O.D.

Reviewer Tim Kennedy of Spin describes the resulting sound as “an amalgam of below-the-belt guitar riffage, punk-rock urgency, and half-sung, half-rapped vocals (10/00). Rolling Stone’s Anthony Bozza says listening to Papa Roach is “like standing on a precipice—sustained tension and the threat of a tumble” (8/31/00).

The sound combines with Dick’s lyrics in a powerful and emotional blend that addresses the reality of life for kids who have been burned over and over again. Tobin Esperance says, “We write about things that have happened to our singer, specifically, and friends around us. It’s real life stuff. We’re not writing about s___ that we don’t know about, like girls and cars and money … we only know real life bulls___ that happens” (nyrock.com). Coby Dick says of his autobiographical music, “I’m venting my emotions. It’s blunt” (Rolling Stone, 8/31/00). He says “Papa Roach, lyrically, is my counseling” (Billboard,6/10/00). 

Infest (2000)

Papa Roach released the album they now consider their first in April of 2000. The album quickly began to sell as a result of radio and MTV exposure, went gold after two months thanks to scoring with MTV’s Total Request Live audience, and had gone double platinum by September 2000.

Papa Roach offers an introduction to their music, mission, message and intentions on the album’s title cut. After introducing himself to his listeners, Coby Dick informs them his “God-given talent is to rock all the nations.” In this, the band’s “first manifesto,” the group lays out their plan to “infest” the world and young minds (“wrap you in my thoughts”) with an angry musical message of anarchy and rebellion against a messed-up world that’s let them down: “We’re going to infest/We’re getting in your head/What is wrong with the world today/The government, media or your family.” Institutions and people are not to be trusted. In fact, “First they shackle your feet/Then they stand you in a line/Then they beat you like meat/Then they grab you by your mind … people are the problem today.” Dick admits the struggle so many young people feel: “the game of life is crazy.” Alone in this sea of brokenness and hopelessness, Dick asks, “Would you cry if I died today/I think it be better if you did not say.”

The band’s place in the pop music landscape was established with the release of their breakout single, “Last Resort,” which was quickly picked up by MTV and nominated for a “Best New Artist Video” award at the 2000 Video Music Awards. The song is a gut-wrenching first-person chronicle of hopelessness that’s gone so deep the singer is seriously contemplating suicide. (See lyrics on page 7.) The fact that “Last Resort” is part of the mainstream pop music landscape indicates it is connecting with more and more kids who see it as an expression of their own inner struggles. For casual listeners, the song is very confusing. Listening to the song reveals the criticisms claiming the song promotes suicide could certainly be warranted. Kids who are riding the fence because of numerous other problems in their lives could interpret the song in a way that would give them permission to go over the edge, especially if they don’t know the story behind the song. But the band is adamant about the fact that the song is about fighting to survive by overcoming depression, rather than allowing it to lead to suicide. “It’s not saying I can’t go on living. It’s saying I can’t go on living this way,” says Dick (Spin, 10/00). He also says, “Last Resort” has “a positive edge to it, as far as like, ‘Don’t succumb to it. Keep yourself afloat.’ With these problems in your life, find a friend you can confide in” (Sonicnet.com). Based on the band’s resolve to survive like a roach, one would have to take them at their word. The song chronicles the suicide attempt of one of Coby Dick’s former roommates. After his “unsuccessful” attempt, the young man “turned to God” … Dick claims the attempt was what killed the rotting part of his roommate’s soul. The song has definitely connected. “We’ve gotten so many e-mails from people who tell us ‘Last Resort’ saved their lives,” says Dick. “It makes some people feel less alone” (Rolling Stone,8/31/00).

The album’s third cut is equally powerful. Released as a single and put in heavy rotation on MTV, “Broken Home” (See lyrics) is an overt lyrical, sonic and visual cry from the heart of one whose young life has been shattered by family breakdown. Written by Dick about his feelings after his parents’ divorce, the song offers listeners an emotional window into the reality of kids beaten up by our current culture of divorce. Every parent considering divorce should sit and watch this video. It is powerful.

“Dead Cell” has been called “a darkly sarcastic paean to Columbine kids the world over” (Alternative Press, 10/00). If that’s the case, the sarcasm is not easily heard. The dead cells are described as “born with no soul/lack of control/cut from the mold of the anti-social … sick in the head/living but dead.” Loud, angry and fast, the song could be interpreted by some who are young and angry as a call to arms: “I’m telling ya the kids are getting singled out/Let me hear the dead cells shout.”

“Between Angels and Insects” is an insightful rant against American greed and materialism. Dick says he wrote the song to remind himself that the things the band’s success will bring are not the things that make one happy. The lyrics are powerful and excerpts could serve to spark discussion with teens about the false promises of materialism: “Diamond rings get you nothing/But a life-long lesson/And your pocketbook stressin’/You’re a slave to the system/Working jobs that you hate/For s___ that you don’t need/It’s too bad the world is based on greed/Step back and stop thinking ‘bout yourself … ‘cause everything is nothing/And emptiness is in everything … Possessions they are never gonna fill the void … the things you own, own you.” When discussing the message of the song Buckner says, “all the worldly things that people equate with happiness—do they necessarily make you happy? You can have Rolexes and diamond rings and cars and houses … but really the things that make you happy are peace of mind and passion in your life” (Alternative Press, 10/00).

Relational selfishness and greed are the subject of “Blood Brothers,” a song offering powerful evidence of the depth of sin’s hold on humanity: “It’s our nature to destroy ourselves/It’s our nature to kill ourselves/It’s our nature to kill each other/It’s in our nature to kill, kill, kill.” The song speaks about allegiance in a world where you can’t trust anybody and you’ve got to watch your back. The lyrics leave one thinking the song could serve as an anthem for a street gang or other fringe subculture: “Blood brothers keep it real to the end.”

Themes of severe relational breakdown and the resulting pain continue in “Revenge,” a song about a girl who was “abused with forks, knives and razorblades” and who finally left the man who abused her in fits of rage. Listeners who have been abused will identify with the song’s mention of the ever-present and visible emotional scars they so often feel: “Chaos is what she saw in the mirror/Scared of herself/And the power that was in her/It took over and weighed heavily on her shoulders/Militant insanity is now what controlled her.” The song indicates that she exacts revenge on him, although the method and outcome is unclear.

Backstabbers are the subject of “Snakes,” an angry and threatening rant at those who betray friends. The song reflects the distrust so many kids feel because of the parade of letdowns they’ve experienced. The chorus asks, “Do you like how it feels to be bit in the neck by the snake that kills?/Do you know how it feels to be stabbed in the back then watch the blood spill?/I don’t like how it feels.”

Coby Dick chronicles his wrestling match with alcohol on “Binge,” a song that serves as a personal confession. “All I need is a bottle/And I don’t need no friends/Now wallow in my pain/I swallow as I pretend/To act like I’m happy when I drink till no end/I’m losing all my friends, I’m losing in the end … When I’m sober, life bores me/So I get drunk again.” The song is a heart cry about what drives the binge drinker, how he really feels inside and his desire to see it end. In the song’s final lines, Dick sings, “I wish things would change/Wish they’d rearrange.”

“Never Enough” is another cry for help from a confused and tortured young soul that is deeply longing for redemption. “Life’s been sucked out of me/And this routine’s killing me … somebody put me out of my misery,” Dick sings. The song will resonate with kids who are lost, purposeless and without peace. The song’s conclusion is a loud cry for help: “I feel as if I’m running/Life will knock me down.”

“Thrown Away” offers a view of life through the eyes of a kid struggling with ADD, something Coby Dick knows well as he watched his brother’s personal struggle with the disorder. “My heart is bleeding and the pain will not pass … I want to be thrown away … I am a mess, I’ve made a huge mess/I can’t control myself/I’m losing it, I’ve lost it/I’ve spilt all my marbles … sometimes I want to be thrown away.”

The album concludes with an unlisted hidden cut called “Tightrope.” The track is stylistically unlike any other cuts on the album as it is done in reggae style. The lyrics are a confusing mix of thoughts where Dick calls his words “weapons in which I murder you.” The song offers a confession regarding the ethical dilemmas faced by kids in these confusing times: “there is a thin line between what’s good and what is evil/I will tiptoe down that line/But I feel unstable/My life is a circus and I’m tripping down the tightrope/There’s nothing left to save me now so I will not look down.”

Help for the Suicidal

God offers you true, living hope–not a false hope based on your death.
By David Powlison

WHAT YOU NEED TO DO

It’s easy to see the risk factors for suicide—depression, suffering, disillusioning experiences, failure—but there are also ways to get your life back on track by building protective factors into your life.

Ask for help

How do you get the living hope that God offers you in Jesus? By asking. Jesus said, “Ask and it will be given to you; seek and you will find; knock and the door will be opened to you. For everyone who asks receives; he who seeks finds; and to him who knocks, the door will be opened” (Matthew 7:7-8).

Suicide operates in a world of death, despair, and aloneness. Jesus Christ creates a world of life, hope, and community. Ask God for help, and keep on asking. Don’t stop asking. You need Him to fill you every day with the hope of the resurrection.

At the same time you are asking God for help, tell other people about your struggle with hopelessness. God uses His people to bring life, light, and hope. Suicide, by definition, happens when someone is all alone. Getting in relationship with wise, caring people will protect you from despair and acting out of despair.

But what if you are bereaved and alone? If you know Jesus, you still have a family—His family is your family. Become part of a community of other Christians. Look for a church where Jesus is at the center of teaching and worship. Get in relationship with people who can help you, but don’t stop with getting help. Find people to love, serve, and give to. Even if your life has been stripped barren by lost relationships, God can and will fill your life with helpful and healing relationships.

Grow in godly life skills

Another protective factor is to grow in godly living. Many of the reasons for despair come from not living a godly, fruitful life. You need to learn the skills that make godly living possible. What are some of those skills?

    • Conflict resolution. Learn to problem-solve by entering into human difficulties and growing through them. (See Ask the Christian Counselor article, “Fighting the Right Way.”)
    • Seek and grant forgiveness. Hopeless thinking is often the result of guilt and bitterness.
    • Learn to give to others. Suicide is a selfish act. It’s a lie that others will be better off without you. Work to replace your faulty thinking with reaching out to others who are also struggling. Take what you have learned in this article and pass it on to at least one other person. Whatever hope God gives you, give to someone who is struggling with despair.

Live for God

When you live for God, you have genuine meaning in your life. This purpose is far bigger than your suffering, your failures, the death of your dreams, and the disillusionment of your hopes. Living by faith in God for His purposes will protect you from suicidal and despairing thoughts. God wants to use your personality, your skills, your life situation, and even your struggle with despair to bring hope to others.

He has already prepared good works for you to do. Paul says, “For we are his workmanship, created in Christ Jesus for good works, which God prepared beforehand, that we should walk in them” (Ephesians 2:10). As you step into the good works God has prepared for you—you will find that meaning, purpose, and joy.

Adrian Rogers: Dealing with Depression [#1150] (Audio)

Published on Jun 1, 2016

None of us are immune to depression. And if you’re always burning the candle at both end, frazzled and stretched too thin, you’re a prime target for Satan’s attacks. Even great men of God have struggled with depression. Find out today how God lovingly dealt with them and how you can regain victory over this debilitating emotion.

Scripture References: Numbers 11:15; 1 Kings 19:4
Series: Getting a Handle on Your Emotions
This Message: https://www.lwf.org/products/1150CD
This Series: https://www.lwf.org/products/CDA112
1. Dealing with Doubt [#1148]
2. Dealing with Depression [#1150]
3. Dealing with Loneliness [#1151]
4. Dealing with Stress [#1153]
5. Inferiority [#1155]
6. The Blight of Bitterness [#1136]
7. God’s Answer to Anger [#1009]
8. How to Handle Your Fear [#1225]

If you would like more information please visit these following websites:
Official Website: https: http://www.lwf.org/
Audio Messages: http://www.oneplace.com/ministries/lo…
Video Messages: http://www.lightsource.com/ministry/l…
Follow on Twitter: https://twitter.com/lwfministries
Like on Facebook: https://www.facebook.com/Love-Worth-F…
Youtube Channel: https://www.youtube.com/channel/UCS-l…

If you would like to contact LWF Ministries
Write to: PO Box 38300, Memphis, Tennessee 38183
Call: (901) 382-7900

Somewhere I Belong (Official Video) – Linkin Park

[Verse 1: Mike Shinoda (and Chester Bennington)]
(When this began)
I had nothing to say
And I get lost in the nothingness inside of me
(I was confused)
And I let it all out to find
That I’m not the only person with these things in mind
(Inside of me)
But all the vacancy the words revealed
Is the only real thing that I’ve got left to feel
(Nothing to lose)
Just stuck, hollow and alone
And the fault is my own, and the fault is my own

[Hook: Chester and (Mike)]
I wanna heal, I wanna feel what I thought was never real
I wanna let go of the pain I’ve felt so long
(Erase all the pain till it’s gone)
I wanna heal, I wanna feel like I’m close to something real
I wanna find something I’ve wanted all along
Somewhere I belong

[Verse 2: Mike and (Chester)]
And I’ve got nothing to say
I can’t believe I didn’t fall right down on my face

(I was confused)
Looking everywhere only to find
That it’s not the way I had imagined it all in my mind

(So what am I?)
What do I have but negativity?
’Cause I can’t justify the way, everyone is looking at me
(Nothing to lose)
Nothing to gain, hollow and alone
And the fault is my own, and the fault is my own

[Hook: Chester and (Mike)]
I wanna heal, I wanna feel what I thought was never real
I wanna let go of the pain I’ve felt so long
(Erase all the pain till it’s gone)
I wanna heal, I wanna feel like I’m close to something real
I wanna find something I’ve wanted all along
Somewhere I belong

 

We are looking for somewhere we belong. The first thing we have to resolve is our relationship with our Creator.

Adrian Rogers: Salvation #2067

Published on Nov 23, 2016

SALVATION: What is the greatest need of humanity? Salvation through faith in Jesus Christ. That may sound old-fashioned, but one day it will make a huge difference in your life. Learn what you gain by your salvation.
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Chris Cornell Remembered by Linkin Park’s Chester Bennington

Casey Curry/Invision/AP
Chris Cornell poses for a portrait to promote his latest album, “Higher Truth,” at The Paramount Ranch in Agoura Hills, Calif. on July 29, 2015.

Chris Cornell was good friends with Linkin Park’s Chester Bennington. When he toured with Linkin Park in the late-’00s, Bennington would join Cornell to sing Temple of the Dog’s “Hunger Strike” and Cornell would repay the favor and help sing “Crawling.”

On Thursday (May 18), in light of Chris Cornell’s death, Bennington has shared a note to remember his friend. Read it below:

 

Dear Chris,

I dreamt about the Beatles last night. I woke up with Rocky Raccoon playing in my head and a concerned look on my wife’s face. She told me my friend has just passed away. Thoughts of you flooded my mind and I wept. I’m still weeping, with sadness, as well as gratitude for having shared some very special moments with you and your beautiful family. You have inspired me in many ways you could never have known. Your talent was pure and unrivaled. Your voice was joy and pain, anger and forgiveness, love and heartache all wrapped up into one. I suppose that’s what we all are. You helped me understand that. I just watched a video of you singing ‘ A day in the life ‘ by the Beatles and thought of my dream. I’d like to think you were saying goodbye in your own way. I can’t imagine a world without you in it. I pray you find peace in the next life. I send my love to your wife and children, friends and family. Thank you for allowing me to be a part of your life.

With all of my love.
Your friend,
Chester Bennington

Chris Cornell * A Day In The Life (Beatles Cover) Live HD

 

SGT. PEPPER’S LONELY HEARTS CLUB BAND ALBUM was the Beatles’ finest work and in my view it had their best song of all-time in it. The revolutionary song was A DAY IN THE LIFE which both showed the common place part of everyday life and also the sudden unexpected side of life.  The shocking part of the song included the story of TARA BROWNE. You can read more about Tara Browne later in this post and another fine article on him was written by GLENYS ROBERTS in 2012 called, “A Day in the Life: Tragic true story behind one of the Beatles’ most famous hits revealed in new book.”

(Francis Schaeffer pictured below)

Francis Schaeffer noted that King Solomon said that death can arrive unexpectedly at anytime in Ecclesiastes 9:11-13: 

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. 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. 13 I have also seen this example of wisdom under the sun, and it seemed great to me.

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Death can come at anytime. Albert Camus in a speeding car with a pretty girl, then Camus dead. Lawrence of Arabia coming over the crest of a hill at 100 mph on his motorcycle and some boy stands in the road and Lawrence turns aside and dies.  

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The Beatles reached out to those touched by this reality. No wonder in the video THE AGE OF NON-REASON (at 14 min mark) 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.”

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Let’s get back to Solomon and his search  for meaning in life in what I call the 6 big L words in the Book of Ecclesiastes. He looked into  learning (1:16-18), laughter, ladies, luxuries,  and liquor (2:1-3, 8, 10, 11), and labor (2:4-6, 18-20). After searching in all these areas just like Chris Cornell and Chester Bennington he found them to be  “vanity and a striving after the wind.”

Ecclesiastes 2:7-11 English Standard Version (ESV)

7I had also great possessions of herds and flocks, more than any who had been before me in Jerusalem. 8 I also gathered for myself silver and gold and the treasure of kings and provinces. So I became great and surpassed all who were before me in Jerusalem…10 And whatever my eyes desired I did not keep from them. 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.

“For what does it profit a man to gain the whole world and forfeit his soul?” Mark 8:36 (Christ’s words)

God put Solomon’s story in Ecclesiastes in the Bible with the sole purpose of telling people that without God in the picture they will find out the emptiness one feels when possessions or anything else BELOW THE SUN are trying to fill the void that God can only fill.

Then in the last chapter of Ecclesiastes Solomon returns to looking above the sun and he says that obeying the Lord is the proper way to live your life. 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. If you need more evidence then go to You Tube and watch the short videos  “Francis Schaeffer – The Biblical Flow of History & Truth (1),“(3 min, 5 sec) and “Dr. Francis Schaeffer – The Biblical Flow of Truth & History (part 2),” (10 min, 46 sec).

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Cocaine killed Whitney Houston, list of other rockstars who died from drug related causes

  AFP reported this morning: Whitney Houston ‘drowned in bath after taking cocaine’ By Michael Thurston | AFP – 9 hrs ago Grammy-winning pop legend Whitney Houston died from accidental drowning in her hotel bathtub after taking cocaine which could have triggered a heart attack, coroners said. Houston, who died at age 48 in the bathtub of […]

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The late Amy Winehouse wins a grammy!!!!

Amy Winehouse wins a  Grammy!!! Take a look. Amy Winehouse’s parents accept Grammy Late Amy Winehouse gets Grammy award for best pop performance by a duo for duet with Tony Bennett. Singer Tony Bennett and parents of the late Amy Winehouse Mitch and Janis Winehouse accept the award for Best Pop Duo/Group Performance for “Body […]

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It was so sad to lose these people so soon. The Curse of 27 This page is in response to my most frequently asked questions – is there really a Curse of 27, how many musicians actually died at that age, and who are they. When legendary Blues man, Robert Johnson, was killed at the age […]

 

Amy Winehouse:Can someone die from drinking too much at one time?

A curve ball in the Amy Winehouse case.   Troubled Brit singer Amy Winehouse was found dead at her London home in July. / AP FILE PHOTO Written by JILL LAWLESS, | Associated Press FILED UNDER Entertainment LONDON — The coroner who oversaw the inquest into the death of singer Amy Winehouse has resigned after her […]

 

Solution to the problem of loneliness among young people

Jim Morrison’s picture above. He died way too young and many of our young people turn to drugs and suicide because of  loneliness. It is sad that this is such a pressing problem. I think of songs that point this out: Adam’s Song, The Last Resort, etc. There are two usual approaches to this problem that […]

 

 

 

 

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FRIEDMAN FRIDAY ADVICE FOR PRESIDENT TRUMP:Free to Choose Part 9: How to Cure Inflation Featuring Milton Friedman

ADVICE FOR PRESIDENT TRUMP:Free to Choose Part 9: How to Cure Inflation Featuring Milton Friedman

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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 173 Nat Hentoff, historian,atheist, pro-life advocate, novelist, jazz and country music critic, and syndicated columnist (Featured artist is Sedrick Huckaby )

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Nat Hentoff on abortion

Secular Pro-Lifer Nat Hentoff Showed Me the Holistic Power of Truth

Image: Waring Abbott / Getty Images

Nat Hentoff—author, jazz critic, and Village Voice columnist for 50 years—died this weekend at the age of 91. Hentoff was a liberal, progressive atheist—yet he profoundly shaped my Christian belief and practice.

In 1986, when he was already a wizened old civil libertarian and secularist pundit, Hentoff researched a number of high-profile cases of disabled infants who had been denied simple, life-saving procedures and instead allowed to die of starvation and dehydration. The resulting story, “The Awful Privacy of Baby Doe,” was published in The Atlantic and marked the awakening of Hentoff’s conscience on abortion.

He had to admit, he later explained in a lecture given to Americans United for Life, that the slope from abortion to infanticide to euthanasia is “not slippery at all, but rather a logical throughway once you got on to it”:

Now, I had not been thinking about abortion at all. I had not thought about it for years. I had what W. H. Auden called in another context a “rehearsed response.” You mentioned abortion and I would say, “Oh yeah, that’s a fundamental part of women’s liberation,” and that was the end of it.

But then I started hearing about “late abortion.” The simple “fact” that the infant had been born, proponents suggest, should not get in the way of mercifully saving him or her from a life hardly worth living. At the same time, the parents are saved from the financial and emotional burden of caring for an imperfect child.

And then I heard the head of the Reproductive Freedom Rights unit of the ACLU saying—this was at the same time as the Baby Jane Doe story was developing on Long Island—at a forum, “I don’t know what all this fuss is about. Dealing with these handicapped infants is really an extension of women’s reproductive freedom rights, women’s right to control their own bodies.”

That stopped me. It seemed to me we were not talking about Roe v. Wade. These infants were born. And having been born, as persons under the Constitution, they were entitled to at least the same rights as people on death row—due process, equal protection of the law. So for the first time, I began to pay attention to the “slippery slope” warnings of pro-lifers I read about or had seen on television. Because abortion had become legal and easily available, that argument ran—as you well know—Infanticide would eventually become openly permissible, to be followed by euthanasia for infirm, expensive senior citizens.

His words, although based in reason, not faith, demonstrate that all truth is God’s truth and that the truth of the Bible governs the nature of reality in ways that even the unbeliever can recognize.

Hentoff’s growing awareness of the nature of abortion-on-demand wasn’t an isolated incident; the 1980s raised consciousness for a lot of us on the issue of abortion. In 1987, a year following his Atlantic essay, I, too, became pro-life. For me it was the result of viewing The Silent Scream, a video showing via ultrasound a first-trimester abortion taking place.

As a cradle Christian who had never doubted Jesus or my saving faith in him, I, like Hentoff, had before my pro-life conversion relied on my own “rehearsed responses.” I had never needed to defend my faith (to others or, more importantly, myself) until I began to apply my Christian beliefs to the issue of abortion amid the culture wars.

But that was just the start. The abortion issue helped me to live out my Christian worldview more consistently and courageously. From the opposite end of the worldview spectrum, Hentoff’s example helped me to understand the holism of truth. The battle over abortion—or any “issue” at any time—must always be for the Christian a greater battle for truth, wherever, as Augustine said, it may be found.

Shortly after adopting my pro-life views, I began protesting at local clinics. Coincidentally (or, more likely, providentially), I had also just begun my PhD program. Imagine a pro-life Christian activist at the most liberal department in a liberal public university in one of the most liberal states in the country. As far as I know, I was the only Christian in my department. I was certainly the only one publicly opposing abortion. In such an environment, I knew I wouldn’t likely be popular—but I had no idea that I would be hated and silenced. I had thought we were all there to pursue truth in our learning, but it seems I was mistaken.

My officemate asked me to take my pro-life flyers down from our door (offering to take down her lesbian literature in return). A professor recorded a complaint about my protest activities in my grade report. Worst was how some professors and fellow students avoided eye contact with me in the halls. One student wrote a column in a student newspaper objecting to the pro-life week my club held on campus, exhorting students to spit on and kick the pro-lifers. The university ordered our club to cancel our display.

I was naïve enough to think that standing up for what I believed in would bring some respect even if others didn’t agree. Studying within the liberal arts, I thought truth might prevail. But I was mistaken. These liberals weren’t tolerant. They weren’t even truly liberal—not in the classical sense of freely pursuing knowledge.

I later came across Nat Hentoff’s 1992 book, Free Speech for Me—But Not for Thee: How the American Left and Right Relentlessly Censor Each Other. In the prologue, Hentoff explained that part of his inspiration was the oppression of pro-life activists and the failure of liberals to speak out against it—at last, a liberal thinker striving for consistency. His efforts helped me to see where Christians and conservatives must do the same.

Reading Hentoff’s work, I was awed at one for whom integrity meant more than merely marching in lockstep with his own kind. While Hentoff objected, rightly, in his book to the censoriousness of conservatives, he called out his fellow leftists for similar impulses, finding such behavior contradictory to liberal values.

As I began thinking through free speech issues, I realized that Christians, not liberal secularists, have more to lose from censorship. The legal cases piling up against my fellow pro-life activists and me attested to this. But even more important, I came to understand that not only do Christians have more to lose from restrictions on speech, but we have less reason to fear even wrong ideas.

The way to combat falsehood is not in suppressing it, but in countering it with truth. For just as light dispels darkness, so wisdom excels folly (Ecc. 2:13). The 17th century Puritan and poet John Milton was one of the first modern Christians to defend free speech. He did so by affirming truth’s undefeatable power:

For who knows not that Truth is strong, next to the Almighty? She needs no policies, nor stratagems, nor licensings to make her victorious; those are the shifts and the defences that error uses against her power. Give her but room, and do not bind her when she sleeps . . . And though all the winds of doctrine were let loose to play upon the earth, so Truth be in the field, we do injuriously, by licensing and prohibiting, to misdoubt her strength.

Let her and Falsehood grapple; who ever knew Truth put to the worse, in a free and open encounter? Her confuting is the best and surest suppressing.

In Milton’s day, suppression of truth was a matter of life and death. Nat Hentoff recognized that this is still true today. And when my university tried to prevent my pro-life student club from expressing our ideas about abortion in display of commemorative crosses, Hentoff was one of the first to call in support of our effort.

Despite my disagreements with Hentoff on other topics, to him I owe my understanding as a Christian that because we believe in and have access to the truth, we have the least to fear from the free and open exchange of ideas. When someone with such a dramatically different worldview recognized and upheld at great personal cost the belief that all lives are indeed created equal, I saw the power of truth at work.

Thank you, Nat. Your legacy of integrity and courage lives on.

Nat Hentoff like and Milton Friedman and John Hospers was a hero to Libertarians. Over the years I had the opportunity to correspond with some prominent Libertarians such as Friedman and Hospers. Friedman was very gracious, but Hospers was not. I sent a cassette tape of Adrian Rogers on Evolution to John Hospers in May of 1994 which was the 10th anniversary of Francis Schaeffer’s passing and I promptly received a typed two page response from Dr. John Hospers. Dr. Hospers had both read my letter and all the inserts plus listened to the whole sermon and had some very angry responses. If you would like to hear the sermon from Adrian Rogers and read the transcript then refer to my earlier post at this link.  Earlier I posted the comments made by Hospers in his letter to me and you can access those posts by clicking on the links in the first few sentences of this post or you can just google “JOHN HOSPERS FRANCIS SCHAEFFER” or “JOHN HOSPERS ADRIAN ROGERS.”

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Likewise I read a lot of material from Nat Hentoff and I wrote him several letters. In the post I will include one of those letters.

Nat Hentoff on abortion

Published on Nov 5, 2016

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 xxxxxxxxxxTo Nat Hentoff c/o Cato Institute,   From everettehatcher@gmail.com,        6-26-14 

 

You are one of my biggest pro-life heroes along with Leo Alexander!!!!      Just the other day I sent you the CD called “Dust in the Wind, Darwin and Disbelief.” I know you may not have time to listen to the CD but on the first 2 1/2 minutes of that CD is the hit song “Dust in the Wind” by the rock group KANSAS and was written by Kerry Ligren in 1978. Would you be kind enough to read these words of that song given below and refute the idea that accepting naturalistic evolution with the exclusion of God must lead to the nihilistic message of the song! Or maybe you agree with Richard Dawkins and other scholars below?

DUST IN THE WIND:

I close my eyes only for a moment, and the moment’s gone

All my dreams pass before my eyes, a curiosity

Dust in the wind, all they are is dust in the wind

Same old song, just a drop of water in an endless sea

All we do crumbles to the ground, though we refuse to see

Dust in the wind, all we are is dust in the wind

Now, don’t hang on, nothing lasts forever but the earth and sky

It slips away, and all your money won’t another minute buy

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Humans have always wondered about the meaning of life…life has no higher purpose than to perpetuate the survival of DNA…life has no design, no purpose, no evil and no good, nothing but blind pitiless indifference. —Richard Dawkins

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The vast majority of people believe there is a design or force in the universe; that it works outside the ordinary mechanics of cause and effect; that it is somehow responsible for both the visible and the moral order of the world. Modern biology has undermined this assumption…But beginning with Darwin, biology has undermined that tradition. Darwin in effect asserted that all living organisms had been created by a combination of chance and necessity–natural selection… First, God has no role in the physical world…Second, except for the laws of probability and cause and effect, there is no organizing principle in the world, and no purpose.  (William B. Provine, “The End of Ethics?” in HARD CHOICES ( a magazine companion to the television series HARD CHOICES, Seattle: KCTS-TV, channel 9, University of Washington, 1980, pp. 2-3).

That Man is the product of causes which had no prevision of the end they were achieving; that his origin, his growth, his hopes and fears, his loves and his beliefs, are but the outcome of accidental collocations of atoms; …that all the labors of the ages, all the devotion, all the inspiration, all the noonday brightness of human genius, are destined to extinction in the vast death of the solar system, and that the whole temple of Man’s achievement must inevitably be buried beneath the debris of a universe in ruins—all these things, if not quite beyond dispute, are yet so nearly certain, that no philosophy which rejects them can hope to stand. Bertrand Russell

The British humanist H. J. Blackham (1903-2009) put it very plainly: 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).

In the 1986 debate on the John Ankerberg show between Paul Kurtz (1925-2012) and Norman Geisler, Kurtz reacted to the point Blackham was making by asserting:

I think you may be quoting Blackham out of context because I’ve heard Blackham speak, and read much of what he said, but Blackham has argued continuously that life is full of meaning; that there are points. The fact that one doesn’t believe in God does not deaden the appetite or the lust for living. On the contrary; great artists and scientists and poets and writers have affirmed the opposite.

I read the book FORBIDDEN FRUIT by Paul Kurtz and I had the opportunity to correspond with him but I still reject his view that optimistic humanism withstand the view of nihilism if one accepts there is no God. Christian philosopher R.C. Sproul put it best:

Nihilism has two traditional enemies–Theism and Naive Humanism. The theist contradicts the nihilist because the existence of God guarantees that ultimate meaning and significance of personal life and history. Naive Humanism is considered naive by the nihilist because it rhapsodizes–with no rational foundation–the dignity and significance of human life. The humanist declares that man is a cosmic accident whose origin was fortuitous and entrenched in meaningless insignificance. Yet in between the humanist mindlessly crusades for, defends, and celebrates the chimera of human dignity…Herein is the dilemma: Nihilism declares that nothing really matters ultimately…In my judgment, no philosophical treatise has ever surpassed or equaled the penetrating analysis of the ultimate question of meaning versus vanity that is found in the Book of Ecclesiastes. 

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Kerry Livgren is the writer of the song “Dust in the Wind” and he said concerning that song in 1981 and then in 2006:

 1981: “When I wrote “Dust in the Wind” I was  writing about a yearning emptiness that I felt which millions of people identified with because the song was very popular.” 2006:“Dust In the Wind” was certainly the most well-known song, and the message was out of Ecclesiastes. I never ceased to be amazed at how the message resonates with people, from the time it came out through now. The message is true and we have to deal with it, plus the melody is memorable and very powerful. It disturbs me that there’s only part of the [Christian] story told in that song. It’s about someone yearning for some solution, but if you look at the entire body of my work, there’s a solution to the dilemma.”

Ecclesiastes reasons that chance and time have determined the past and will determine the future (9:11-13), and power reigns in this life and the scales are not balanced(4:1). Is that how you see the world? Solomon’s experiment was a search for meaning to life “under the sun.” Then in last few words in Ecclesiastes he looks above the sun and brings God back into the picture: “The conclusion, when all has been heard, is: Fear God and keep His commandments, because this applies to every person. For God will bring every act to judgment.”

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Featured artist is Sedrick Huckaby

Artist Spotlight – Sedrick Huckaby – Painter

Published on Jul 14, 2016

His artworks hang in major museums, he was educated on the East Coast and in Europe. But Sedrick Huckaby still lives in Fort Worth and his subjects are still his own family, their quilts, their African-American neighborhood. He turns these subjects into canvases of such density, it’s like he’s compressing entire histories into paint. Part of Art&Seek’s Artist Spotlight series, exploring the personal journeys of North Texas creatives. Learn more at http://artandseek.org/spotlight.

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Image result for sedrick e. huckaby paintings

Sedrick Huckaby

From Wikipedia, the free encyclopedia

Sedrick Ervin Huckaby (1975) is an American artist who is known for his use of thick, impasto paint to create murals that evoke traditional quilts and to produce large portraits that represent his personal history through images of family members and neighbors.[1][2]Huckaby has worked with images from quilts for many years, moving them from background components of portraits into the subject of his work.[3] He was interviewed about his quilt-influenced abstract work in a podcast for Painters Table.[4] His work is on display at the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Museum of Fine arts in Boston, the Minneapolis Institute of Art, The Art Institute of Chicago, and the Nasher Museum of Art at Duke University.

Biography[edit]

Huckaby is a native of Fort Worth, Texas. As a child, Huckaby spent time drawing characters from TV shows such as Teenage Mutant Ninja Turtles and Battlestar Galactica. While in High School, he attended classes at the Modern Art Museum where he met fellow artist Ron Tomlinson, who encouraged Huckaby to pursue art as a career.[5] He studied art at Texas Wesleyan University before receiving a Bachelor of Fine Arts from Boston University in 1997 and a Master of Fine Arts from Yale University in 1999.[6] He has lectured on the Grant Hill Collection of African American Art at the Dallas Museum of Art, and through the The Artist’s Eye series at the Kimbell Art Museum in Fort Worth.[7] He is currently an assistant professor of painting in the Department of Art and Art History at UT Arlington, where he has been teaching since 2009. He is married to artist Letitia Huckaby.

Works[edit]

His 2008 series Big Momma’s House includes 65 paintings, pastels, and drawings created over a two-year period. The focus of this collection is his maternal grandmother, Hallie Beatrice Carpenter, the matriarch of his family and more affectionately known an “Big Momma”.[8] His work ” A Love Supreme (Spring)”, is based on the jazz song of the same name by John Coultrane, and depicts a series of quilts draped across the canvas emphasizing weight and texture. In this mural sized-oil painting, the painted folds of brightly colored fabrics mimic the rhythm and syncopation of Coultrane’s jazz hit while paying homage to his grandmother’s traditional African-American quilts.[9] His series The 99% – Highand Hills is a collection of portraits inspired by the 2011 Occupy Wall Street movement, showcasing the economic disparities of the U.S. population through sketches of community members alongside quotes from each person.[5]

Awards and Distinctions[edit]

In 1999, Huckaby was awarded the Kate Neal Kinley Memorial Fellowship from the University of Illinois, Urbana-Champaign, Illinois.[8] He was awarded the Alice Kimball English Traveling Fellowship from Yale University in 1999 which funded his travels to study the works of Henry Tanner.[10] Again in 1999 he was awarded the Provincetown Fellowship from the Fine Arts Work Center and subsequently spent siz months making work there.[10][8] In 2001, he was awarded the Best of Show and subsequently held a solo exhibition for the The 20th Carrol Harris Simms National Black Art Competition and Exhibition at the African American Museum in Dallas, Texas.[8]

In 2004, Huckaby was awarded a Joan Mitchell Foundation Painters and Sculptors Grant, which is given to acknowledge “painters and sculptors creating work of exceptional quality through unrestricted career support”.[11] In 2004 he also received the Beth Lea Clardy Memorial Award (first place) at Art in the Metroplex in Fort Worth, Texas.[8] In 2008 he received a Guggenheim Fellowship, one of the most prestigious art grants in the nation.[10][12] In 2014 he received the Visiting Artist Residency and Fellowship through the Brandywine Workshop as well as the Davidson Family Fellowship sponsored by Amon Carter Museum of American Art.[10] In 2016, he was one of the winners of the Outwin Boochever Portrait Competition, which is hosted by The Smithsonian’s National Portrait Gallery.[13] In 2017 he received the 2016 Moss/Chumley North Texas Artist Award, which is given annually by the Meadows Museum at Southern Methodist University in Dallas.[14]

Exhibitions[edit]

Selected Solo Exhibitions[8]

Selected Collections[edit]

References[edit]

  1. Jump up^ “”A Legacy of Love and Freedom” Unfolds at the TMA–Quilt Paintings by Texas Artist Sedrick Huckaby On View”. Tyler Museum of Art. April 12, 2011. Retrieved March 17, 2016.
  2. Jump up^ Sherer, Scott. “UTSA Art Gallery features exhibit “Fare Thee Well” through Feb. 20″. UTSA Today. Retrieved March 18, 2016.
  3. Jump up^ Simek, Peter (April 23, 2010). “Letitia and Sedrick Huckaby: An Artist Couple Reaches Into Shared Memory For Inspiration”. Front Row Blog–D Magazine. Retrieved March 17, 2016.
  4. Jump up^ “Sedrick Huckaby: Interview”. Painters’ Table. Retrieved March 17, 2016.
  5. ^ Jump up to:a b Calimbahin, Samantha (2016). “Sedrick Huckaby: Local Artist Gaining National Attention”. Fort Worth Business Press. 29: 28–29.
  6. Jump up^ Samantha Calimbahin. “Sedrick Huckaby: Local artist gaining national attention.” Fort Worth Business. Friday, July 8, 2016. http://www.fortworthbusiness.com/news/arts_and_culture/sedrick-huckaby-local-artist-gaining-national-attention/article_93859204-455a-11e6-b093-e3a02701db95.html
  7. Jump up^ “Artist Biography for Sedrick Huckaby”. AskArt. Retrieved March 18, 2016.
  8. ^ Jump up to:a b c d e f Collins, Phillip (2008). “Big Momma’s House”. Valley House Gallery and Sculpture Garden: 38–41.
  9. Jump up^ Kurzner, Lisa (2008). “A patchwork of color, life: Quilts procide the texture in painter’s series”. The Atlanta Journal – Constitution. 23 March 2008.
  10. ^ Jump up to:a b c d “Sedrick E Huckaby | Explore University Of Texas At Arlington”. mentis.uta.edu. Retrieved 2017-01-28.
  11. Jump up^ “Joan Mitchell Foundation”. Retrieved March 17, 2016.
  12. Jump up^ “Fellows”. John Simon Guggenheim Memorial Foundation. Retrieved March 17, 2016.
  13. Jump up^ “UTA Assistant Art Professor Among Winners of Prestigious Smithsonian Portrait Competition”. MyArlingtonTX. Retrieved March 17, 2016.
  14. Jump up^ Michael Granberry, Dallas Morning News, January 19, 2017. “‘Interpreter and innovator’ Sedrick Huckaby wins Meadows Museum’s Moss/Chumley Award. “http://www.dallasnews.com/arts/visual-arts/2017/01/19/noted-artist-sedrick-huckaby-winner-2016-mosschumley-award-given-meadows-museum.

External links[edit]

How’d he do? George W. Bush debuts his book of portraits – and we match them up against photos of their counterparts 

  • President George W. Bush  published a book of 66 portraits of wounded veterans that he painted
  • There is also an exhibit of the paintings at the George W. Bush Presidential Library and Museum in Dallas
  • Bush wrote about the veteran next to their portrait about how they are recovering physically and mentally

Read more: http://www.dailymail.co.uk/news/article-4279914/George-W-Bush-debuts-book-portraits-veterans.html#ixzz4ikukDTJG
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President George W. Bush spent a year creating portraits of veterans who were wounded during his time in office and published a book of the oil paintings.

The book of 66 portraits titled ‘Portraits of Courage: A Commander in Chief’s Tribute to America’s Warriors’ honors Marines, soldiers, sailors and airmen and women who were injured in the line of duty while Bush was in power.

The book was released on February 28 and there is an exhibit of the paintings at the George W. Bush Presidential Library and Museum in Dallas. It is Bush’s third book he has published since leaving office.

The former president’s passion for the arts is surprising to some, including his own family. Last year at a CNN town hall, former Gov Jeb Bush said his brother’s fondness for painting was was ‘really weird,’ but added, ‘He’s gotten pretty good at it’.

Scroll down for video 

Sergeant Leslie Zimmerman deployed to Kuwait and entered Iraq at the start of Operation Iraqi Freedom. She became an EMT-Intermediate and was honorably discharged when she was diagnosed with PTSD

She became an EMT-Intermediate and was honorably discharged when she was diagnosed with PTSD

Army Sergeant Leslie Zimmerman deployed to Kuwait and entered Iraq at the start of Operation Iraqi Freedom. She became an EMT-Intermediate and was honorably discharged when she was diagnosed with PTS

President George W Bush released his book of portraits of veterans which includes Army Sergeant Leslie Zimmerman (left), and has an exhibit of the paintings at the George W. Bush Presidential Library and Museum in Dallas

President George W Bush released his book of portraits of veterans which includes Army Sergeant Leslie Zimmerman (left), and has an exhibit of the paintings at the George W. Bush Presidential Library and Museum in Dallas

President Bush said the trickiest part of the oil painting portraits was capturing the veterans' eyes

President Bush said the trickiest part of the oil painting portraits was capturing the veterans’ eyes

Sergeant First Class Ramon Padilla lost his left arm in combat while serving in Afghanistan in 2007

His portrait is featured in 'Portraits of Courage: A Commander in Chief's Tribute to America's Warriors'

Sergeant First Class Ramon Padilla lost his left arm in combat while serving in Afghanistan in 2007

Read more: http://www.dailymail.co.uk/news/article-4279914/George-W-Bush-debuts-book-portraits-veterans.html#ixzz4ikufgERe
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In the book, Bush wrote about the veterans next to their portraits about how they recovered, both physically and mentally. The stories also highlight their families’ role in the veterans’ adjustment to civilian life.

President Bush took up painting as a hobby in his retirement. Many of the servicemen and women featured in his book have videos featured on the Bush Center YouTube channel.

Part of the description of the book on Amazon reads: ‘Our men and women in uniform have faced down enemies, liberated millions, and in doing so showed the true compassion of our nation.

‘Often, they return home with injuries—both visible and invisible—that intensify the challenges of transitioning into civilian life. In addition to these burdens, research shows a civilian-military divide.’

Army Sergeant Daniel Casara underwent 24 surgeries after his being injured in an explosion in 2005

Proceeds from the book will go to the non-profit George W. Bush Presidential Center

Army Sergeant Daniel Casara underwent 24 surgeries after his being injured in an explosion in 2005

‘Seventy-one percent of Americans say they have little understanding of the issues facing veterans, and veterans agree: eighty-four percent say that the public has “little awareness” of the issues facing them and their families.’

‘Each painting in this meticulously produced hardcover volume is accompanied by the inspiring story of the veteran depicted, written by the President. Readers can see the faces of those who answered the nation’s call and learn from their bravery on the battlefield, their journeys to recovery, and the continued leadership and contributions they are making as civilians.’

‘It is President Bush’s desire that these stories of courage and resilience will honor our men and women in uniform, highlight their family and caregivers who bear the burden of their sacrifice, and help Americans understand how we can support our veterans and empower them to succeed.’

Sergeant First Class Michael R. Rodriguez told the Bush Center in a video he has PTS

He also gets severe headaches from traumatic brain injuries or TBIs

Sergeant First Class Michael R. Rodriguez told the Bush Center in a video he has PTS. He also gets severe headaches from traumatic brain injuries or TBIs

Lance Corporal Timothy John Lang served in the U.S. Marine Corps

He was injured in 2006 in Iraq and his leg was amputated below the knee

Lance Corporal Timothy John Lang served in the U.S. Marine Corps. He was injured in 2006 in Iraq and his leg was amputated below the knee

Paintings of wounded US military veterans painted by former US President George W. Bush hang in 'Portraits of Courage', a new exhibit at the George W. Bush Presidential Library and Museum in Dallas

Paintings of wounded US military veterans painted by former US President George W. Bush hang in ‘Portraits of Courage’, a new exhibit at the George W. Bush Presidential Library and Museum in Dallas

Army Lieutenant Colonel Kent Graham Solheim has served in the Army from 1994 to present

He was wounded in 2007 in Iraq where he was shot four times which led to the amputation of his leg

Army Lieutenant Colonel Kent Graham Solheim has served in the Army from 1994 to present. He was wounded in 2007 in Iraq where he was shot four times which led to the amputation of his leg

U.S. Marine Corps Sergeant Michael Joseph Leonard Politowicz served from 2010 to the present

Proceeds from the book will go to the non-profit George W. Bush Presidential Center

U.S. Marine Corps Sergeant Michael Joseph Leonard Politowicz served from 2010 to the present

President Bush was inspired to learn oil painting after reading Winston Churchill's essay 'Painting as a Pastime'

President Bush was inspired to learn oil painting after reading Winston Churchill’s essay ‘Painting as a Pastime’

Proceeds from the book will go to the non-profit George W. Bush Presidential Center. The center has a Military Service Initiative that works to ensure that post-9/11 veterans and their families make successful transitions to civilian life.

Time asked the former president how he chose the subjects. Bush responded: ‘I had painted world leaders with whom I’d served, and my instructor Sedrick Huckaby said, “You know, you ought to paint the portraits of people you know well but who others don’t”.’

‘It instantly hit me that I ought to paint these wounded warriors I’d gotten to know. Most of them I had played golf with or ridden mountain bikes with through the events we host for them at the Bush Center. I’d gotten to know some better than others, of course, but I was equally moved by their stories.’

He said the hardest part of the portraits was capturing the veterans’ eyes.

He told his art teacher that he wanted to discover his ‘inner Rembrandt’ according to CNN .

At the exhibit opening at George W. Bush Presidential Library in Dallas, Bush said: ‘You have to understand when you’re the president you are going at 100 miles per hour and the next day it’s zero. I had this anxiousness to keep moving and to learn something.

Bush said Winston Churchill’s essay ‘Painting as a Pastime’ which inspired him to take up the hobby himself.

Read more: http://www.dailymail.co.uk/news/article-4279914/George-W-Bush-debuts-book-portraits-veterans.html#ixzz4ikuauQLR
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UT’s visiting artist in residence uses quilts, illustration and other methods to capture people and places close to home.

FEB 20, 2014 1 PM

If the rarified, white-walled interiors of art galleries can seem far removed from everyday life, Sedrick Huckaby’s art might be the antidote. His paintings and drawings give place of pride to ordinary people — family members and people from the Fort Worth, Tex., neighborhood where he lives — as well as quilts, a homely object central to his personal history and broader American culture. In large-scale canvases, Huckaby imbues quilts with monumental presence and painterly texture; his portraits perform the same work on faces and personalities, embracing subjects well worn with love and normal hardships.
“I want them to have a type of reality to them, almost documentary in a certain way, where it really tells certain truths about life,” Huckaby says.

On Friday, the University of Tampa’s printmaking workshop, STUDIO-f, celebrates Huckaby with an open house and display of the monoprints he has created there during a residency over the past two weeks. At the same time, UT’s Scarfone/Hartley Gallery (adjacent to STUDIO-f) showcases a selection of Huckaby’s drawings and paintings, including his suite of four 7-foot-tall, 20-foot-wide paintings of draped quilts, A Love Supreme (2001-2009). The monoprints will show how Huckaby has been working to translate his chosen subjects and confident style of draftsmanship into the medium of screenprinting with UT printers, including Carl Cowden III.

“It’s a collaboration in that I’m trying to work the way that he works, and he’s working with the way we have to work with the process,” Cowden says.

The 38-year-old artist is an anomaly. Huckaby grew up in Fort Worth but moved away to pursue the gold standard in art education, an MFA in painting from Yale, after a BFA at Boston University. A 2008 Guggenheim fellowship and other honors have given him the kind of credentials that artists typically try to leverage into international careers, but Huckaby returned to Fort Worth to start a family and, as life unfolded, to make his surrounding community into one of the subjects of his art.

Through his confident handling of paint (and, in other work on view here, a lithographic pencil), Huckaby’s subjects gain universal appeal. The quilts are rendered as massive folds of patterned drapery that want to embrace a viewer, embodying both the monumental aura of abstract expressionist canvases and cozy domesticity. They are organized into a seasonal suite of colors, from warm summer to comparatively icy winter, and possess a delightful dimensionality up close, where fabric patterns are revealed as lovingly built-up in thick impasto daubs — a painterly method that echoes the careful, but creative and improvisational way quilts are stitched together.

The title of the series, A Love Supr eme, after the John Coltrane jazz composition, bolsters their association with that most noble of emotions.

“The idea is starting at a basic kind of love, like that of a mother for her children or a grandmother for her children, with the quilts,” Huckaby says.

“The thought is that, like seasons revolve, you can think about love in multiple ways. So it’s not just about the love of a grandmother. As you look and contemplate, on one level you might think about a connection with the music … then the seasons … then about the cycle of life. Alternately, I hope it would lead you to a place of thinking about a greater love, a love of God.”

The span of life, from birth to death, is the subject of two of Huckaby’s other oil paintings, which depict his grandmother and grandfather in the waning days of their lives. Set in the same bedroom about a decade apart, the images bring tenderness to an experience rarely made visible in contemporary art.

A third project called The 99 Percent focuses on members of his Fort Worth community. Loosely inspired by Occupy Wall Street, Huckaby began visiting public spaces in his neighborhood — the gas station, the Waffle House — to draw and talk to anyone who would let him. As a result, he’s made more than 100 small but robustly drawn portraits, some of which are captioned with a statement from a conversation between Huckaby and his subject about economic stress or political frustration. A selection of the images, which he made into lithographs during a residency in Pennsylvania last year, are on display here.

It’s refreshing that there’s no obscure conceptual angle to Huckaby’s work — just an earnest desire to grapple with the everyday world, and people in it, through drawing and painting.

“It might be that my work is a little too conservative for some groups, but it doesn’t concern me too much,” Huckaby
says.

“One of the things I have found out about art making is that our culture values uniqueness. Some of that uniqueness is a totally different form of art, where you come up with some unique idea. Or you can work in ways that have been worked in before, but you do it your way. That’s more the line that I follow. I’m not trying to make something that’s never been made, but I’m trying to do my own unique take on it.

See Huckaby’s works through Feb. 22 at the University of Tampa Scarfone/Hartley Gallery and STUDIO-f;  open-studio and gallery reception on Fri., Feb. 21, at 6 p.m., 310 N. Boulevard, Tampa, 813-253-6217, gallery.utarts.comstudiof.utarts.com

 

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___

WOODY WEDNESDAY  Ranking Woody Allen’s 47 movies!!!! Part 1

____________

Ranking Woody Allen’s 47 movies!!!! Part 1

The Best & The Rest: Every Woody Allen Film Ranked

This week, Woody Allen‘s 2016 title (for as we all know, there’s one each year), “Cafe Society,” starring Kristen Stewart, Jesse Eisenberg, Steve Carell, Corey Stoll, Blake Lively and Anna Camp, opens after a warm reception as the opening film at the most recent Cannes Film Festival. You can read our take from Cannes here, or hang on to scroll through and see where it lands on the list below, but we thought this would be a good time to gussy up our previous sprawling two-part Allen retrospective, and because we’ve been a little harmonious around here of late and miss the sounds of sobbing and breaking crockery, to rank it.

READ MORE: The Best And The Rest: Every Stanley Kubrick Ranked

Weathering personal scandal and coming in and out of fashion like flares, Allen’s been at constant work as a director for five decades now, and “Cafe Society” marks his 47th theatrically-released feature. Which means we have a lot to get through, so let’s get straight to it, shall we? Here, ranked worst to best, are all of Woody Allen’s theatrical features —with any list this long, there’s bound to be massive disagreement, so remember, the comments section awaits your ire. Or your congratulations, on the slim chance you agree with all of it.

Irrational Man Official Trailer #1 (2015) – Emma Stone, Joaquin Phoenix Movie HD

anything-else-woody-allen47. “Anything Else” (2003)
There are a lot of things wrong with “Anything Else.” Jason Biggs halts his speech more than Jerry Stiller after root canal surgery and often looks blankly off-camera like he’s after a batch of pastries to hump. His girlfriend, played by Christina Ricci, seemingly cast to type as a pathological neurotic with body dysmorphia and an “offbeat sexual quality,” is largely awful too. Only Stockard Channing‘s Paula —an outrageously volatile former interior designer desperate for Biggs to write her new “nightclub act”— can inject this leaden affair with any life. A couple of one-liners fly by (“I should have known something was wrong on the wedding night when her family danced around my table chanting, ‘We will make him one of us!’”), but Allen miscasts himself as reckless, apocalyptic grouch who drops in for random rants about rampant anti-Semitism and the meaninglessness of our daily existence and who is prone to increasing acts of violence. The film’s unrelenting and mirthless post-911 anhedonia is oddly car-crash compelling, but just because it’s one of Allen’s angriest films doesn’t mean it’s any good.

Cassandra_27s-Dream-59478646. “Cassandra’s Dream” (2007)
Certainly the nadir of Woody’s recent “European period” and vying for the title of the worst film of his entire career, “Cassandra’s Dream” is a slow, on-the-nose, plodding, wholly unconvincing crime caper that doesn’t even crack a smile, let alone inspire any laughs. The tale of two brothers (Ewan McGregor and Colin Farrell) who agree to kill a man for their rich uncle (Tom Wilkinson), the movie is clumsily paced and lacks even the most minimal action required for a thriller to actually, you know, thrill. Even with some stellar behind-the-scenes talent (Vilmos Zsigmond shot it and Philip Glassprovided a rare original score) and notable supporting performances (eternally undervalued MVP Sally Hawkins), the movie falls unbelievably flat. It’s not a spoiler to say that in the final scene, a detective describes a double murder that’s central to the plot… and which happens completely off-screen. The film was released in the U.S. at the beginning of 2008, and the only silver lining was that later that same summer, Allen redeemed himself with the much, much better “Vicky Cristina Barcelona.”

the curse of the jade scorpion woody allen45. “The Curse of the Jade Scorpion” (2001)
Every year brings us a new Woody Allen picture, bringing with it either grousing about how the creator of Alvy Singer is tarnishing his cinematic legacy, or that this new film marks a stunning return to form and everything’s going to be okay forever. It’s a pattern critics have slid lazily into at least as far as “The Curse of the Jade Scorpion” 15 years ago. But even with the best will in the world, you can see why: the film’s period setting, slight plot (a magician hypnotizes Woody into becoming a jewel thief against his will) and Allen’s subsequent inability to find funding for his films to be made in America affirm the now-orthodox decline thesis. Allen is pretty terrible in the lead role of C.W Briggs, “a shallow, skirt-chasing egomaniac” and “myopic insurance clerk” displaying not one whit of sexual tension with co-star Helen Hunt, the ‘saucy’ efficiency expert with feminine wiles up the yin-yang. And he was frankly far too old at the time of this film to be hit on by an earthen, breast-exposing Charlize Theron.

Hollywood ending44. “Hollywood Ending” (2002)
When you shoot a movie a year, there’s no level of genius that can keep inspiration consistent every time out. And so you get the occasional “Hollywood Ending,” a remarkably tone-deaf Hollywood satire that’s both too inside-baseball and too overwhelmingly broad. Allen plays a celebrated director well past his prime (hmm…) who gets back into the film business by teaming with his ex-wife in a high-pressure situation that causes him to become psychosomatically blind. Did you guess that the punchline involves him directing the film anyway? “Hollywood Ending” isn’t helped by the fact that Allen is working with one of his least-exceptional casts, giving major screen time to the manic Tea Leoni and the bronzed, oblivious George Hamilton, resulting in a film that wants to take advantage of the lower standards of recent  yuckfests while maintaining a classic Hollywood vibe, but which falls between each.

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__ The Woody Allen Special [1969] (Guests: Candice Bergen, Billy Graham and the 5th Dimension) Published on Sep 8, 2016 For all the Woody Allen/television fans, here is the rare 1969 CBS special! Featuring the flawless stand-up of Woody, and skits such as: Woody and Candice having to rehearse nude for an artistic play. A […]

WOODY WEDNESDAY Happy Birthday Woody Allen: 15 Quotes By The Maverick Filmmaker

__ Woody Allen The Dean Martin Show Happy Birthday Woody Allen: 15 Quotes By The Maverick Filmmaker News18.com First published: December 1, 2016, 3:30 PM IST | Updated: December 1, 2016 One of the most celebrated filmmakers of Hollywood, Woody Allen turns 81 today. Born and raised in Brooklyn as Allen Konigsberg he is arguably […]

WOODY WEDNESDAY Settling into a hotel bar in Soho after a long day shooting a film for Woody Allen in the Bronx, Justin Timberlake wastes no time ordering the first of several Vesper martinis. “I was terrified all day today, dude,”

___________ Justin Timberlake Talks ‘Trolls,’ Family Life and His New Album With Pharrell Williams Andrew Barker Senior Features Writer@barkerrant TOM MUNRO FOR VARIETY NOVEMBER 1, 2016 | 10:00AM PT Settling into a hotel bar in Soho after a long day shooting a film for Woody Allen in the Bronx, Justin Timberlake wastes no time ordering […]

WOODY WEDNESDAY Woody Allen’s 81st Birthday

_ Woody Allen – standup – ’65 – RARE! Happy 81st Birthday, Woody Allen December 2, 2016 1 Comment Woody Allen turns 81 today. And he shows no signs of slowing down. Allen spent his 80th year being remarkably prolific, even by his own standards. The end of 2015 saw that year’s film, Irrational Man, […]

WOODY WEDNESDAY Everything We Know About Woody Allen’s 2017 Film With Kate Winslet And Justin Timberlake October 16, 2016

  _ Everything We Know About Woody Allen’s 2017 Film With Kate Winslet And Justin Timberlake October 16, 2016 3 Comments Woody Allen has, it seems, wrapped production on his 2017 Film. The new film stars Kate Winlset and Justin Timberlake. And despite some very public days of shooting, We still don’t know that much […]

 

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RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 139 Gabriel Horn neuroscientist, Cambridge, “Although well knowing that I may die, I never thought I had to get myself converted…”

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

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 AhmedHaroon Ahmed,  Jim Al-Khalili, Sir David AttenboroughMark Balaguer, Horace Barlow, Michael BateSir Patrick BatesonSimon Blackburn, Colin Blakemore, Ned BlockPascal BoyerPatricia ChurchlandAaron CiechanoverNoam Chomsky, Brian CoxPartha Dasgupta,  Alan Dershowitz, Frank DrakeHubert Dreyfus, John DunnBart Ehrman, Mark ElvinRichard Ernst, Stephan Feuchtwang, Robert FoleyDavid Friend,  Riccardo GiacconiIvar Giaever , Roy GlauberRebecca GoldsteinDavid J. Gross,  Brian Greene, Susan GreenfieldStephen F Gudeman,  Alan Guth, Jonathan HaidtTheodor W. Hänsch, Brian Harrison,  Stephen HawkingHermann Hauser, Robert HindeRoald Hoffmann,  Bruce HoodGerard ‘t HooftCaroline HumphreyNicholas Humphrey,  Herbert Huppert,  Gareth Stedman Jones, Steve JonesShelly KaganMichio Kaku,  Stuart KauffmanMasatoshi Koshiba,  Lawrence KraussHarry Kroto, George Lakoff,  Rodolfo LlinasElizabeth Loftus,  Alan MacfarlaneDan McKenzie,  Mahzarin BanajiPeter MillicanMarvin MinskyLeonard Mlodinow,  P.Z.Myers,   Yujin NagasawaAlva NoeDouglas Osheroff, David Parkin,  Jonathan Parry, Roger Penrose,  Saul PerlmutterHerman Philipse,  Carolyn PorcoRobert M. PriceVS RamachandranLisa RandallLord Martin ReesColin RenfrewAlison Richard,  C.J. van Rijsbergen,  Oliver Sacks, John SearleMarcus du SautoySimon SchafferJ. L. Schellenberg,   Lee Silver Peter Singer,  Walter Sinnott-ArmstrongRonald de Sousa, Victor StengerJohn SulstonBarry Supple,   Leonard Susskind, Raymond TallisMax TegmarkNeil deGrasse Tyson,  Martinus J. G. Veltman, Craig Venter.Alexander Vilenkin, Sir John Walker, James D. WatsonFrank WilczekSteven Weinberg, and  Lewis Wolpert,

 

Gabriel Horn

From Wikipedia, the free encyclopedia
Gabriel Horn
Born 9 December 1927
Died 2 August 2012 (aged 84)[1]
Cambridge
Nationality United Kingdom
Fields Neuroscience
Institutions University of Bristol
University of Cambridge
Notable awards Royal Medal (2001)

Sir Gabriel Horn, MD, ScD, FRS,[2] FRCP (9 December 1927 – 2 August 2012) was a British neuroscientist and Professor in Natural Sciences (Zoology) at the University of Cambridge.[3] His research was into the neural mechanisms of learning and memory.

Early life[edit]

Horn was born on 9 December 1927. He attended Handsworth Technical School in Handsworth, Birmingham.[4] He left the school at 16 to work in his parents’ shop and studied part-time for a National Certificate in Mechanical Engineering, achieving distinction. He served in the Royal Air Force before studying for a Bachelor of Medicine, Bachelor of Surgery at the University of Birmingham.[5]

Academic career[edit]

Horn’s first academic position was in 1956 at the Department of Anatomy, University of Cambridge as a Demonstrator in Anatomy. He became a Lecturer and then a Reader, before leaving to become Professor of Anatomy at the University of Bristol in 1974.[5] In 1975, while at Bristol, he obtained his DSc degree.[5] In 1977, he returned to Cambridge to head the Department of Zoology. He retired in 1995 and was made Emeritus Professor. He was Master of Sidney Sussex College, Cambridge from 1992 to 1999 and Deputy Vice-Chancellor of the university from 1994 to 1997.[4][5] He remained a fellow of Sidney Sussex College after 1999 until his death; he had earlier been a fellow of King’s College, Cambridge, and was elected a life fellow there in 1999.[4]

Honours[edit]

He was elected a Fellow of the Royal Society in 1986,[2] receiving their Royal Medal in 2001.[5] He was given an Honorary Doctor of Science degree by the University of Birmingham in 1999 and by the University of Bristol in 2003.[5] He was knighted in the 2002 New Year Honours “for services to Neurobiology and to the Advancement of Scientific Research”.[6]

Succeeded by
Sandra Dawson

In  the third video below in the 121st 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)

 

 

Interview of biologist and zoologist Sir Gabriel Horn – part 1

 

 Interview of the biologist and zoologist Sir Gabriel Horn – part two

 Interview of Sir Gabriel Horn – part three

Uploaded on Jun 3, 2010

An interview of Sir Gabriel Horn by Sir Patrick Bateson on 16 January 2007, filmed by Alan Macfarlane.
For a higher quality, downloadable, version with summary, please see http://www.alanmacfarlane.com

Quote by Dr. Horn:

Yes, I did nearly die. On one occasion I was lucky to be alive after a  massive hemorrhage.  I can say one thing. I never took to religion. I was really true to myself. Although well knowing that I may die, I  never thought I had to get myself converted to Judaism properly. It actually never crossed my mind. I always thought that if on my deathbed I do something funny like that those there will understand it doesn’t mean anything at all.

 Interview of the biologist and zoologist Sir Gabriel Horn – part four

  My Response to Dr. Horn’s statement would have been this simple question:

Is Propositional Revelation Nonsense?

What I mean by that is  if God exists then would it be plausible that God would want to communicate  to us about his existence? There are those who actually believe that God has done that in the Bible. Dr. J. Gresham Machen said that he believed the Bible to be accurate in even the smallest details. The critic H.L.Mencken rightly noted, “Well, if you really want to be a Christian there is only one kind of Christian to be and that is the Machen kind.”

When Dr. Horn made his statement he acted as if he made a  deathbed conversion then his words  would meaning nothing.  I would admit that many people do say things  that they don’t mean but when  you are  on  your deathbed that would be a perfect time to  be totally honest. I salute those who are honest for their honesty, but it should be after they examine the evidence fully concerning God’s existence and that would include the historical accuracy of the Bible. I corresponded with Carl Sagan during the final year of his life and I was sad that he died as an agnostic. That was his choice. I  was appreciative that he took time to write me back and discuss these importance spiritual issues with me. Ironically,  I corresponded with Antony Flew several times, but when he died it seemed as although many secular people were very made at  the things he said in his final book There is a God: How the World’s Most Notorious Atheist Changed His Mind (2007) with Roy Abraham Varghese. 

Two of my biggest spiritual heroes were men who stood up the accuracy of the Bible.

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Francis Schaeffer

I remember like yesterday hearing my pastor Adrian Rogers in 1979 going through the amazing fulfilled prophecy of Ezekiel 26-28 and the story of the city of Tyre. In 1980 in my senior year (taught by Mark Brink) at Evangelical Christian High School, I watched the film series by Francis Schaeffer called WHATEVER HAPPENED TO THE HUMAN RACE? Later that same year I read the book by the same name and I was amazed at the historical accuracy of the Bible and the many examples from archaeology that Schaeffer gave and recently I have shared several of these in my current series on Schaeffer and the Beatles. The reason I did that was because many people in the 1960’s had taken non-rational leaps into such areas as communism, the occult, drugs, and eastern mysticism,  but sitting right there in front of them was the historical accurate Bible which contained sufficient evidence to warrant trust.

(Adrian Rogers met with Presidents Jimmy Carter and Ronald Reagan.)

____

(This was the average sanctuary crowd when I was growing up at Bellevue Baptist in Memphis)

______________________________________

Anyone who has read my blog for any length of time knows that politically Milton Friedman and Ronald Reagan were my heroes. Spiritually my heroes have been both Francis Schaeffer and Adrian Rogers. An interesting fact about both of these two men and that is they both believed the Bible is the inspired and inerrant word of God. Both men defended the historical accuracy of the Bible even though both of the religious denominations they belonged to started to shift to the liberal view that the Bible contains errors in it.

H. L. Mencken
H l mencken.jpg

J. Gresham Machen

J. Gresham Machen

Francis Schaeffer’s battle on this issue came in the 1930’s when he got to know Dr. J. Gresham Machen was involved in a battle with  the Presbyterian Church USA over their leftward shift in theology. Francis Schaeffer observed:

H.L. Mencken died when I was a young man and I read some of the stuff he wrote and he came at just the point of the total collapse of the American consensus back in the 1930’s or a little before. H.L.Mencken was very destructive to the American consensus and he was way out. It is he who said the famous thing about Dr. J. Gresham Machen. Dr. Machen was the man who was fighting the battle for historic Christianity against the liberals in the big denominations and expressly the Presbyterian denomination and the liberals were trying to laugh Machen out of court. But H.L. Mencken said a remarkable thing, “Well, if you really want to be a Christian there is only one kind of Christian to be and that is the Machen kind.” This is wonderful. This is exactly where the battlefield is. When you take Christianity and chip away at it like the liberals wanted to do then you don’t have anything left. This is no halfway war. If you are going to be a Christian you have to be a biblical Christian. Machen and Mencken understood this and this is my position too.  

Adrian Rogers also was that type of Christian too. Recently a relative told me that his Bible Study Teacher at the church he started attended recently started a series on Genesis and he said on the front end that evolution is true. I encouraged my relative to ask the simple question: DO YOU BELIEVE IN A LITERAL “ADAM AND EVE?” I sent him the sermon on Evolution by Adrian Rogers and here is a portion of it below:

H.G. Wells

H. G. Wells, the brilliant historian who wrote The Outlines of History, said this—and I quote: “If all animals and man evolved, then there were no first parents, and no Paradise, and no Fall. If there had been no Fall, then the entire historic fabric of Christianity, the story of the first sin, and the reason for the atonement, collapses like a house of cards.” H. G. Wells says—and, by the way, I don’t believe that he did believe in creation—but he said, “If there’s no creation, then you’ve ripped away the foundation of Christianity.”

Now, the Bible teaches that man was created by God and that he fell into sin. The evolutionist believes that he started in some primordial soup and has been coming up and up. And, these two ideas are diametrically opposed. What we call sin the evolutionist would just call a stumble up. And so, the evolutionist believes that all a man needs—he’s just going up and up, and better and better—he needs a boost from beneath. The Bible teaches he’s a sinner and needs a birth from above. And, these are both at heads, in collision.

What is evolution? Evolution is man’s way of hiding from God, because, if there’s no creation, there is no Creator. And, if you remove God from the equation, then sinful man has his biggest problem removed—and that is responsibility to a holy God. And, once you remove God from the equation, then man can think what he wants to think, do what he wants to do, be what he wants to be, and no holds barred, and he has no fear of future judgment.

Francis Schaeffer & the SBC

Actually Francis Schaeffer’s good friend Paige Patterson talked Adrian Rogers into running for President of the Southern Baptist Convention in 1979 and the liberal shift was halted. In the article “Francis Schaeffer ‘indispensable’ to SBC,” (Thursday, October 30, 2014,)  David Roach wrote:

The late Francis Schaeffer was known to pick up the phone during the early years of the Southern Baptist Convention’s conservative resurgence. Paige Patterson knew to expect a call from Schaeffer around Christmas with the question, “You’re not growing weary in well-doing are you?”

Patterson, a leader in the movement to return the SBC to a high view of Scripture, would reply, “No, Dr. Schaeffer. I’m under fire, but I’m doing fine. And I’m trusting the Lord and proceeding on.”

To some it may seem strange that an international Presbyterian apologist and analyst of pop culture would take such interest in a Baptist controversy over biblical inerrancy.

But to Schaeffer it made perfect sense.

He believed churches were acquiescing to the world, abandoning their belief that the Bible is without error in everything it said. A watered-down theology left the SBC with decreased power to battle cultural evils. To Schaeffer the convention was the last major American denomination with hope for reversing this “great evangelical disaster,” as he put it.

Thirty years after Schaeffer’s death, Baptist leaders still remember how he took time from his speaking, writing and filmmaking schedule to quietly encourage Patterson; Paul Pressler, a judge from Texas with whom Patterson worked closely during the conservative resurgence; Adrian Rogers, a Memphis pastor who served three terms SBC president; and others.

By the early 1990s, conservatives had elected an unbroken string of convention presidents and moved in position to shift the balance of power on all convention boards and committees from the theologically moderate establishment. But at the time of Schaeffer’s annual calls, the outcome of the controversy was still in doubt.

(Paige Patterson)

“I strongly suspect that he was afraid I would not hold strong,” Patterson, now president of Southwestern Baptist Theological Seminary in Texas, told Baptist Press. “He had seen so many people fold up under pressure that he assumed we probably would too. So he would call and ask for a report.”

Schaeffer’s interest in engaging culture made him particularly appealing to Southern Baptist conservatives. He helped provide them with a “battle plan” to fight cultural evils and what they perceived as theological drift in their denomination, Richard Land, president of Southern Evangelical Seminary, told BP.

Along with theologian Carl F.H. Henry, Schaeffer was the key intellectual influence on leaders of the conservative resurgence, Land said. When conservatives started to be elected as the executives of Baptist institutions, Henry spoke at Land’s inauguration at the Christian Life Commission (the ERLC’s precursor), R. Albert Mohler Jr.’s at Southern Baptist Theological Seminary in Kentucky and Timothy George’s at Beeson Divinity School in Alabama.

“If Schaeffer had still been alive, we would have had him come,” Land said. He noted that Schaeffer was “close” to Rogers and “admired” by Bailey Smith, two conservative SBC presidents. Edith Schaeffer and Patterson’s wife Dorothy were close friends and traveled together in the early 1980s speaking on the importance of the home.

Clark Pinnock, a former New Orleans Baptist Theological Seminary professor who mentored conservative resurgence leaders before taking a leftward theological turn in his own thinking, served on Schaeffer’s staff at L’Abri.

(ADRIAN ROGERS, chairman of the committee that drafted changes to the Baptist Faith & Message, joins Al Mohler, Chuck Kelley and Richard Land in a news conference shortly after the new statement of faith was adopted by messengers to the Southern Baptist Convention annual meeting in Orlando, Fla)

Mount Sinai is one of the most important sites of the entire Bible. It was here that the Hebrew people came shortly after their flight from Egypt. Here God spoke to them through Moses, giving them directions for their life as newly formed nation and making a covenant with them.

The thing to notice about this epochal moment for Israel is the emphasis on history which the Bible itself makes. Time and time again Moses reminds the people of what has happened on Mount Sinai:

Deuteronomy 4:11-12New International Version (NIV)

11 You came near and stood at the foot of the mountain while it blazed with fireto the very heavens, with black clouds and deep darkness. 12 Then the Lordspoke to you out of the fire. You heard the sound of words but saw no form;there was only a voice.

Moses emphasized that those alive at the time had actually heard God’s voice. They had received God’s direct communication  in words. They were eyewitnesses of what had occurred–they saw the cloud and the mountain burning with fire. They saw and they heard. Moses says, on the basis of what they themselves have seen and heard in their own lifetime, they are not to be afraid of their present or future enemies.

On the same basis too, Moses urges them to obey God: “Only be careful, and watch yourselves closely so that you do not forget the things your eyes have seen…” (Deuteronomy 4:9)

Thus the people’s confidence and trust in God and their obedience to Him are alike rooted in truth that is historical and open to observation…The relationship between God and His people was not based on an upward experience inside their own heads, but upon a reality which was seen and heard. They were called to obey God not because of a leap of faith, but because of God’s real acts in history. For God is the LIVING GOD….”Religious Truth” according to the Bible involves the same sort of truth which people operate on in their everyday lives. If something is true, then its opposite cannot also be true.

From the Bible’s viewpoint, all truth finally rests upon the fact that the infinite-personal God exists in contrast to His not existing. This means that God exists objectively. He exists whether or not people say He does. The Bible also teaches that God is personal.
Much of the Bible is in the sphere of normal existence and is observable. God communicated himself in language. This is not surprising for He  was the creator of people who use language in communicating with other people.
In the Hebrew (and biblical) view, truth is grounded ultimately in the existence and character of God and what has been given us by God in creation and revelation. Because people are finite, reality cannot be exhausted by human reason.
It is within this Judeo-Christian view of truth that, by its own insistence, we must understand the Bible. Moses could appeal to real historical events as the basis for Israel’s confidence and obedience into the future. He could even pass down to subsequent generations physical reminders of what God had done, so that the people could see them and remember.

________________

Dr. Francis Schaeffer – Faith, Seeing & Believing

John 21:1-14New International Version (NIV)

Jesus and the Miraculous Catch of Fish

21 Afterward Jesus appeared again to his disciples, by the Sea of Galilee.[a] It happened this way: Simon Peter, Thomas (also known as Didymus[b]), Nathanael from Cana in Galilee, the sons of Zebedee, and two other disciples were together. “I’m going out to fish,” Simon Peter told them, and they said, “We’ll go with you.” So they went out and got into the boat, but that night they caught nothing.

Early in the morning, Jesus stood on the shore, but the disciples did not realize that it was Jesus.

He called out to them, “Friends, haven’t you any fish?”

“No,” they answered.

He said, “Throw your net on the right side of the boat and you will find some.”When they did, they were unable to haul the net in because of the large number of fish.

Then the disciple whom Jesus loved said to Peter, “It is the Lord!” As soon as Simon Peter heard him say, “It is the Lord,” he wrapped his outer garment around him (for he had taken it off) and jumped into the water. The other disciples followed in the boat, towing the net full of fish, for they were not far from shore, about a hundred yards.[c] When they landed, they saw a fire of burning coals there with fish on it, and some bread.

10 Jesus said to them, “Bring some of the fish you have just caught.” 11 So Simon Peter climbed back into the boat and dragged the net ashore. It was full of large fish, 153, but even with so many the net was not torn. 12 Jesus said to them, “Come and have breakfast.” None of the disciples dared ask him, “Who are you?” They knew it was the Lord. 13 Jesus came, took the bread and gave it to them, and did the same with the fish. 14 This was now the third time Jesus appeared to his disciples after he was raised from the dead.

__________

The resurrected Christ stood there on the beach of the Sea of Galilee. Before the disciples reached the shore, He had already prepared a fire with fish cooking on it for them to eat. It was a fire that could be seen and felt; the fire cooked the fish, and the fish and bread could be eaten for breakfast.

When the fire died down, it left ashes on the beach; the disciples were well fed with bread and fish and Christ’s footprints would have been visible on the beach…

Thomas, Christ tells us,  should have believed the ample evidence given to him of the physical evidence of the resurrection by the other apostles. Christ rebuked him for not accepting this evidence.He at that time and we today have the same sufficient witness of those who have seen and heard and were able to touch the resurrected Christ and were able to observe what He had done.

Because Thomas insisted on seeing and touching we have a more sure witness than we otherwise would have  had. In the testimony of those who saw and heard we have a sure witness and this includes Thomas’ doubt and his personal verification which removed that doubt. WE SHOULD BOW BEFORE THE TOTAL WITNESS OF THE RECORD WHICH WE HAVE  IN THE BIBLE, OF THE TESTIMONY OF THE EXISTENCE OF THE UNIVERSE AND IT’S FORM AND THE UNIQUENESS OF MAN. IT IS ENOUGH! BELIEVE HE HAS RISEN.

John 20:24-29New International Version (NIV)

Jesus Appears to Thomas

24 Now Thomas (also known as Didymus[a]), one of the Twelve, was not with the disciples when Jesus came. 25 So the other disciples told him, “We have seen the Lord!”

But he said to them, “Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe.”

26 A week later his disciples were in the house again, and Thomas was with them. Though the doors were locked, Jesus came and stood among them and said, “Peace be with you!” 27 Then he said to Thomas, “Put your finger here; see my hands. Reach out your hand and put it into my side. Stop doubting and believe.”

28 Thomas said to him, “My Lord and my God!”

29 Then Jesus told him, “Because you have seen me, you have believed;blessed are those who have not seen and yet have believed.”

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Is Propositional Revelation Nonsense?

Tim Brister —  July 26, 2006 — 6 Comments

In the appendix of his book, He Is There and He Is Not Silent, Francis Schaeffer wrote a little piece called “Is Propositional Revelation Nonsense?” Schaeffer explains that, “To modern man, and much modern theology, the concept of propositional revelation and the historic Christian view of infallibility is not so much mistaken as meaningless” (345). The 20th century came with many challenges to theological formulation, not the least of which was the assault on propositional truth and revelation. Such camps as existentialists and logical positivists attempted to remove religious truth from the reason and revelation while others sought to justify meaning, reality, and truth with other criterion of verification such as experience and perception. However, center to the Christian faith is the belief that God has spoken and revealed himself in the written Word of God. In this revelation, God used language as the medium to carry and convey biblical truths and realities. This is not to say that God has revealed himself exhaustively, but it does mean that he has revealed himself truly and definitively. Schaeffer makes two points which I would like to mention here:

  1. Even communication between one created person and another is not exhaustive; but that does not mean that for that reason it is not true.
  1. If the uncreated Personal really cared for the created personal, it could not be thought unthinkable for him to tell the created personal things of a propositional nature; otherwise, as a finite being, the created personal would have numerous things he could not know if he just began with himself as a limited, finite reference point.

Schaffer makes some salient points here that deserve to be brought up in the 21stcentury. While we do not disagree that revelation is also personal, we cannot flinch on the assault on propositional revelation. God has revealed himself to us, his nature and his acts, through propositional revelation (i.e. the Bible), and the implications of this truth is that we do not have the rights to reinvent or rename the God Who Is There. If we do not begin with God and his revelation, Schaeffer is correct to conclude that there are many things we could not know about God based on such a limited, finite reference point as ourselves. It is no coincidence that, at the time of Schaeffer’s publishing of this book (1972), John Hick was advancing his pluralistic hypothesis which argued for the ineffability of the “Real” which argued that one cannot know anything about God as he is (ding an sich).Adapting the Kantian model of the noumenal and phenomenal worlds, Hick argues that God (“Real”) has not and cannot reveal himself truly and definitely; furthermore, it is impossible to know anything at all about the Real (except that it is ineffable and that it exists which is something he claims to know). The result when God is not the beginning, the reference point, the apriori grounds of knowledge and revelation, then knowing and defining God is a free-for-all to anyone who wants to postulate their phenomenological interpretations as religious truth. Schaeffer concludes his little article with this important paragraph in which he said:

“The importance of all this is that most people today (including some who still call themselves evangelical) who have given up the historical and biblical concept of revelation and infallibility have not done so because of the consideration of detailed problems objectively approached, but because they have accepted, either in analyzed fashion or blindly, the other set of presuppositions. Often this has taken place by means of cultural injection, without their realizing what has happened to them” (349, emphasis added).

In the days ahead, I hope to share how propositional truth is foundational to personal truth and give a few examples of the redefinition of revelation in contemporary contexts.

Long ago, at many times and in many ways, God spoke to our fathers by the prophets, but in these last days he has spoken to us by his Son, whom he appointed the heir of all things, through whom also he created the world.
Hebrews 1:1-2

_____________

The Bible and Archaeology – Is the Bible from God? (Kyle Butt 42 min)

You want some evidence that indicates that the Bible is true? Here is a good place to start and that is taking a closer look at the archaeology of the Old Testament times. Is the Bible historically accurate? Here are some of the posts I have done in the past on the subject: 1. The Babylonian Chronicleof Nebuchadnezzars Siege of Jerusalem2. Hezekiah’s Siloam Tunnel Inscription. 3. Taylor Prism (Sennacherib Hexagonal Prism)4. Biblical Cities Attested Archaeologically. 5. The Discovery of the Hittites6.Shishak Smiting His Captives7. Moabite Stone8Black Obelisk of Shalmaneser III9A Verification of places in Gospel of John and Book of Acts., 9B Discovery of Ebla Tablets10. Cyrus Cylinder11. Puru “The lot of Yahali” 9th Century B.C.E.12. The Uzziah Tablet Inscription13. The Pilate Inscription14. Caiaphas Ossuary14 B Pontius Pilate Part 214c. Three greatest American Archaeologists moved to accept Bible’s accuracy through archaeology.

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_____________ THE DEMON-HAUNTED WORLD: Science as a Candle in the Dark by Carl Sagan. New York: Random House, 1995. 457 pages, extensive references, index. Hardcover; $25.95. PSCF 48 (December 1996): 263. Sagan is the David Duncan Professor of Astronomy and Space Sciences at Cornell University. He is author of many best sellers, including Cosmos, which […]

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MUSIC MONDAY George Harrison – Isn’t It A Pity

__

George Harrison – Isn’t It A Pity [Remastered]

Isn’t It a Pity

From Wikipedia, the free encyclopedia
For the song by George Gershwin, see Isn’t It a Pity?
“Isn’t It a Pity”
Isn't It A Pity US picture sleeve.jpg
Single by George Harrison
from the album All Things Must Pass
A-side My Sweet Lord
(double A-side)
Released 23 November 1970
Format 7-inch vinyl
Genre Folk rock
Length 7:10
Label Apple
Writer(s) George Harrison
Producer(s) George Harrison, Phil Spector
George Harrison singles chronology
My Sweet Lord“/
Isn’t It a Pity
(1970)
What Is Life
(1971)
All Things Must Pass track listing
“Isn’t It a Pity (Version Two)”
Song by George Harrison from the album All Things Must Pass
Published Harrisongs
Released 27 November 1970
Genre Folk rock
Length 4:45
Label Apple
Writer(s) George Harrison
Producer(s) George Harrison, Phil Spector

Isn’t It a Pity” is a song by English musician George Harrison from his 1970 solo album All Things Must Pass. It appears in two variations there: one the well-known, seven-minute version; the other a reprise, titled “Isn’t It a Pity (Version Two)“. Harrison wrote the song in 1966, but it was rejected for inclusion on releases by the Beatles. In many countries around the world, the song was also issued on a double A-side single with “My Sweet Lord“. In America, Billboard magazine listed it with “My Sweet Lord” when the single topped the Hot 100 chart, while in Canada, “Isn’t It a Pity” reached number 1 as the preferred side.

An anthemic ballad and one of Harrison’s most celebrated compositions, “Isn’t It a Pity” has been described as the emotional and musical centrepiece of All Things Must Pass[1] and “a poignant reflection on The Beatles’ coarse ending”.[2] Co-produced by Phil Spector, the recording employs multiple keyboard players, rhythm guitarists and percussionists, as well as orchestration by arranger John Barham. In its extended fadeout, the song references the closing refrain of the Beatles’ 1968 hit “Hey Jude“. Other musicians on the recording include Ringo Starr, Billy Preston, Gary Wright and the band Badfinger, while the reprise version features Eric Clapton on lead guitar.

The song appeared as the closing track on Harrison’s career-spanning compilation Let It Roll (2009), and a live version, from his 1991 tour with Clapton, was included on Live in Japan (1992). Clapton and Preston performed the song together at the Concert for George tribute in November 2002. “Isn’t It a Pity” has been covered by numerous artists, including Nina Simone, Matt Monro, Cowboy Junkies, Paul Young, Elliott Smith, Galaxie 500, Jonathan Wilson and Graham Nash, Tedeschi Trucks Band, and Roberta Flack.

Background and composition[edit]

While no longer the “really tight” social unit they had been throughout the chaos of Beatlemania[3] – or the “four-headed monster”, as Mick Jagger famously called them[4][5] – the individual Beatles were still bonded by genuine friendship during their final, troubled years as a band,[6] even if it was now more of a case of being locked together at a deep psychological level after such a sustained period of heightened experience.[7] Eric Clapton has described this bond as being just like that of a typical family, “with all the difficulties that entails”.[8] When the band finally split, in April 1970 – a “terrible surprise” for the outside world, in the words of author Mark Hertsgaard, “like the sudden death of a beloved young uncle”[9] – even the traditionally most disillusioned Beatle, George Harrison, suffered a mild bereavement.[10]

[Following the Beatles’ break-up], he wasn’t covered with a blanket anymore. You see, George played me a bunch of songs when he was with me, and I kept saying, “Why aren’t some of these on those Beatles records, George?” … I didn’t think he had much to develop – he was ready. How much development does a man need?[11]

– Musician Delaney Bramlett, 2003, commenting on Harrison’s largely unrealised potential as a songwriter during the Beatles‘ career

Towards the end of May that year, among the dozens of tracks that would be considered and/or recorded for his All Things Must Pass triple album, Harrison returned to a number of unused songs that he had written during the late 1960s.[12] “Isn’t It a Pity” was one of these, having most recently been rejected by the Beatles during the January 1969 Get Back sessions that resulted in their final album, Let It Be.[13][14] According to Abbey Road engineer Geoff Emerick, however, the song had been offered for inclusion on 1967’s Sgt. Pepper’s Lonely Hearts Club Band, while Mark Lewisohn, the band’s acknowledged recording historian, has stated that it was first presented during sessions for the previous year’s Revolver.[15] Lewisohn’s opinion appears to tally with a bootlegged conversation from the Get Back sessions, where Harrison reveals that John Lennon had vetoed “Isn’t It a Pity” three years before, and that he (Harrison) considered offering the song to Frank Sinatra.[16] (Harrison had recently met Sinatra in Los Angeles while working there with Apple signing Jackie Lomax.[17])

Harrison considered giving “Isn’t It a Pity” to American singer Frank Sinatra (pictured in New York in 1947)

Despite its relative antiquity by 1970, the song’s lyrics lent themselves well to the themes of spiritual salvation and friendship that define All Things Must Pass,[18][19] being consistent with the karmic subject matter of much of the album.[20] In his 1980 autobiography, Harrison explains: “‘Isn’t It a Pity’ is about whenever a relationship hits a down point … It was a chance to realise that if I felt somebody had let me down, then there’s a good chance I was letting someone else down.”[21] His lyrics adopt a nonjudgmental tone throughout:[22]

Isn’t it a pity, isn’t it a shame
How we break each other’s hearts, and cause each other pain
How we take each other’s love without thinking any more
Forgetting to give back, now isn’t it a pity.

Harrison biographer Ian Inglis has referred to the song’s “surprisingly complex” lyrics, which in one sense can be seen as a personal observation on a “failed love affair” yet at the same time serve as a comment on “the universal love for, and among, humankind”.[23] This theme had featured in previous Harrison songs such as “Within You Without You” and “While My Guitar Gently Weeps” and would remain prominent in much of his subsequent compositions.[24] The same parallels regarding the universality of love in Harrison’s work has been noted by Dale Allison, author of the first “spiritual biography” on the ex-Beatle; “When George asks, ‘Isn’t It A Pity?’,” Allison writes, “the scope of his question is vast: it embraces almost everything.”[25]

Speaking to Billboard editor-in-chief Timothy White in 2000, Harrison said of “Isn’t It a Pity”: “It’s just an observation of how society and myself were or are. We take each other for granted – and forget to give back. That was really all it was about.”[26]

Recording[edit]

Two contrasting versions of the song were recorded in London in mid 1970 during the sessions for All Things Must Pass,[27] both of which were intended for release, from the outset.[28] According to Harrison, after recording the first version, he had decided he was unhappy with it, and the second version came about by chance “weeks later”, when one of the backing musicians began playing the song during a session.[29] The so-called “Isn’t It a Pity (Version Two)” is noticeably slower than the better known, seven-minute “epic” reading of the song.[30] Eric Clapton‘s lead guitar fills, phased piano from Tony Ashton, and John Barham-arranged woodwinds dominate Version Two,[30] which is also more in keeping with the Beatles’ earlier attempts on the track; as with “Ballad of Sir Frankie Crisp“, it features extensive use of the Leslie speaker sound so familiar from the band’s Abbey Road album.[31]

Studio Two, Abbey Road Studios

Inside Studio Two at EMI’s Abbey Road Studios

Like the concurrently recorded “My Sweet Lord“, the album’s other “Isn’t It a Pity” betrays the influence of co-producer Phil Spector more so than the comparatively sedate Version Two.[30][31] It is also the most extreme example of Harrison’s stated intention to allow some of the songs on All Things Must Pass to run longer and feature instrumentation to a greater degree than had been possible within the confines of the more pop-oriented Beatles approach to recording.[19] “Isn’t It a Pity” (Version One, in its All Things Must Pass context) starts small and builds[32] – “and it builds and it builds”, NMEs Alan Smith would soon write.[33] Taping of the backing track took place at Abbey Road Studios on 2 June,[34] and judging by Spector’s comments regarding Harrison’s early mixes, the orchestral arrangement was not added until late August at the earliest.[28] The first slide-guitar break on the released recording, quite possibly overdubbed some time after the June sessions also, would adopt a near-identical melody to the one Harrison had vocalised when routining the song for the other Beatles on 26 January 1969[34] – reflecting a quality admired by Elton John in the latter’s 2002 tribute to Harrison: “All his solos are very melodic – you can almost sing his solos.”[35] Inglis writes that the effect of Harrison’s “elaborate patterns” on slide guitar is to “counterbalance the underlying atmosphere of pessimism with shafts of beauty”, similar to the “notes of light and dark” provided by Pete Drake‘s pedal steel on the song “All Things Must Pass“.[36]

Now in the key of G (two semitones down from the Get Back performance), “Isn’t It a Pity” begins “dirge”-like[37] with a two-note pedal point provided by layers of keyboards and acoustic guitars.[22] Only at the one-minute mark, at the start of verse two, does the rhythm section come in, after which the instruments begin to “break out of their metronomic straitjacket to attain an almost ecstatic release”, as Beatles Forever author Nicholas Schaffner put it in 1977.[37] The “balmy” slide guitar passage, supported by Barham’s string section,[22] follows this second verse, and from that point on – around 2:38 – the same, circular chord structure continues for the remaining four-and-a-half minutes of the song.[24][32] The long fade-out sees what Schaffner termed the “pseudo-symphonic tension” burst into a frenzy of brass and timpani, further bottleneck soloing, and the “What a pitymantra joined by “Hey Jude“-style “Na-na-na-na” chorus.[22][37]

One of the most obvious examples of what Rolling Stone magazine’s album reviewer later termed “the music of mountain tops and vast horizons”,[38] “Isn’t It a Pity” featured the largest line-up of musicians found on the album – including three or four keyboard players, a trio of extra rhythm guitarists, the orchestral strings, brass and tympani, and a male choir.[39][40] Harrison’s former bandmate Ringo Starr and two musicians with well-established links to the Beatles, Klaus Voormann and Billy Preston, were among the participants, on drums, bass and organ, respectively.[22] Members of Apple band Badfinger provided the “felt but not heard” acoustic guitars (behind Harrison’s), consistent with Spector’s criteria for his Wall of Sound technique,[37] while author Bruce Spizer has suggested that Peter Frampton may have been among the rhythm guitarists also.[34] Pianist Gary Wright, who would go on to collaborate regularly with Harrison over the subsequent decades,[41][42] recalls the session for “Isn’t It a Pity” as being his first with Harrison.[43] Bobby Whitlock, the other main keyboard player on All Things Must Pass, with Wright,[44] recalls playing a “phase-shifted pump organ, or harmonium” on the track.[45] Another possible participant is Maurice Gibb, Starr’s Highgate neighbour at the time,[46]who claimed to have played piano on the song.[47]

Release[edit]

Originally, the intention had been to release “Isn’t It a Pity” as the lead single from All Things Must Pass in October 1970,[28] until Spector and others persuaded Harrison that “My Sweet Lord” was the most obvious choice.[48] The full, seven-minute “Isn’t It a Pity” was therefore issued as a double A-side with “My Sweet Lord” on 23 November in the United States and Canada (as Apple 2995), four days before the album’s release there.[49][50] Reflecting the equal status of the two tracks, both sides of the single’s picture sleeve featured the same Barry Feinstein-shot photo of Harrison, the only differences being the song title below Harrison’s name and the fact that the green Apple Records logo and catalogue number appeared only on the side for “My Sweet Lord”.[51]

The single was phenomenally successful in North America, and around the world.[37][52][53] Both songs were listed at number 1 on America’s Billboard Hot 100 chart,[54][55] for four weeks starting on 26 December.[56][57] On the Cash Box chart, which listed single sides separately, it peaked at number 46.[58] In Canada, “Isn’t It a Pity” was the lead side when the single topped the RPM 100 chart for five weeks, through to mid January 1971.[59] “Isn’t It a Pity” was issued on All Things Must Pass as the final track on side one of the LP format, providing, in biographer Elliot Huntley’s words, an “elegiac, plaintive song of reconciliation” after the angry “Wah-Wah“.[32] Author Robert Rodriguez writes of the public’s perception of “Isn’t It a Pity” on release: “All Things Must Pass was replete with songs that could easily be interpreted as commentary on the Beatles’ breakup; though this particular song predated the events of 1969–1970, the subtext [wasn’t] diminished in the least.”[60] “Isn’t It a Pity (Version Two)” appeared as the penultimate track on side four of the original three-record set,[61] thus serving as what Rodriguez terms “a bookend to a nearly completed journey”.[62]

Despite the song’s commercial success, and its standing as one of the most-covered compositions among Harrison’s post-Beatles output,[63] “Isn’t It a Pity” was omitted from EMI/Capitol‘s The Best of George Harrison in November 1976.[64] It was included on the 2009 compilation Let It Roll: Songs by George Harrison, however.[20] A demo version of the song, recorded during the Get Back sessions, is also available on Let It Roll as an iTunes Store exclusive.

A live version from December 1991, again with Clapton, appears on the album Live in Japan.[20]

Reception[edit]

“Isn’t It a Pity” remains one of Harrison’s most popular songs with critics and fans alike. AllMusic calls it “deeply moving and powerful”,[20] while in their book on the solo Beatles’ recording history, Eight Arms to Hold You, Chip Madinger and Mark Easter declare: “If any George Harrison song can be called ‘majestic’, ‘Isn’t It a Pity’ would be the one.”[28] In his December 1970 album review for the NME, Alan Smith described it as a track that “catches the mood of aching tolerance of pain, which Harrison can do so well” and “a ballad which will stand out from the album with the passing of the years”.[33] While reviewing the song’s pairing with “My Sweet Lord”, Billboard magazine wrote of a “powerhouse two-sided winner” with “equally potent lyric lines and infectious rhythms”.[65]

Simon Leng identifies the song as musically “sumptuous” and praises Harrison’s melody and “unique” use of notes beyond the key signature, as well as John Barham’s “evocative, suspended orchestration”.[66] He notes also the similarity of their combined musical counterbalance with elements of Indian raga, in the number of swaras (tones) in both ascending and descending scales.[66] To Leng, “Isn’t It a Pity” is the “pivotal song”, the “essence” of All Things Must Pass, encapsulating the album’s struggle between “gospel ecstasy and the failure of human relationships”.[1] He concludes: “Ever bittersweet, ‘Isn’t It a Pity’ records the last dying echoes of the Beatles.”[66]

Writing in the late 1970s, Nicholas Schaffner noted the song’s “towering simplicity” and the “endlessly repetitive fade-out that somehow manages to be hypnotic instead of boring”.[37] Like Leng and Schaffner, a number of commentators have remarked on the significance of “Isn’t It a Pity” in the context of the Beatles’ demise,[2][24][67][68] starting with the song’s length: 7:10 – just a second under “Hey Jude“.[19][37] Ben Gerson, in his 1971 Rolling Stone review, described the song as a “lament … whose beginning is the broken thirds of John’s ‘I Am the Walrus‘ and whose end is the decadent, exultant last half of Paul’s ‘Hey Jude'”.[38] Peter Doggett considers “Isn’t It a Pity” a “remarkably non-judgemental commentary on the disintegration of the Beatles’ spirit”.[69]

Elliot Huntley has complained of the song’s enforced period in hibernation: “[It] simply beggars belief that the track was rejected by Martin, Lennon and McCartney – three men whose reputations rested on their ability to spot a good tune when they heard one.”[70]Huntley views “Isn’t It a Pity” as worthy of “fully fledged standard” status, with Barham’s “soaring” strings and Harrison’s “sublime” slide guitar combining to take the song “into the heavens, where it stays”.[32] Mojo contributor John Harris highlights the song in his review of one of the few “truly essential” solo albums by a former Beatle, writing: “The faster songs [on All Things Must Pass] (eg Wah Wah) are delightful; the slowies (Isn’t It A Pity, Beware Of Darkness) simply jaw-dropping.”[71]

Speaking in 2001 during promotion for the 30th anniversary reissue of All Things Must Pass, Harrison named the song among his three favourite tracks on the album,[72] along with “Run of the Mill” and “Awaiting on You All“.[73] In 2010, AOL Radio listeners voted “Isn’t It a Pity” seventh in a poll to find the ten best post-Beatles George Harrison songs.[74] Both Eric Clapton[75] and Tom Petty have named “Isn’t It a Pity” among their favourite two Harrison compositions, Petty calling the song “a masterpiece”.[76] According to Acclaimed Music, “Isn’t It a Pity” is featured in Bruce Pollock’s 2005 book The 7,500 Most Important Songs of 1944–2000, while in 2013, Holland’s Radio 2 program Het Theater van het Sentiment listed the song at number 1 (ahead of Lennon’s “Imagine“)[77] in its “Top 40 Songs by Year” for 1971.[78]

Personnel[edit]

The musicians who performed on the two All Things Must Pass versions of “Isn’t It a Pity” are believed to be as follows.[22]

Version One

Version Two

Chart positions[edit]

Chart (1970–71) Peak
position
Canadian RPM 100 Singles Chart[59] 1
US Billboard Hot 100[54] 1
US Cash Box Top 100[58] 46

Cover versions[edit]

  • In May 1971, singer Matt Monro released a UK single of “Isn’t It a Pity” (produced by George Martin).[63]
  • Nicky Thomas recorded the song for his 1971 album Tell It Like It Is.[80]
  • Ireland’s 1970 Eurovision Song Contest winner, Dana, covered the song in 1971, a rendition that has been described as a “poignant” commentary to the political upheaval then gripping Ulster.[63]
  • The Three Degrees recorded “Isn’t It a Pity” during their period on Roulette Records in 1970–72, later released on the 1995 compilation The Roulette Years.[81]
  • Nina Simone‘s “intense”, eleven-minute reworking of “Isn’t It a Pity” was released on her 1972 album Emergency Ward!, a statement on the Vietnam War which also includes a cover of “My Sweet Lord”.[82] A six-minute version of “Isn’t It a Pity” was issued on the 51-track compilation The Essential Nina Simone in 1993.[83] In his autobiography, Harrison says he was influenced by Simone’s treatment when he came to record his song “The Answer’s at the End” in 1975.[84]
  • Galaxie 500 covered the song on their On Fire album in 1989.[85]
  • A version by Pete Drake appeared on his eponymous solo album, released in 1997.[86]
  • The song appears on Television Personalities‘ 1998 album Don’t Cry Baby … It’s Only a Movie.[85]
  • In March 2001, 18th Dye contributed a version of “Isn’t It a Pity” to Snowstorm – A Tribute to Galaxie 500.[80]
  • At the Concert for George on 29 November 2002, a year to the day after Harrison’s death, Eric Clapton and Billy Preston performed the song with backing from Dhani Harrison, Jeff Lynne, Gary Brooker, Jim Keltner, Ray Cooper, Jim Horn, Tom Scott and others.[87]
  • Jay Bennett and Edward Burch recorded “Isn’t It a Pity” for Songs from the Material World: A Tribute to George Harrison, a multi-artist compilation released in February 2003.[88]
  • Classical guitarist Joseph Breznikar recorded a version of the song for his 2003 tribute album George Harrison Remembered: A Touch of Class.[89]
  • Cowboy Junkies covered the song on their Early 21st Century Blues album in 2005.[80]
  • Joel Harrison recorded “Isn’t It a Pity” for his album Harrison on Harrison: Jazz Explanations of George Harrison, released in October 2005.[90]
  • A cover version by Les Fradkin was released in 2005 on his Something for George tribute album.[91]
  • Spanish singer Rafo de la Cuba covered the song in December 2005.[92]
  • A version by Paul Young was included on his 2006 album Rock Swings.[85]
  • Pedro Aznar covered the song as “No Es Una Pena?”, with Spanish lyrics, on his album Quebrado in 2008.[93]
  • In September 2008, members of Heard of Buffalo performed the song for the Jerry Lewis MDA Telethon.[94]
  • “Isn’t It a Pity” was among a number of Harrison and Beatle covers recorded or performed by Elliott Smith;[95] a version appears on the 1998-08-12: Hoboken, NJ, USA album.[85]
  • Soul singer Bettye LaVette covered the song on Interpretations: The British Rock Songbook in 2010.[96]
  • David McAlmont and Bernard Butler’s performance of “Isn’t It a Pity” was released on the Live From Leicester Square album in February 2011.[80]
  • A version by Jonathan Wilson and Graham Nash appeared on Harrison Covered,[97] a tribute CD accompanying the November 2011 issue of Mojo magazine.[98]
  • Also in November 2011, marking the ten-year anniversary of Harrison’s death, Keane recorded a version of the song.[99]
  • Roberta Flack covered “Isn’t It a Pity” on her album Let It Be Roberta – Roberta Flack Sings The Beatles, released in February 2012.[80]
  • My Morning Jacket have included “Isn’t It a Pity” in their live performances; when playing the song at the Forecastle Festival in July 2012, they were joined on stage by Dean Wareham of Galaxie 500.[100]

All Things Must Pass 10 ( 1970 )
I’d Have You Anytime / My Sweet Lord / Wah-Wah / Isn’t It A Pity / What Is Life / If Not For You / Behind That Locked Door / Let It Down / Run Of The Mill / Beware Of Darkness / Apple Scruffs / Ballad Of Sir Frankie Crisp (Let It Roll) / Awaiting On You All / All Things Must Pass / I Dig Love / Art Of Dying / Isn’t It A Pity #2 / Hear Me Lord / It’s Johnny’s Birthday / Plug Me In / I Remember Jeep / Thanks For The Pepperoni / Out Of The Blue

Nobody would have predicted George Harrison arriving as the most popularly acclaimed ex-beatle in the immediate aftermath of their split. Nobody did predict that. Whilst Paul seemed to be running away, whilst John seemed to be deliberately aiming two fingers at his past, George merely set about releasing not one, but two albums to follow ‘that’. Paul has often said “How do you follow ‘that’?”, referring to The Beatles, of course. John learned a lesson, as ‘Plastic Ono Band’ was a relatively poor seller and amid Paul seemingly not even trying, George emerged as the biggest selling ex-beatle, circa 1970. The Phil Spector production works brilliantly here, a masterpiece of production. George never had as pretty a voice as Paul or as expressive a voice as John. Whilst the Spector production of Lennon solo albums sometimes attracted complaints and/or controversy, here, everything is perfect. The band of supporting muscians take nothing away from the immense spirituality this albums evokes. You don’t have to share George’s particular beliefs, just wallow in the feel this record produces. As Brian Wilson and The Beach Boys never nailed their mast openly, just wrote spiritual songs such as ‘God Only Knows’ – George Harrison wrote a whole bunch of songs for ‘All Things Must Pass’. True, some were initially thrown as possible Beatles songs, and unfairly ignored, but nevermind. George could have written all but, let’s say, four of the songs on ‘Abbey Road’, and if he had, it would have been a better album of actual songs than it was. But, ‘Abbey Road’ was barely about songs, it was about creating a mood. That second side? George had little to no involvement in that.

Listening to the first disc, here. It’s flawless, absolutely flawless. You’ve songs that have been name-dropped and recommended and repeated. You’ve songs that haven’t, but are equally as compelling. Buried towards the end of the first disc ( on cd ) is the beautiful ‘Behind That Locked Door’. Before that, you’ve got the name-dropped songs. The huge hit ‘My Sweet Lord’. ‘Isn’t It A Pity’ which out-epics both ‘Hey Jude’ and ‘Let It Be’ and emerges as a better song than either. Imagine ‘Isn’t It A Pity’ released as a new Beatles song, circa 1970? Aint too hard to do, aint too hard to imagine it selling trillions of copies. As a George Harrison song, it was a b-side to one of his singles. You know? Oh, ‘Isn’t It A Pity’ is one of the most ‘Beatles’ sounding songs here, by the way. As I said, it ain’t hard to imagine. Oh, OH!!!!! Sorry for the exclamation marks, but i’d never read or heard of this song i’m mentioning next as ‘a classic’ until I got the actual album, and decided that it was for myself. ‘What Is Life’ beautifully evokes Sixites pop songs, a kind of ‘Keep On Running’ rhythmic feel. ‘What Is Life’ is another song here that deserved to be a number one single all over the world. This is music, man. It’s a song I can listen to over and over, so very catchy. Oh, Spector produces Dylan?? Now, that would be something to witness, preferably at a distance! But, George covers the Dylan tune ‘If Not For You’. Rightly so, he played with Dylan and helped Dylan create the song in the first place. Harrison’s version sports a very soulful vocal, beautiful piano and overall backing. I’ll end this paragraph by mentioning the storming ‘Wah-Wah’. Not going into any detail, i’ll just mention that it sounds so fucking good.

As for the second half or so of the album? Well. More spirtual numbers, a few seemingly throwaway numbers. Ah, let’s expand. Let’s take ‘Apple Scruffs’. It’s homely, it’s natural, it’s…. egoless. It seems to be nothing as such, but surrounded as it is, by the songs it IS surrounded by… genuis. ‘Ballad Of Sir Frankie Crisp’? There’s a song written by a guy who spent years with Lennon and who spent years admiring Dylan. The title song, perfection. ‘Art Of Dying’? Spector works wonders here. The closing five numbers last another LP in themselves, loose jams recorded with future members of Derek And The Domino’s. The closing ‘Out Of The Blue’ is eleven minutes long, but ‘All Things Must Pass’ is that kind of album. It literally offers everything. Isolate a few numbers here and there, you could be mean and say, ‘hey, it’s not that hot’ – but ‘Out Of The Blue’ contains groove, and besides, it arrives after such an emotional trip, that this is exactly what you need. A jam, a coda. No solution to life’s problems, just an album to make life a little more bearable.

Add A Comment?

Readers Comments

Simon B slb23@shaw.ca
IMHO, I don’t think that ALL THINGS MUST PASS is a 10/10 album. There’s a more than a few classic tracks, a bunch of great melodies and riffs, and most of the songs are as good (if not better than) the songs he was allowed to put on the Beatles albums. There is, however, “Wah Wah”, “Run of the Mill”, “Let It Down”, “Apple Scruffs”, “I Dig Love”, and most of the “jam” record; which, IMHO, aren’t as good as the rest of the album. The rest of the album contains quite a few great songs: the up-beat pop hits “My Sweet Lord” and “What is Life”, an excellent cover of Dylan’s “If Not For You”, the catchy “Awaiting On You All”, the proto-disco of “Art of Dying”, and the reflective, somber ballads “Isn’t it a Pity (Version 1)”, “Beware of Darkness”, ‘All things must Pass”, and “Hear Me Lord”. 7.5/10

Ben Fishes_Inc@hotmail.com
I didn’t exactly believe all the hype behind this record, but for the most part it delivers. The song “I Dig Love” proves that he did indeed play in a band with John Lennon.
Andy Hanrahanhanrahan_us@yahoo.com
I bought this album on the strength of your review and was not disappointed. There are so many beautiful songs here that a 10/10 rating is spot on. The song ‘The ballad of Sir Frankie Crisp(let it roll)’ is one of the nicest songs I’ve ever heard.

gavin thorburn gavinthorburn@hotmail.co.uk
george harrison never topped this album,never even came close.and frankly he didnt need to.this triple album astonished me when i first heard it and it still does many many listens later.an incredible collection of moving songs and the best solo album by an ex beatle.and has anybody else noticed the melody of hey jude on isnt it a pity version 2….

Mike Harrison cathairball5000@yahoo.com
ATMP probably IS the best solo album Harrison ever recorded, but like a lot of double or triple albums (well, there aren’t TOO many triple albums out there, come to think of it), there’s some excess that could’ve been eliminated. Personally, ATMP isn’t one of my favorite sets, but there’s no doubt that a single LP with the best songs would’ve been a KILLER release. Actually, as it stands I think the first five songs are the highlights, and it gets less interesting as it goes on. I think the more spiritual songs weigh it down a bit, but still, I would want a few of these on a single record because it exemplifies Harrison’s diversity…..and in 1970 he was the most diverse and interesting of the Beatles, in my opinion.

Gazza garyhess44@hotmail.com
George was always a born disciple , john and paul,dylan,clapton,krishna but could george stand on his own ? The answer is a resounding yes , but i think stretching it to a treble album was a bit much. “id have you anytime” is a sweet pretty opener , “isnt it a pity” a sad look at the end of the beatles with more than a touch of hey jude but the best tracks are the countryish “if not for you” (which suits george more than dylan) and his country waltz to dylans reclusivity “behind the locked door”. Other tracks that should be mentioned are the stately “beware of darkness” “let it roll” which is just beautiful and shows lennon was listening too (the melody is very similar to his later oh yoko) “i dig love” makes me smile so simple and yet so beatles- its the kind of thing that paul would have loved and really got his teeth into . Georges genorosity of spirit shows on “apple scruffs” and the joyous “let it down” . But Is it a classic though? not quite , the! title track is a lovely song but i prefer the “get back” version done at twickenham where the beatles harmonies bring so much more to the song, making it almost mantra like. My sweet lord and wah wah have brill melodies but are way too long – And alas awaiting on you all and the art of dying are tune free zones and the spector kitchen sink production doesnt always work – some more variety in the sound would have been nice and you know what ? “what is life” is “keep on running” (george was prone to a bit of plagiarism) and the apple jam session is just horrible – Why george ??? The beatles missed george but he also showed here that he missed their focussed editing and pruning,for as a single LP this would have been the best beatle solo LP by some way .

David yodasling@aol.com
All Things Must Pass, is more evidence that the Beatles were nothing more than the Britney Spears of their day. It’s all about production, guest artists, and excess of the worst kind. Each album after this one gone thinner and thinner in form and content because the usual troop of collaborators were not around to inject inflation to the final product. There are a few good songs here, most the spiritual ones, because George actually “felt” those personally. The rest are just fillers, forced droppings produced for the pop music threadmill. And as for the Jam… well, who ever played those more than once? Did anyone care at all that these “important” could play their intruments without a “script” and without a big deal producer? No, no one did and still done. Death to the Beatles.

D I Kertis USA
In contrast to another writer, I love Let it Down and Run of the Mill in particular, definitely more than If Not For You (a good cover, but still a cover) and Behind that Locked Door. The stripped down version of Let it Down on the 30th anniversary reissue, with just George on acoustic guitar and a very subtle string synthesizer, is amazing. I Dig Love is another one people tend to regard as one of the weaker tracks. I kinda… dig it, though. Better than Apple Scruffs, I’d say, and although I like both versions of Isn’t it a Pity?, I’d easily lose the second one, along with the Dylan cover, before I Dig Love. I Live for You, another bonus track from the reissue, is beautiful and I think it’s better than the other country/western song, Behind that Locked Door. All in all, at least a 9/10 for me. A really powerful, substantial album.

– See more at: http://www.adriandenning.co.uk/george.html#sthash.R3K2RhO9.dpuf

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 172 Nat Hentoff, historian,atheist, pro-life advocate, novelist, jazz and country music critic, and syndicated columnist (Featured artist is Carmen Herrera )

Nat Hentoff on Free Speech, Jazz, and FIRE

“An early admirer of Bob Dylan, Hentoff wrote the liner notes for Dylan’s second album The Freewheelin’ Bob Dylan.

Image result for nat hentoff bob dylan

Nat Hentoff like and Milton Friedman and John Hospers was a hero to Libertarians. Over the years I had the opportunity to correspond with some prominent Libertarians such as Friedman and Hospers. Friedman was very gracious, but Hospers was not. I sent a cassette tape of Adrian Rogers on Evolution to John Hospers in May of 1994 which was the 10th anniversary of Francis Schaeffer’s passing and I promptly received a typed two page response from Dr. John Hospers. Dr. Hospers had both read my letter and all the inserts plus listened to the whole sermon and had some very angry responses. If you would like to hear the sermon from Adrian Rogers and read the transcript then refer to my earlier post at this link.  Earlier I posted the comments made by Hospers in his letter to me and you can access those posts by clicking on the links in the first few sentences of this post or you can just google “JOHN HOSPERS FRANCIS SCHAEFFER” or “JOHN HOSPERS ADRIAN ROGERS.”

Image result for john hospers francis schaeffer

 

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Image result for nat hentoff milton friedman

Likewise I read a lot of material from Nat Hentoff and I wrote him several letters. In the post I will include one of those letters.

Nat Hentoff on abortion

Published on Nov 5, 2016

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Nat Hentoff

From Wikipedia, the free encyclopedia
Nat Hentoff
Hentoff bio.jpg
Born Nathan Irving Hentoff
June 10, 1925
Boston, Massachusetts, U.S.
Died January 7, 2017 (aged 91)
New York, New York, U.S.
Nationality American
Occupation Columnist, historian, novelist, music critic
Spouse(s) Miriam Sargent (m. 1950; divorced)
Trudi Bernstein (1954–1959; divorced; 2 children)
Margot Goodman (1959–2017 his death; 2 children)

Nathan IrvingNatHentoff (June 10, 1925 – January 7, 2017) was an American historian, novelist, jazz and country music critic, and syndicated columnist for United Media. Hentoff was the jazz critic for The Village Voice from 1958 to 2009.[1] Following his departure from The Village Voice, Hentoff moved his music column to The Wall Street Journal, which published his work until his death. He often wrote on First Amendment issues, vigorously defending the freedom of the press.

Hentoff was formerly a columnist for Down Beat, JazzTimes, Legal Times, The Washington Post, The Washington Times, The Progressive, Editor & Publisher and Free Inquiry. He was a staff writer for The New Yorker, and his writing was also published in The New York Times, Jewish World Review, The Atlantic, The New Republic, Commonweal and in the Italian Enciclopedia dello Spettacolo.

Early life[edit]

Hentoff was born in Boston, Massachusetts on June 10, 1925,[2][3] the son of Lena (née Katzenberg) and Simon Hentoff.[2] As a teen, he attended Boston Latin School[2][3] and worked for Frances Sweeney on the Boston City Reporter, investigating antisemitic hate groups. Sweeney was a major influence on Hentoff; his memoir, Boston Boy, is dedicated to her.[4][5] He was awarded his B.A. with the high honors from Northeastern University[2][6][7] and did graduate work at Harvard University.[6][7] In 1950, he was a Fulbright fellow at the Sorbonne in Paris.[6][7]

Career[edit]

Hentoff began his career in broadcast journalism while also hosting a weekly jazz program on WMEX, a Boston radio station.[8] In the 1940s, he hosted two radio shows on WMEX: JazzAlbum and From Bach To Bartók.[9] Hentoff continued to do a jazz program on WMEX into the early 1950s, and during that period was an announcer on WGBH-FM on a program called Evolution of Jazz. By the late 1950s, he was co-hosting a program called The Scope of Jazz on WBAI-FM in New York City.[10] He went on to author numerous books on jazz and politics.[2]

Hentoff joined Down Beat magazine as a columnist in 1952.[11] From 1953 through 1957, he was an associate editor of Down Beat.[6][12] He was fired in 1957 after allegedly trying to hire an African-American writer.[13][8]

Hentoff co-authored with Nat Shapiro Hear Me Talkin’ to Ya: The Story of Jazz by the Men Who Made It (1955).[2] The book features interviews with jazz musicians such as Dizzy Gillespie and Duke Ellington.[9] Hentoff co-founded The Jazz Review in 1958,[2][9][14] a magazine that he co-edited with Martin Williams until 1961.[14] In 1960, Hentoff served as the A&R director of the short-lived jazz label Candid Records, which released albums by Charles Mingus, Cecil Taylor and Max Roach, among others.[14][15]

Hentoff became a member of the Board of Directors of The Jazz Foundation of America in 2002,[16] and worked with the foundation to help save homes and lives of America’s elderly jazz and blues musicians,[9] including musicians who survived Hurricane Katrina. Hentoff wrote multiple articles to draw attention to the plight of America’s pioneering musicians of jazz and blues. These articles were published in the Wall Street Journal[17] and the Village Voice.[18]

Beginning in February 2008, Hentoff was a weekly contributing columnist at WorldNetDaily.com.[19] In January 2009, the Village Voice, which had regularly published Hentoff’s commentary and criticism for fifty years, announced that he had been laid off.[2][20] In February 2009, Hentoff joined the libertarian Cato Institute as a senior fellow.[21][12]

In 2013, a biographical film about Hentoff, entitled The Pleasures of Being Out of Step explored his career in jazz and as a First Amendment advocate. The independent documentary, directed by David L. Lewis,[2][22] won the Grand Jury prize in the Metropolis competition at the DOC NYC festival[23] and played in theaters across the country.[2]

Political commentary[edit]

Hentoff was known as a civil libertarian, free speech activist,[24] anti-death penalty advocate and anti-abortion advocate.[3][12] He supported the 2003 invasion of Iraq,[20][3] and the State of Israel.[3] Hentoff espoused generally liberal views on domestic policy and civil liberties, but in the 1980s, he began articulating more socially conservative positions—opposition to abortion, voluntary euthanasia, and the selective medical treatment of severely disabled infants.[25] Hentoff argued that a consistent life ethic should be the viewpoint of a genuine civil libertarian, arguing that all human rights are at risk when the rights of any one group of people are diminished, that human rights are interconnected, and people deny others’ human rights at their own peril.[25]

While at one time a longtime supporter of the American Civil Liberties Union, Hentoff became a vocal critic of the organization for its advocacy of government-enforced university and workplace speech codes.[26] He served on the board of advisors for the Foundation for Individual Rights in Education, another civil liberties group. Hentoff’s book Free Speech for Me—But Not for Thee outlines his views on free speech and excoriates those whom he feels favor censorship in any form.[2]

Hentoff was critical of Clinton Administration for the Antiterrorism and Effective Death Penalty Act of 1996.[27] He also criticized the Bush Administration for policies such as the Patriot Act and other civil liberties restrictions on the basis of homeland security. An ardent critic of the Bush administration’s expansion of presidential power, Hentoff in 2008 called for the new president to deal with the “noxious residue of the Bush-Cheney war against terrorism”. Among the national security casualties have been, according to Hentoff, “survivors, if they can be found, of CIA secret prisons (“black sites“); victims of CIA kidnapping renditions; and American citizens locked up indefinitely as “unlawful enemy combatants”.[28] He advocated prosecuting members of the Bush administration, including lawyer John Yoo, for war crimes.[29]

Hentoff stated that while he had been prepared to enthusiastically support Barack Obama in the 2008 U.S. presidential election, his view changed after looking into Obama’s voting record on abortion. During President Obama’s first year, Hentoff praised him for ending policies of CIA renditions, but has criticized him for failing to fully end George W. Bush‘s practice of state torture of prisoners.[30] In a May 2014 column, titled My Pro-Constitution Choice for President, Hentoff voiced his support for Kentucky Senator Rand Paul‘s potential 2016 run for president. Hentoff cited Paul’s support for civil liberties, particularly his stand against the indefinite detention clauses in the National Defense Authorization Act as well as Paul’s opposition to the Obama administration’s use of drones against American citizens.[31] Hentoff subsequently rescinded his endorsement of Paul in light of the Senator’s support for normalizing relations with Cuba and his failure to completely repeal the Patriot Act.[32]

Awards and honors[edit]

Hentoff was named a Guggenheim Fellow in 1972.[33] He was awarded the American Bar Association‘s Silver Gavel Award in 1980 for his columns on law and criminal justice.[7] In 1983, he was awarded the American Library Association‘s Imroth Award for Intellectual Freedom.[7] In 1985, he was awarded an honorary Doctorate of Laws by Northeastern University.[34][6][12] In 1995, Hentoff was given the National Press Foundation‘s Award for lifetime distinguished contributions to journalism.[2][35][7] In 2004, Hentoff was named one of six NEA Jazz Masters by the U.S. National Endowment for the Arts, the first non-musician to win this award.[2] That same year, the Boston Latin School honored him as alumnus of the year. In 2005, Hentoff was honored by the Human Life Foundation at their third annual “Great Defender of Life” dinner.[9]

Personal life[edit]

Hentoff grew up attending an Orthodox synagogue in Boston. He recalls that as a youth, he and his father during the High Holidays would travel the city to listen to various cantors and compare notes on their performances. He said that cantors made “sacred texts compellingly clear to the heart,” and he collected their recordings.[36] In later life, Hentoff was an atheist[37][24] and has sardonically described himself as “a member of the Proud and Ancient Order of Stiff-Necked Jewish Atheists“.[38][39] He expressed sympathy for Israel’s Peace Now movement.[40]

Hentoff married three times, first to Miriam Sargent in 1950; the marriage was childless and the couple divorced that same year.[41] His second wife was Trudi Bernstein, whom he married on 2 September 1954, and with whom he had two children, Jessica and Miranda.[41] He divorced his second wife in August 1959.[41] On 15 August 1959, he married his third wife, Margot Goodman, whom he had two children: Nicholas and Thomas.[41] The couple remained together until Hentoff’s death in 2017.[2]

He died of natural causes in his Manhattan apartment on January 7, 2017, at the age of 91.[3] Survivors include his wife, Margot Goodman; two sons, Nicholas and Thomas; two daughters, Jessica and Miranda; a stepdaughter, Mara Wolynski Nierman; a sister, Janet Krauss; and 10 grandchildren.[2]

Books[edit]

Non-fiction[edit]

  • Hear Me Talkin’ to Ya: The Story of Jazz as Told by the Men who Made it, with Nat Shapiro (1955)[2]
  • The Jazz Makers, with Nat Shapiro (1957)[8]
  • The Jazz Life ISBN 0-306-80088-8 (1961)[2][42]
  • Peace Agitator: The Story of A. J. Muste. ISBN 0-9608096-0-0 (1963)[2][6]
  • The New Equality (1964)[2][6]
  • Our Children Are Dying (with John Holt) (1967)[6]
  • A Doctor Among the Addicts (1968)[6]
  • A Political Life: The Education of John V. Lindsay (1969)[42]
  • Journey into Jazz (1971)[42]
  • Jazz Is (1976)[8]
  • Does Anybody Give a Damn?: Nat Hentoff on Education (Random House; 1977)[6]
  • The First Freedom: The Tumultuous History of Free Speech in America (1980)[6]
  • American Heroes: In and Out of School (1987)[43]
  • John Cardinal O’Connor: At the Storm Center of a Changing American Catholic Church. ISBN 0-684-18944-5 (1988)[6][42]
  • Free Speech for Me — But Not for Thee: How the American Left and Right Relentlessly Censor Each Other. ISBN 0-06-099510-6 (1993)[2][6]
  • Listen to the Stories: Nat Hentoff on Jazz and Country Music. ISBN 0-06-019047-7 (1995)[6]
  • Living the Bill of Rights: How to Be an Authentic American. ISBN 0-520-21981-3 (1999)[2]
  • The War on the Bill of Rights and the Gathering Resistance. ISBN 1-58322-621-4 (2004)[44]
  • American Music Is (2004)[45]

Novels[edit]

  • Jazz Country (1965)[2]
  • Call the Keeper (1966)[13]
  • Onwards! (1968)[46]
  • I’m Really Dragged But Nothing Gets Me Down (1968)[47]
  • This School is Driving Me Crazy (1976)[2]
  • Does This School Have Capital Punishment? (1982)[2]
  • Blues for Charlie Darwin (1982)[13]
  • The Day They Came To Arrest The Book (1983)[2][6]
  • The Man from Internal Affairs (1985)[6]

Memoirs[edit]

Compilations[edit]

Edited volumes[edit]

  • Hear Me Talkin’ to Ya: The Story of Jazz by the Men Who Made It (with Nat Shapiro) (1955)[2]
  • Black Anti-Semitism and Jewish Racism (1969)[49]
  • Jazz: New Perspectives on the History of Jazz by Twelve of the World’s Foremost Jazz Critics and Scholars ISBN 0-306-80002-0 (with Albert McCarthy) (1975)[50]

External links[edit]

 

Nat Hentoff on abortion

Published on Nov 5, 2016

__

Nat Hentoff c/o Cato Institute

May 15, 2014

Dear Mr. Hentoff,

I am a great admirer of 5 men since 1980. Milton Friedman, Ronald Reagan, Francis Schaeffer, Dr. C. Everett Koop and Adrian Rogers. In 1980 I first saw the film series FREE TO CHOOSE by Milton and Rose Friedman and also the film series HOW SHOULD WE THEN LIVE? by Francis Schaeffer and WHATEVER HAPPENED TO THE HUMAN RACE? by Schaeffer and Koop. (I also saw the film series COSMOS by Sagan.)

I really bought into what all of these film series had to say (except Sagan’s), but I have always been one to read material from the other side in order to challenge my own views. Adrian Rogers is the other person I mentioned and he was my pastor in Memphis where I grew up. He was very pro-life and he instilled in me a passion for the pro-life cause. That is why I have posted so many of your pro-life articles on my blog.

Today I am writing you for two reasons. First, I wanted to appeal to your Jewish Heritage and ask you to take a closer look at some Old Testament scriptures dealing with the land of Israel. Second, I wanted to point out some scientific evidence that caused Antony Flew to switch from an atheist (as you are now) to a theist.  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 have enclosed some of those letters between us.) 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? (CD is enclosed also.) 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.

You will notice in the enclosed letter from June 1, 1994 that Dr. Flew 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.” It would be a great honor for me if you would take time and drop me a note and let me know what your reaction is to this same message.

Robert Lewis noted that many orthodox Jews believed through the centuries that God would honor the ancient prophecies that predicted that the Jews would be restored to the land of Israel, but then I notice the latest film series on the Jews done by an orthodox Jew seemed to ignore many of these scriptures. Recently I watched the 5 part PBS series Simon Schama’s THE STORY OF THE JEWS, and in the last episode Schama calls Israel “a miracle” but he is hoping that Israel can get along with the non-Jews in the area. Schama noted, “I’ve always thought that Israel is the consummation of some of the highest ethical values of Jewish traditional history, but creating a place of safety and defending it has sometimes challenged those same ethics and values”. There is an ancient book that sheds light on Israel’s plight today, and it is very clear about the struggles between the Jews and their cousins that surround them. It all comes down to what the Book of Genesis had to say concerning Abraham’s son by Hagar.  

Genesis 16:11-12  (NIV)

11 The angel of the Lord also said to her:

“You are now pregnant
    and you will give birth to a son.
You shall name him Ishmael,
    for the Lord has heard of your misery.
12 He will be a wild donkey of a man;
    his hand will be against everyone
    and everyone’s hand against him,
and he will live in hostility
    toward all his brothers.”

The first 90 seconds of episode 5 opened though by allowing us all to experience the sirens and silence of that day in Spring, each year, when Israel halts to mark the Holocaust and I actually wept while I thought of those who had died. Schama noted, “”Today around half the Jews in the world live here in Israel. 6 million people. 6 million defeats for the Nazi program of total extermination.”
After World War II Schama tells about the events leading up to the re-birth of Israel.  Here again Schama although a practicing Jewish believer did not bring in scripture to shed light on the issue. David O. Dykes who is pastor of Green Acres Baptist Church in Tyler, Texas has done just that:
The nation of Israel was destroyed in 70 A.D…Beginning in the early 20th century Jews started trickling back into Palestine at the risk of their lives. Then after World War II, the British government was given authority over Palestine and in 1948, Israel became a nation again through the action of the United Nations…This should not have come as a surprise to any Bible scholar, because this regathering of Israel is predicted many times in scripture. The prophet Amos wrote in Chapter 9:

14 And I will bring back the exiles of My people Israel, and they shall build the waste cities and inhabit them; and they shall plant vineyards and drink the wine from them; they shall also make gardens and eat the fruit of them.

15 And I will plant them upon their land, and they shall no more be torn up out of their land which I gave them, says the Lord your God.

Some people think the Amos prophecy was referring to the return of Israel after their Babylonian captitvity in 586 B.C. But the nation was uprooted in 70 A.D. And notice God said they would “NEVER AGAIN TO BE UPROOTED.”

Even the preservation of their language is a miracle. For centuries, Hebrew was a dead language spoken nowhere in the world. But within the last century, this dead language has been resurrected and now millions of Israelis speak Hebrew...Have you noticed how often Israel is in the news? They are only a small nation about the size of New Jersey.

I have checked out some of the details that David O. Dykes has provided and they check out. Philip Lieberman is a cognitive scientist at Brown University, and in a letter dated in 1995 he told me that only a few other languages besides Hebrew have ever been revived including some American Indian ones along with Celtic.

Also Zechariah 12:3 also verifies the newsworthiness of Israel now:  And in that day I will make Jerusalem a burdensome stone for all peoples; all who lift it or burden themselves with it shall be sorely wounded. And all the nations of the earth shall come and gather together against it.

I do think that Isaiah also predicted the Jews would come from all over the earth back to their homeland Israel. Isaiah 11:11-12 states, “And in that day the Lord shall again lift up His hand a second time to recover (acquire and deliver) the remnant of His people which is left, from Assyria, from Lower Egypt, from Pathros, from Ethiopia, from Elam [in Persia], from Shinar [Babylonia], from Hamath [in Upper Syria], and from the countries ordering on the [Mediterranean] Sea.  And He will raise up a signal for the nations and will assemble the outcasts of Israel and will gather together the dispersed of Judah from the four corners of the earth. (Amplified Bible)

 I was reading  THE BOOK OF DANIEL COMMENTARY (Cambridge University Press, 1900) by the Bible critic  Samuel Rolles Driver, and on page 100 Dr. Driver commented that the country of Israel is obviously a thing of the past and has no place in prophecy in the future and the prophet Daniel was definitely wrong about that.  I wonder what Dr. Driver would say if he lived to see the newspapers today?

In fact, my former pastor Robert Lewis at Fellowship Bible Church in his sermon “Let the Prophets Speak” on 1-31-99 noted that even the great Princeton Theologian Charles Hodge erred in 1871 when he stated:

The argument from the ancient prophecies is proved to be invalid because it would prove too much. If those prophecies foretell a literal restoration, they foretell that the temple is to be rebuilt, the priesthood restored, sacrifices again offered, and that the whole Mosaic ritual is to be observed in all its details, (Systematic Theology. [New York: Charles Scribner & Sons, 1871; reprint Grand Rapids, Michigan: Eerdman’s Publishing Co., 1949], 3:807).__

Robert Lewis went on to point out that the prophet Amos 2700 years ago predicted the destruction of Aram, Philistia, Tyre, Edom, Ammon, Moab and Israel, but at the end of the Book he said Israel would one day be returned to their land and never removed. We saw from Isaiah 11:11-12 that the Lord “will assemble the outcasts of Israel and will gather together the dispersed of Judah from the four corners of the earth.” And that certainly did happen after World War II.  I corresponded with some secular Jewish Scholars on this back in the 1990’s such as Irving Kristol and Daniel Bell but they dismissed these type of Old Testament prophecies. In his letter of September 23, 1995, Daniel Bell wrote, “As to the survival of the Jewish people, I think of the remark of Samuel Johnson that there is nothing stronger than the knowledge that one may be hanged the next day to concentrate the mind–or the will.”

After looking at the accuracy of Old Testament, I want to turn my attention to the accuracy of the New Testament. Recently I was reading the book GOD’S NOT DEAD by Rick Broocks and in it he quotes Sir William Ramsay who was a scholar who originally went to Palestine to disprove the Book of Luke. Below is some background info on Ramsay followed by his story.

From Wikipedia:

Sir William Mitchell Ramsay (15 March 1851, Glasgow –20 April 1939) was a Scottish archaeologist and New Testament scholar. By his death in 1939 he had become the foremost authority of his day on the history of Asia Minor and a leading scholar in the study of the New Testament. From the post of Professor of Classical Art and Architecture at Oxford, he was appointed Regius Professor of Humanity (the Latin Professorship) at Aberdeen. Knighted in 1906 to mark his distinguished service to the world of scholarship, Ramsay also gained three honorary fellowships from Oxford colleges, nine honorary doctorates from British, Continental and North American universities and became an honorary member of almost every association devoted to archaeology and historical research. He was one of the original members of the British Academy, was awarded the Gold Medal of Pope Leo XIII in 1893 and the Victorian Medal of the Royal Geographical Society in 1906. 

Sir William Ramsay

William Mitchell Ramsay was born on March 15, 1851 in Glasgow, Scotland. His father was a lawyer, but died when William was just six. Through the hard work of other family members, William attended the University of Aberdeen, achieving honors. Through means of a scholarship, he was then able to go to Oxford University and attend the college there named for St. John. His family resource also allowed him to study abroad, notably in Germany. It was under one of his professors that his love of history began. After receiving a new scholarship from another college at Oxford, he traveled to Asia Minor.

William, however, is most noted for beliefs pertaining to the Bible, not his early life. Originally, he labeled it as a ‘Book of Fables,’ having only third-hand knowledge. He neither read nor studied it, skeptically believing it to be of fiction and not historical fact. His interest in history would lead him on a search that would radically redefine his thoughts on that Ancient Book…

Some argue that Ramsay was originally just a product of his time. For example, the general consensus on the Acts of the Apostles (and its alleged writer Luke) was almost humouress:

“… [A]bout 1880 to 1890 the book of the Acts was regarded as the weakest part of the New Testament. No one that had any regard for his reputation as a scholar cared to say a word in its defence. The most conservative of theological scholars, as a rule, thought the wisest plan of defence for the New Testament as a whole was to say as little as possible about the Acts.”[1]

It was his dislike for Acts that launched him into a Mid-East adventure. With Bible-in-hand, he made a trip to the Holy Land. What William found, however, was not what he expected…

As it turns out, ‘ole Willy’ changed his mind. After his extensive study he concluded that Luke was one of the world’s greatest historians:

The more I have studied the narrative of the Acts, and the more I have learned year after year about Graeco-Roman society and thoughts and fashions, and organization in those provinces, the more I admire and the better I understand. I set out to look for truth on the borderland where Greece and Asia meet, and found it here [in the Book of Acts—KB]. You may press the words of Luke in a degree beyond any other historian’s, and they stand the keenest scrutiny and the hardest treatment, provided always that the critic knows the subject and does not go beyond the limits of science and of justice.[2]

Skeptics were strikingly shocked. In ‘Evidence that Demands a Verdict’ Josh Mcdowell writes,

“The book caused a furor of dismay among the skeptics of the world. Its attitude was utterly unexpected because it was contrary to the announced intention of the author years before…. for twenty years more, book after book from the same author came from the press, each filled with additional evidence of the exact, minute truthfulness of the whole New Testament as tested by the spade on the spot. The evidence was so overwhelming that many infidels announced their repudiation of their former unbelief and accepted Christianity. And these books have stood the test of time, not one having been refuted, nor have I found even any attempt to refute them.”[3]

The Bible has always stood the test of time. Renowned archaeologist Nelson Glueck put it like this:

“It may be stated categorically that no archaeological discovery has ever controverted a Biblical reference. Scores of archaeological findings have been made which conform in clear outline or exact detail historical statements in the Bible.”[4]

1) The Bearing of Recent Discovery on the Trustworthiness of the New Testament (1915)
2) Ibid
3) See page 366
4) See page 31 of: Rivers in the Desert: A History of the Negev (1959)

 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

_______

Featured artist is Carmen Herrera

CARMEN HERRERA-Artist in Exile part 1

Uploaded on Dec 9, 2009

Cuban born artist, Carmen Herrera.

CARMEN HERRERA Artist in Exile part 2

Carmen Herrera

From Wikipedia, the free encyclopedia
Carmen Herrera
Born May 31, 1915 (age 101)
Havana, Cuba
Nationality Cuban-American
Known for Painting
Style Minimalism
Movement Abstract Expressionism

Carmen Herrera (born May 31, 1915) is a Cuban-American abstract, minimalist painter. She was born in Havana and has lived in New York City since the mid-1950s. Herrera’s abstract works have brought her international recognition late in life. She turned 100 in May 2015.[1]

Early life[edit]

Born in Havana in 1915, Herrera was one of seven siblings. Her father was the founding editor of the newspaper El Mundo, where her mother was a reporter.[2] Herrera has lived in France, Cuba and the USA, moving frequently throughout the 1930s and 1940s. Returning to Cuba from Paris around 1935, Herrera studied architecture.[3][4] She met in 1939 English teacher Jesse Loewenthal, when he was visiting from America,[5] married him and moved to New York, abandoning her degree course.[4] From 1943-1947 she studied at the Art Students League in New York City.[6]

Abstract expressionism was blooming in late 1940s New York, which had become an art metropolis, but instead of taking advantage of that, Herrera moved to post war Paris. There she was inspired by the era of re-building after the war, and found her own style. Herrera got to know the young artists from Salon des Réalités Nouvelles, an art collective striving to challenge the traditions of the art scene. One of them, Fred Sidès, was enthusiastic about Herrera’s work, and wanted it in an exhibition. But when he said that her art seemed to be full of so many images, Herrera had an insight. “I said to myself: Oh God, what he is telling me is that I have too much in it.” From then on her work has always been a search from the greatest possible simplicity. Her art is about shapes and colour, and how they relate to each other.[7] In 1954 Herrera settled in New York.

Rondo by Carmen Herrera

Discovery by the art world[edit]

In 2004, her friend, painter Tony Bechara, attended a dinner with Frederico Sève, the owner of the Latin Collector Gallery in Manhattan, who had a much-publicized show of female geometric painters from which an artist had dropped out.[5] Bechara recommended Herrera.[5] When Sève saw her paintings, he at first thought they were by Lygia Clark, but found out that Herrera’s paintings had been done a decade before Clark did paintings in a similar style.[5]

Work[edit]

Herrera’s work has great precision and is highly reminiscent of Barnett Newman and Leon Polk Smith. She was a contemporary of many abstract expressionist artists – most notably, Wifredo Lam and Yves Klein[5] but since she painted in relative obscurity, remained unknown until her later years. Her works, viewed in light of the time period they were painted in, are important milestones in the evolution of the Geometric Minimalism movement. After six decades of private painting, Herrera sold her first artwork in 2004 when she was 89 years old.[5] Herrera has said of her work, “I do it because I have to do it; it’s a compulsion that also gives me pleasure.”[5]

Collections[edit]

In 2004 Agnes Gund, President emeritus of the Museum of Modern Art, bought several works by Herrera and donated one of her black-and-white paintings to Museum of Modern Art (MoMA).[5] The Tate Modern in London, the Walker Art Center in Minneapolis, and the Hirshhorn Museum and Sculpture Garden in Washington, D.C. have also acquired her works.

Exhibitions[edit]

Herrera exhibited several times at the Salon des Réalités Nouvelles beginning in 1949.[8] Solo exhibitions were hosted at the Galeria Sudamericana (1956), Trabia Gallery (1963), Cisneros Gallery (1965) and Alternative Gallery (1986).[9] The El Museo del Barrio in East Harlem, New York, mounted an exhibition of Herrera’s work in 2008. A retrospective exhibition opened in July 2009 at the nonprofit IKON Gallery in Birmingham, England, and travelled to the Pfalzgalerie Museum in Kaiserslautern, Germany in 2010. From 16 September 2016 Herrera will have her first museum retrospective at the Whitney Museum of American Art.[10]

List of works[edit]

The following works are currently displayed at Lisson Gallery.

  • Untitled, 2013[11]
  • Blanco y Verde, 1962
  • Red & Blue, 1993
  • Green Garden, 1950
  • Blue with White Line, 1964

Film[edit]

Beginning in 2014, Alison Klayman, director of the acclaimed “Ai Weiwei: Never Sorry,” worked on a documentary about Herrera.[12] This documentary, “‘The 100 Years Show‘,” premiered in 2015 at the Hot Docs Film Festival in Toronto.[13]

References[edit]

  1. Jump up^ Russeth, Andrew (2015-06-05). “‘Don’t Be Intimidated About Anything’: Carmen Herrera at 100”. ARTnews. Retrieved 2015-06-18.
  2. Jump up^ Helena de Bertodano (20 December 2010), Carmen Herrera: ‘Is it a dream?’ The Daily Telegraph.
  3. Jump up^ Hermione Hoby (21 November 2010), Carmen Herrera: ‘Every painting has been a fight between the painting and me. I tend to win’ The Guardian.
  4. ^ Jump up to:a b “Carmen Herrera 29 July — 13 September 2009”. Ikon Gallery. Retrieved 2015-05-22.
  5. ^ Jump up to:a b c d e f g h Sontag, Deborah (2009-12-20). “At 94, She’s the Hot New Thing in Painting”. The New York Times. ISSN 0362-4331. Retrieved 2015-05-22.
  6. Jump up^ Ship, Steve (2003). Latin American an Caribbean Artists of the Modern Era; A biographical dictionary of more than 12,700 Persons. Jefferson, North Carolina, and London: McFarland and Company Inc.,. p. 326.
  7. Jump up^ Jule Schlegel, One day I will just paint a dot and be gone, Some Magazine 2014
  8. Jump up^ Brodsky], [editor, Dorothy Feaver; text, Estrellita B. (2013). Carmen Herrera : works on paper = opere su carta, 2010-2012. London: Lisson Gallery. ISBN 9780947830397.
  9. Jump up^ Heller, Jules (1995). North American Women Artists of the Twentieth Century : A Biographical Dictionary. New York and London: Garland Publishing, Inc. ISBN 0-8240-6049-0.
  10. Jump up^ “Works in Progress”. The New York Times. 2015-05-15. ISSN 0362-4331. Retrieved 2015-05-22.
  11. Jump up^ “Carmen Herrera | Artists | Lisson Gallery”. http://www.lissongallery.com. Retrieved 2016-03-19.
  12. Jump up^ “Carmen Herrera at 99”. W Magazine. 2014-05-30. Retrieved 2015-05-22.
  13. Jump up^ Eileen Kinsella (31 May 2015). “Artist Carmen Herrera turns 100 years old—artnet News”. artnet News.

External links[edit]

Photo

The Carmen Herrera retrospective at the Whitney Museum of American Art includes signature paintings from 1948-78, like this untitled geometric abstraction. CreditCarmen Herrera, Collection of Yolanda Santos Art

At 101, the artist Carmen Herrera is finally getting the show the art world should have given her 40 or 50 years ago: a solo exhibition at a major museum in New York, where she has been living and working since 1954. The show, “Carmen Herrera: Lines of Sight,” caps off several years of festivities, many of which have focused on the artist’s centenarian status, including a documentary film, “The 100 Years Show, Starring Carmen Herrera”; a spring exhibition of recent paintings at the Lisson Gallery in Chelsea; and numerous profiles hailing Ms. Herrera as a living treasure and praising her acerbic wit.

There’s more to marvel at in the Whitney Museum of American Art’s compact but ravishing exhibition of about 50 works, which focuses on the pivotal period of 1948-78 — years in which Ms. Herrera developed her signature geometric abstractions, pared-down paintings of just two colors but seemingly infinite spatial complications. Installed with appropriate precision on the Whitney’s eighth floor, the show presents her as an artist of formidable discipline, consistency and clarity of purpose, and a key player in any history of postwar art.

There is so much to celebrate within the close-set parameters of “Lines of Sight,” in fact, that you have to wonder: Why didn’t the Whitney give Ms. Herrera not just the show she ought to have received some decades ago, but also the show that she deserves today? Meaning a full retrospective on the big stage of the fifth floor, like those the museum bestowed on Frank Stella last fall, or even a slightly more focused look at her oeuvre from maturity on, as in the Stuart Davis survey that’s now in its final weeks. Well-intentioned as it is, “Lines of Sight” gives us just a narrow slice of a career that’s seven decades strong and still going.

Photo

A painting from Carmen Herrera’s 12-year series “Blanco y Verde.” CreditCarmen Herrera, Private Collection, New York

Ms. Herrera’s only museum retrospective, before this one, was in 1984 at the Alternative Museum, now defunct. More frequently, this Havana-born artist’s work has been exhibited in a Cuban or Latin American context, at institutions like El Museo del Barrio and in group shows like “9 Cuban Artists,” even though she has not lived in Cuba since the 1930s and has a complicated relationship with Latin American art. She has been compared to Brazilian artists of the Neo-Concrete movement, such as Lygia Clark and Hélio Oiticica, but she had little direct contact with those circles; the lines of influence run through 1940s Paris, and the international gathering of abstract-art enthusiasts known as the Salon des Réalités Nouvelles.

Continue reading the main story

That is where the Whitney show begins, in postwar Paris in 1948, the same time and place that shaped Ellsworth Kelly’s entree into abstraction. Ms. Herrera spent six years in this richly intellectual expatriate scene, where she encountered, for the first time, canonical works by Malevich, Mondrian and other artists of Suprematism and De Stijl.

The first gallery finds Ms. Herrera gradually simplifying and intensifying her compositions of flat, interlocking forms, almost as if she were zooming in on them. Some of the hallmarks of her mature work are already there: backgammon-like motifs of elongated triangles, in “A City” (1948), and a gravitation to shades of deep green, in “Green Garden” (1950).

Photo

“Blue and Yellow” (1965).CreditCarmen Herrera, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington

Returning to New York in the mid-1950s, she spent a decade making bracing, rigidly geometric works in black and white and in straight-from-the-tube colors, some of them on shaped and multipanel canvases. Ms. Herrera had plenty of encouragement from friends like Barnett Newman and Leon Polk Smith, but little from galleries and the critics who frequented them. Deteriorating relations with Cuba had something to do with this tepid reception, but so did her gender; Ms. Herrera recalls that the dealer Rose Fried told her, you can paint circles around the male artists that I have, but I’m not going to give you a show because you’re a woman.

She continued to paint circles around the men, even when she was painting squares (as in a black-and-white work from 1952 that anticipates Stella’s 1959 “Black Paintings”) and triangles, as in “Green and White” (1956), where four sharp white spikes induce vertigo as they direct our gaze from corners of an emerald green field to the center.

In 1959, working with those same colors and shapes, she embarked on her 12-year series “Blanco y Verde.” The Whitney has assembled nine paintings from that group of 15, in an installation that forms the core of the show and is a powerful argument for viewing Ms. Herrera’s work in serial form. It’s a room that would not look out of place at Dia:Beacon or some other temple of Minimalism, although there are other entry points for its elegant, iterative integration of painting and architecture.

Photo

“Green and Orange” (1958). CreditCarmen Herrera, Collection of Paul and Trudy Cejas

Ms. Herrera’s studies in architecture at the Universidad de La Habana, where she said she learned “to think abstractly and draw like an architect,” emerge forcefully in works from the late 1960s through the ’70s, especially in a monochromatic series called “Estructuras,” which moves from drawing to painting to sculpture. Some of these pieces take up a motif from a particular “Blanco y Verde” painting and turn its green triangles into negative space, creating a fault line between two L-shaped blocks: Picture two Tetris pieces that don’t quite fit together.

And in two assertively architectonic black-and-white paintings from 1974, Ms. Herrera alludes to Spanish cultural masterpieces: in “Escorial,” to the royal monastery near Madrid, and in “Ávila,” to a historic site (the hometown of St. Teresa) and to a butterflied composition seen in paintings by Francisco de Zurbarán, the 17th-century Spanish painter whom Ms. Herrera has described as a “minimalist.”

The Whitney pointedly paired one of Ms. Herrera’s “Blanco y Verde” paintings with a sculpture by Ellsworth Kelly in the inaugural exhibition for its new building. And the comparison comes up again and again in “Lines of Sight” and its catalog, organized by Dana Miller (a former director of the Whitney collection). It’s indicative of what the Whitney is trying to do, here and in rehangings of the permanent collection: to pry open the canon and make space for marginalized artists.

That strategy may be one explanation for the emphasis on just a portion of Ms. Herrera’s oeuvre, the part that corresponds to a particularly well-trodden stretch of art history, from Abstract Expressionism to Minimalism. MoMA and the Whitney each own just one canvas by Ms. Herrera, but after visiting “Lines of Sight,” you will not be able to walk through either museum’s painting galleries without seeing her work in your head, if not on the wall.

_______

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________     H. J. Blackham H. J. Blackham, (31 March 1903 – 23 January 2009), was a leading and widely respected British humanist for most of his life. As a young man he worked in farming and as a teacher. He found his niche as a leader in the Ethical Union, which he steadfastly […]

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H.J.Blackham pictured below: I had to pleasure of corresponding with Paul Kurtz in the 1990’s and he like H. J. Blackham firmly believed that religion was needed to have a basis for morals. At H. J. Blackham’s funeral in 2009 these words were read from Paul Kurtz: Paul Kurtz Founder and Chair, Prometheus Books and the […]

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H. J. Blackham pictured below:   On May 15, 1994 on the 10th anniversary of the passing of Francis Schaeffer I sent a letter to H.J. Blackham and here is a portion of that letter below: I have enclosed a cassette tape by Adrian Rogers and it includes  a story about  Charles Darwin‘s journey from […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 132 Part D Ellsworth Kelly (Featured artist is Ronald Davis )

  I featured the artwork of Ellsworth Kelly on my blog both on November 23, 2015 and December 17, 2015. Also I mailed him a letter on November 23, 2015, but I never heard back from him.  Unfortunately he died on December 27, 2015 at the age of 92. Who were the artists who influenced […]

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__ I featured the artwork of Ellsworth Kelly on my blog both on November 23, 2015 and December 17, 2015. Also I mailed him a letter on November 23, 2015, but I never heard back from him.  Unfortunately he died on December 27, 2015 at the age of 92.       Who were the […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 130 Part B Ellsworth Kelly (Featured artist is Art Green )

Andy, Ellsworth Kelly, Richard Koshalek and unidentified guest, 1980s I featured the artwork of Ellsworth Kelly on my blog both on November 23, 2015 and December 17, 2015. Also I mailed him a letter on November 23, 2015, but I never heard back from him.  Unfortunately he died on December 27, 2015 at the age […]

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How Should We Then Live – Episode 8 – The Age of Fragmentation   I featured the artwork of Ellsworth Kelly on my blog both on November 23, 2015 and December 17, 2015. Also I mailed him a letter on November 23, 2015, but I never heard back from him.  Unfortunately he died on December […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 128 Will Provine, Determinism, Part F (Featured artist is Pierre Soulages )

Today I am bringing this series on William Provine to an end.  Will Provine’s work was cited by  Francis Schaeffer  in his book WHATEVER HAPPENED TO THE HUMAN RACE? I noted: I was sad to learn of Dr. Provine’s death. William Ball “Will” Provine (February 19, 1942 – September 1, 2015) He grew up an […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 127 Will Provine, Killer of the myth of Optimistic Humanism Part E (Featured artist is Jim Dine )

___ Setting the record straight was Will Provine’s widow Gail when she stated, “[Will] did not believe in an ULTIMATE meaning in life (i.e. God’s plan), but he did believe in proximate meaning (i.e. relationships with people — friendship and especially LOVE🙂 ). So one’s existence is ultimately senseless and useless, but certainly not to those […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 126 Will Provine, Killer of the myth of Optimistic Humanism Part D (Featured artists are Elena and Olivia Ceballos )

I was sad when I learned of Will Provine’s death. He was a very engaging speaker on the subject of Darwinism and I think he correctly realized what the full ramifications are when accepting evolution. This is the fourth post I have done on Dr. Provine and the previous ones are these links, 1st, 2nd […]

 

 

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WOODY WEDNESDAY Woody Allen’s ‘Wonder Wheel’ Scores December Release (EXCLUSIVE) Brent Lang

 

 

Kate Winslet & Justin Timberlake FIGHT On Sets Of Woody Allen’s Next | Lehren Hollywood

 

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Woody Allen’s ‘Wonder Wheel’ Scores December Release (EXCLUSIVE)

Woody Allen Cannes

MATT BARON/REX/SHUTTERSTOCK

JUNE 12, 2017 | 01:03PM PT

Woody Allen’s next film will hit theaters this December, Variety has learned.

Wonder Wheel,” a drama set in Coney Island during the 1950s, will debut in limited release on Dec. 1, 2017. That pits it against “The Disaster Artist,” a comedy with James Franco about the making of the cult film “The Room.” It’s actually a pretty open period on the release calendar. Disney will launch “Coco,” an animated movie, on the weekend before “Wonder Wheel” opens. The weekend after “Wonder Wheel” lands will see the release of Guillermo Del Toro’s fantasy drama “The Shape of Water,” but many films seem to be steering clear of December. That likely has a lot to do with “Star Wars: The Last Jedi,” which hits theaters on Dec. 15.

Amazon Studios is distributing “Wonder Wheel,” having previously worked with Allen on last year’s “Cafe Society.” That comedic drama went on to make $43.8 million globally. “Wonder Wheel’s” cast includes Jim Belushi, Juno Temple, Justin Timberlake, and Kate Winslet. A logline for the film says that it will contain “larger-than-life characters, lovers, infidelity, and gangsters.” It’s Winslet’s first time working with Allen. She was previously tapped for 2005’s “Match Point,” but had to drop out for family reasons.

The December release will allow “Wonder Wheel” to qualify for this year’s Academy Awards. Allen is a favorite with Oscar voters, having racked up statues for the likes of “Hannah and Her Sisters,” “Annie Hall,” and “Midnight in Paris.”

Amazon has only been producing original films for two years, but it has already established itself as a major presence. It released “Manchester by the Sea,” which won Oscars for Casey Affleck and writer-director Kenneth Lonergan, and picked up another Academy Award for “The Salesman,” which won best foreign language film. Upcoming Amazon releases include “The Big Sick,” a romantic comedy from “Silicon Valley’s” Kumail Nanjiani, and “Wonderstruck,” an off-beat drama from Todd Haynes.

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