FRIEDMAN FRIDAY Milton Friedman on Hayek’s “Road to Serfdom” 1994 Interview

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Milton Friedman on Hayek’s “Road to Serfdom” 1994 Interview 1 of 2

Milton Friedman on Hayek’s “Road to Serfdom” 1994 Interview 2 of 2

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Friedman Friday” Free to Choose by Milton Friedman: Episode “What is wrong with our schools?” (Part 6 of transcript and video)

Here is the video clip and transcript of the film series FREE TO CHOOSE episode “What is wrong with our schools?” Part 6 of 6.   Volume 6 – What’s Wrong with our Schools Transcript: FRIEDMAN: But I personally think it’s a good thing. But I don’t see that any reason whatsoever why I shouldn’t have been required […]

Milton Friedman – A Conversation On Minimum Wage

Friedman Friday” Free to Choose by Milton Friedman: Episode “What is wrong with our schools?” (Part 5 of transcript and video)

Here is the video clip and transcript of the film series FREE TO CHOOSE episode “What is wrong with our schools?” Part 5 of 6.   Volume 6 – What’s Wrong with our Schools Transcript: Are your voucher schools  going to accept these tough children? COONS: You bet they are. (Several talking at once.) COONS: May I answer […]

Free to Choose by Milton Friedman: Episode “What is wrong with our schools?” (Part 4 of transcript and video)

Here is the video clip and transcript of the film series FREE TO CHOOSE episode “What is wrong with our schools?” Part 4 of 6.   Volume 6 – What’s Wrong with our Schools Transcript: It seems to me that if one is truly interested in liberty, which I think is the ultimate value that Milton Friedman talks […]

Friedman Friday” Free to Choose by Milton Friedman: Episode “What is wrong with our schools?” (Part 3 of transcript and video)

Friedman Friday” Free to Choose by Milton Friedman: Episode “What is wrong with our schools?” (Part 3 of transcript and video) Here is the video clip and transcript of the film series FREE TO CHOOSE episode “What is wrong with our schools?” Part 3 of 6.   Volume 6 – What’s Wrong with our Schools Transcript: If it […]

Friedman Friday” Free to Choose by Milton Friedman: Episode “What is wrong with our schools?” (Part 2 of transcript and video)

Here is the video clip and transcript of the film series FREE TO CHOOSE episode “What is wrong with our schools?” Part 2 of 6.   Volume 6 – What’s Wrong with our Schools Transcript: Groups of concerned parents and teachers decided to do something about it. They used private funds to take over empty stores and they […]

By Everette Hatcher III | Also posted in Vouchers | Edit | Comments (1)

Friedman Friday” Free to Choose by Milton Friedman: Episode “What is wrong with our schools?” (Part 1 of transcript and video)

Here is the video clip and transcript of the film series FREE TO CHOOSE episode “What is wrong with our schools?” Part 1 of 6.   Volume 6 – What’s Wrong with our Schools Transcript: Friedman: These youngsters are beginning another day at one of America’s public schools, Hyde Park High School in Boston. What happens when […]

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

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.

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.

Featured artist is   Tim Lowly

Tim Lowly & Robert Cozzolino – a conversation (that starts as a monologue)

Published on Nov 22, 2016

Artist Tim Lowly talking with Minneapolis Institute of Art Curator Robert Cozzolino at Saint Mary’s University in Winona, Minnesota on 11.10.16.
(Sorry about the blurry picture.)

Featured Artist: Tim Lowly

25/07/2010Posted in: Featured Artist, Painters

Tim Lowly is an artist whose work I have admired for a long time.  Here is some information that his website offers:

Tim Lowly lives and works in Chicago. Among the bags that he carries: making art, making music, curating and teaching. That said, without his wife Sherrie and daughter Temma he would be little more than a guy with some bags. If that.

Lowly has been described as a “bless every blade of grass realist.”  His work is a testimony to a careful and loving perception of particulars.  His daughter, Temma, has made consistent appearances in many of his paintings.  Here is what Image Journal has to say about Lowly’s paintings of Temma:

Temma is multiply impaired — she has a seizure disorder and cortical blindness — and the paintings make us look at the things we train ourselves to avoid seeing: the problems of the body, and the problem of inexplicable suffering of innocents.  But as we look more closely, the portraits call even our notions about suffering into question. Though tender, the images are also startlingly realistic. They don’t flinch from Temma’s condition, but rather than lamenting her, they do a sort of visual theodicy, giving us glimpses of meaning in something we tend to think of as being only senseless and painful. Lowly’s vision, while meditative in style, reminds us that compassion is not the same as pity — rather, compassion is learning to “suffer with” another and to receive, in turn, something inexplicable and grace-filled from the one who suffers.

Please have a look at Tim’s website.

Proximity, 2004.  Acrylic on panel, 14″ x9.5″.  Private collection, Oakland, CA.

Temma on Earth, 1999.  Acrylic gesso with pigment on panel, 8′x 12′.  Frye Art Museum, Seattle, WA.

Untitled (to hope) – 2001.  Acrylic on panel, 12″ x 9″.  Private collection, Washington, DC.

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This story about Sir Roger Moore meeting a fan is incredible by Nicholas Reilly

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I was a big Roger Moore fan over the years and  I  loved each James Bond movie he was in. Sean Connery was an outstanding  Bond too.

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BREAKING: Roger Moore Dies, Legendary James Bond Star Dead at 89

Sir Roger Moore Tribute

 

A View To A Kill – Eiffel Tower

Octopussy (1983) – Intro (1/2)

 

Octopussy (1983) – Intro (2/2)

The Spy Who Loved Me – Skiing Opening Scene

Crocodile Farm Escape (Live And Let Die)

 

LIVE AND LET DIE (1973) Crocodile Jump Attempts (Behind the Scenes)

Published on Sep 19, 2014

Ross Kananga secured the feet of three crocodiles to the shallow pond’s bottom, leaving their jaws and tails free. After removing the other reptiles from the pond, Kananga attempted the dangerous cross. He slipped into the water on the first four tries, but fortunately fell out of the crocodiles snapping jaws. On the fifth attempt, he executed the stunt flawlessly.

Live and Let Die (1973) – Intro

Blofeld’s Death: James Bond 007 – For Your Eyes Only 1981 – Helicopter Dropoff – 1080p HD

This story about Sir Roger Moore meeting a fan is incredible

This story about Sir Roger Moore meeting a fan is incredible
Sir Roger Moore died earlier today (Picture: WENN)

Sir Roger Moore has died after a battle with cancer – and his passing marks the departure of a bonafide screen legend.

But while his heroic on screen credentials are unquestionable, it seems that he was every bit a brilliant man off screen too.

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Scriptwriter Marc Haynes gave proof of this by sharing his experience of meeting Sir Roger Moore on two separate occasions.

The first came during the 1980s, when Marc was a young boy and spotted Sir Roger Moore at Nice Airport – before pleading with his granddad to ask the Bond star for an autograph.

The second meeting, of which we won’t divulge too much, comes decades later – and it is an exchange that shows Sir Roger to be a man of unquestionable class.

Here’s his incredible story.

This story about Sir Roger Moore meeting a fan is incredible

This story about Sir Roger Moore meeting a fan is incredible

What a man. What a legend.

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WOODY WEDNESDAY Reviews of past Woody Allen Movies PART 3

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Reviews of past Woody Allen Movies

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Bullets Over Broadway (1994)
98 min., rated R.
Grade: B 

Woody Allen’s first stint since “Alice” behind the camera without being in front of it is “Bullets Over Broadway,” an entertaining Roaring Twenties-period comedy. 

Subbing for Allen is John Cusack as an earnest, nervous playwright, David Shayne, who thinks he’s a real artist and gets his latest play financially backed from a Mob boss (played by who other than Joe Viterelli). There’s a catch: David has to find a part for the gangster’s moll, a helium-voiced, untalented flapper named Olive (Jennifer Tilly). He assembles a flaky crew of thespians, who all put in their two-cents whether David takes them or not, but Cheech (Chazz Palminteri), a glowering gangster that acts as Olive’s bodyguard, ends up influencing David because, hot damn, he knows how people speak in real life. Naturally, as David begins taking Cheech’s suggestions, the play improves. 

The period flavor is tasty from the golden oldies on the soundtrack (Cole Porter’s “Let Misbehave”) to the sumptuous costume design to the art direction, and the dialogue is smart and funny, if not the Woodman’s most memorable (co-written by a new collaborator, Douglas McGrath). It’s the cast that really gooses things up: Dianne Wiest, hilariously over-the-top, as an over-the-hill, pompous Broadway prima donna Helen Sinclair (who sells her catchphrase “Don’t speak!” with theatrical verve); the blowsy Tilly nailing the shrill sex-bomb; Tracey Ullman as a hyper-perky actress with her yippy dog in tote; Jim Broadbent as a gluttonous Englishman who’s always feeding his face; and Palminteri, though playing another gangster, charges his Cheech with charisma and surprising intellect and brings on the darkest laughs. 

“Bullets Over Broadway” isn’t guns-blazing Woody Allen (some praise it as one of his best), but it’s juicily acted and good fun.


Mighty Aphrodite (1995)
95 min., rated R.
Grade: B 
Writer-director Woody Allen’s “Mighty Aphrodite” starts out as a Greek tragedy, with a Greek chorus in a stone amphitheater, but we soon realize it’s Allen’s new device in lieu of his narration. 

Allen is back in frame with his one neurotic personality in New York playing a sportswriter named Lenny. Helena Bonham Carter, obviously in the Mia Farrow role with her lamblike voice, is his art-dealer wife Amanda who wants a baby, so against Lenny’s wishes, they adopt a son. After a bit of detective work, he finds his adopted son’s biological mother, Linda Ash (Mira Sorvino), a flighty hooker and porno actress with a lot of different names including her stage name “Judy Cum.” Sorvino shines as the towering, Mickey Mouse-voiced Linda, who’s more than just an airhead or the hooker-with-a-heart-of-gold stereotype. 

Winning an Oscar for her work, Sorvino showcases her daffy timing and on-screen warmth. The joke is that upon meeting Linda, Lenny squirms at every kitschy knickknack in her apartment to every innocously delivered raunchy lick of dialogue that comes out of her mouth. And Lenny’s conversation with Linda about setting her up with a dumb boxer (Michael Rapaport), also an onion farmer, is hilarious. The editing is sometimes disjointed and the Greek-parody segments, while amusing, get in the way. 

More vulgar and lighter than most of Allen’s work, “Mighty Aphrodite” is still funny and entertaining. Although it’s refreshing Allen doesn’t write himself ending with Linda, the Greek-like deus ex machina is ironic without ever getting too messy.



Everyone Says I Love You (1996)
101 min., rated R.
Grade: B + 

Where else are you going to find hospital orderlies and patients dancing around and singing “Makin’ Whoopee”? A Woody Allen movie, that’s where! His charming and contagiously happy fantasia “Everyone Says I Love You,” his first musical on celluloid, is hard to resist. 

Allen’s character Joe is a divorced writer living in Paris who contemplates suicide after being dumped by his French girlfriend. Instead, he returns to New York, where he’s still on good terms with his charitable ex-wife Steffi (Goldie Hawn), now married to Bob (a very funny Alan Alda), but still loves her. Of course, this is Allen’s movie, so that doesn’t stop him from tailing other *cough* (younger) women like Julia Roberts. Bob’s daughter, Skylar (Drew Barrymore), is about to be engaged to Holden (Edward Norton), a nice schnook in love. She accidentally swallows her Harry Winston ring. 

There’s a lack of story, though told from the point-of-view and narration of Joe and Steffi’s daughter DJ (Natasha Lyonne) telling us about her politically diverse Upper East Side family, but it’s mostly an excuse for Allen to put on a show! 

Everyone seems to be having a good time being in love, gamely breaking into a ditty of ballads from the ’30s and ’40s (the one exception is Barrymore, whose voice was dubbed and it shows) and fancy footwork. Even if the cast wasn’t aware they’d be in a musical until after they signed up, they try their best modestly. Only Alda, Hawn, Norton, and Tim Roth (as an animalistic ex-convict smitten with Skylar) have the most confident pipes, but that doesn’t stop the rest, most of all Allen who’s no Fred Astaire. With very few cuts during the music numbers, the actors (usually surrounded by back-up dancers) show their stuff like in a Broadway show. One quibble: the camera has a tendency to drift away from those singing for no reason other than to get reaction shots from those watching. 

One fun, cleverly upbeat song-and-dance sequence at a funeral home, “Enjoy Yourself (It’s Later Than You Think),” has a bunch of ghosts shaking their groove thing. In the closing number “I’m Thru With Love,” preceded by a Groucho Marx party in Paris for New Year’s Eve, Allen and Hawn’s flight of fancy at the Seine banks is lovely, romantic magic. Allen’s cinematographer Carlo DiPalma (since “Hannah and Her Sister”s) captures the enchanting beauty of Italy and New York in the winter. 

Though not his most thematically daring, “Everyone Says I Love You” is Woody’s most delightful.

Deconstructing Harry (1997) 

96 min., rated R.
Grade: B –

Writer-director Woody Allen’s 28th film, “Deconstructing Harry,” is certainly his most ambitious and personal autobiographical opus about self-analysis, but also his most sour, profane, and narcissistic work. Or, his confession of being self-obsessed and unable to love. Even in the end, his creations applaud their maker. It’s like his first really R-rated movie, as Woody makes his alter ego vulgar, charmless, and unlikable. 

Allen plays Harry Block, a writer suffering writer’s block (get the joke?) and depression. He pops pills and chases them with booze. He cheats. He sleeps with whores. He’s not winning any Man of the Year Award anytime soon. Harry wrote a thinly disguised fictionalization about his own life, including an affair with his ex-wife’s neurotic sister (Judy Davis), who’s in an outrage (not too unlike Dianne Wiest’s Holly in Hannah and Her Sisters). 

Being cast in a Woody Allen film must feel like a privilege. It’s certainly audacious for its cornucopia of actors (Caroline Aaron, Kirstie Alley, Bob Balaban, Richard Benjamin, Eric Bogosian, Billy Crystal, Judy Davis, Hazelle Goodman, Mariel Hemingway, Amy Irving, Julia Louis-Dreyfus, Demi Moore, Elisabeth Shue, Stanley Tucci, Robin Williams) that parade around the film. The cast is good but the mishmash of fictional characters as a template for the “real” people distracts at times. Davis and Alley, as his second wife, act up a storm in rage, while Louis-Dreyfus and Moore amusingly play these women in the novel (Benjamin and Tucci stand in for Harry). Goodman has a surprisingly winning perormance as patient black hooker Cookie. Hemingway, far removed from her tender role in “Manhattan,” is wasted. 

Frequent Allen editor Susan E. Morse makes a lot of jump cuts, obviously a choice like in “Husbands and Wives,” but it feels more sloppy and overly indulgent. 

“Deconstructing Harry” has some great moments and performances, and the old Jew’s darkest, most caustic humor about Judaism, sex, women, and the F-word, but it’s a rambling psychiatric-session stunt. The most hysterical vignette involves Robin Williams as an actor who’s always “soft” (out of focus) on film. (“Get some rest and just see if you can sharpen up,” the confused director tells him.) 

The last vignette includes an elevator ride to Allen’s erotic fleshpot version of Hell that Billy Crystal makes fun as the wisecracking Devil. Harry won’t win Woody any new fans, but Woodyphiles might call it his most brutally honest film since 1992’s “Husbands and Wives.”

 

Related posts:

 

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RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 131 Max Tegmark, MIT, cosmologist, “Mathematical objects are clearly not created, ever. The cube wasn’t created 14 billion years ago, right?”

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

Wikipedia notes:

Max Tegmark

From Wikipedia, the free encyclopedia
Max Tegmark
Max Tegmark.jpg
Born May 5, 1967 (age 47)
Sweden
Nationality SwedishAmerican
Fields Cosmology Physics
Institutions MIT
Alma mater Royal Institute of Technology
Berkeley
Signature

Max Erik Tegmark[1] (born 5 May 1967) is a SwedishAmerican cosmologist. Tegmark is a professor at the Massachusetts Institute of Technology and is the scientific director of the Foundational Questions Institute. He is also a co-founder of the Future of Life Institute.

Early life[edit]

Tegmark was born in Sweden, son of Karin Tegmark and Harold S. Shapiro, graduated from the Stockholm School of Economics and the Royal Institute of Technology in Stockholm, and later received his Ph.D. from the University of California, Berkeley. After having worked at the University of Pennsylvania, he is now at the Massachusetts Institute of Technology. While still in high-school, Max wrote, and sold commercially, together with school buddy Magnus Bodin, a word processor written in pure machine code [2] for the Swedish eight-bit computer ABC 80, and the 3D Tetris-like game Frac.[3]

Career[edit]

His research has focused on cosmology, combining theoretical work with new measurements to place constraints on cosmological models and their free parameters, often in collaboration with experimentalists. He has over 200 publications, of which nine have been cited over 500 times.[4] He has developed data analysis tools based on information theory and applied them to Cosmic Microwave Background experiments such as COBE, QMAP, and WMAP, and to galaxy redshift surveys such as the Las Campanas Redshift Survey, the 2dF Survey and the Sloan Digital Sky Survey.

With Daniel Eisenstein and Wayne Hu, he introduced the idea of using Baryon Acoustic Oscillations as a Standard Ruler.[5][non-primary source needed] With Angelica de Oliveira-Costa and Andrew Hamilton, he discovered the anomalous multipole alignment in the WMAP data sometimes referred to as the “axis of evil”.[6][non-primary source needed] With Anthony Aguirre, he developed the Cosmological interpretation of quantum mechanics.

Tegmark has also formulated the “Ultimate ensemble theory of everything”, whose only postulate is that “all structures that exist mathematically exist also physically”. This simple theory, with no free parameters at all, suggests that in those structures complex enough to contain self-aware substructures (SASs), these SASs will subjectively perceive themselves as existing in a physically “real” world. This idea is formalized as the mathematical universe hypothesis,[7] described in his book Our Mathematical Universe.

Tegmark was elected Fellow of the American Physical Society in 2012 for, according to the citation, “his contributions to cosmology, including precision measurements from cosmic microwave background and galaxy clustering data, tests of inflation and gravitation theories, and the development of a new technology for low-frequency radio interferometry”.[8]

Personal life[edit]

He was married to astrophysicist Angelica de Oliveira-Costa in 1997, and divorced in 2009. They have two sons.[9] On August 5, 2012, Prof. Tegmark married Meia Chita.[10]

In  the second video below in the 73rd 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)

_________________________________

April 7, 2015

Dr. Max Tegmark, Professor of Physics, Massachusetts Institute of Technology,

Dear Dr. Tegmark,

I really enjoyed watching your comments on the show CLOSER TO TRUTH and that got me started reading your material. Let me start off by saying that this is not the first time that I have written you. Earlier I shared several letters of correspondence I had with Carl Sagan, and Antony Flew. Both men were strong believers in evolution as you are today. Instead of talking to you about their views today I wanted to discuss the views of you and Charles Darwin. 

TWO THINGS MADE ME THINK OF YOU RECENTLY. On April 5, 2015 at the Fellowship Bible Church Easter morning service in Little Rock, Arkansas our pastor Mark Henry described DOUBTING THOMAS and that description made me think of you.  Moreover, your skeptical view towards  Christianity reminds me of CHARLES DARWIN’S growing doubts throughout his life on these same theological issues such as skepticism in reaction to the claims of the Bible!!!

I’m an evangelical Christian and you are a secularist but I am sure we can both agree with the apostle Paul when he said in First Corinthians 15 that if Christ did not rise from the dead then Christians are to be most pited!!!! I attended Easter services this week and this issue came up and Mark Henry asserted that there is plenty of evidence that indicates that the Bible is historically accurate. Did you know that CHARLES DARWIN thought about this very subject quite a lot?

I just finished reading the online addition of the book Darwin, Francis ed. 1892. Charles Darwin: his life told in an autobiographical chapter, and in a selected series of his published letters [abridged edition]. London: John Murray. There are several points that Charles Darwin makes in this book that were very wise, honest, logical, shocking and some that were not so wise. The Christian Philosopher Francis Schaeffer once said of Darwin’s writings, “Darwin in his autobiography and in his letters showed that all through his life he never really came to a quietness concerning the possibility that chance really explained the situation of the biological world. You will find there is much material on this [from Darwin] extended over many manufacturers years that constantly he was wrestling with this problem.”

Your QUOTE from the program CLOSER TO TRUTH:

 And mathematical objects, like the cube or dodecahedron or sphere or a vector space, “clearly exist outside of space and time,” he says. “Mathematical objects are clearly not created, ever. The cube wasn’t created 14 billion years ago, right? And yet you still feel that it exists in the sense that it’s not like we invented the cube. The whole idea that there could be a cube is very not arbitrary. What’s so beautiful about these mathematical objects is that they exist outside of space and time. There’s no time element, so they never needed to pop into existence.”
He continues: “Our entire physical universe can be thought of as a four-dimension space-time, with time as the fourth dimension, as Einstein pointed out. This means that we just have another four-dimensional shape here, which could then exist without ever being created outside of space and time. If this is true, it would mean that the universe really is a completely mathematical object.”

Quotes like this indicate to me that you are a DOUBTING THOMAS type. YOU MAY FIND IT INTERESTING THAT CHARLES DARWIN WAS ALSO INTERESTED IN THE HISTORICAL ASPECT OF THE BIBLE. When I read the book  Charles Darwin: his life told in an autobiographical chapter, and in a selected series of his published letters, I also read  a commentary on it by Francis Schaeffer and I wanted to both  quote some of Charles Darwin’s own words to you and then include the comments of Francis Schaeffer on those words. I have also enclosed a CD with two messages from Adrian Rogers and Bill Elliff concerning Darwinism.

Darwin, C. R. to Doedes, N. D.2 Apr 1873

“It is impossible to answer your question briefly; and I am not sure that I could do so, even if I wrote at some length. But I may say that the impossibility of conceiving that this grand and wondrous universe, with our conscious selves, arose through chance, seems to me the chief argument for the existence of God; but whether this is an argument of real value, I have never been able to decide…Nor can I overlook the difficulty from the immense amount of suffering through the world. I am aware that if we admit a First Cause, the mind still craves to know whence it came, and how it arose.”

Francis Schaeffer noted:

What he is saying is if you say there is a first cause, then the mind says, “Where did this come from?” I think this is a bit old fashioned, with some of the modern thinkers, this would not have carry as much weight today as it did when Darwin expressed it. Jean Paul Sartre said it as well as anyone could possibly say it. The philosophic problem is that something is there and not nothing being there. No one has the luxury of beginning with nothing. Nobody I have ever read has put forth that everything came from nothing. I have never met such a person in all my reading,or all my discussion. If you are going to begin with nothing being there, it has to be nothing nothing, and it can’t be something nothing. When someone says they believe nothing is there, in reality they have already built in something there. The only question is do you begin with an impersonal something or a personal something. All human thought is shut up to these two possibilities. Either you begin with an impersonal and then have Darwin’s own dilemma which impersonal plus chance, now he didn’t bring in the amount of time that modern man would though. Modern man has brought in huge amounts of time into the equation as though that would make a difference because I have said many times that time can’t make a qualitative difference but only a quantitative difference. The dilemma is it is either God or chance. Now you find this intriguing thing in Darwin’s own situation, he can’t understand how chance could have produced these two great factors of the universe and its form and the mannishness of man.

From Charles Darwin, Autobiography (1876), in The Life and Letters of Charles Darwin, ed. Francis Darwin, vol. 1 (London: John Murray, 1888), pp. 307 to 313.

“Another source of conviction in the existence of God, connected with the reason and not with the feelings, impresses me as having much more weight. This follows from the extreme difficulty or rather impossibility of conceiving this immense and wonderful universe, including man with his capacity of looking far backwards and far into futurity, as the result of blind chance or necessity. When thus reflecting, I feel compelled to look to a First Cause having an intelligent mind in some degree analogous to that of man; and I deserve to be called a Theist. This conclusion was strong in my mind about the time, as far as I can remember, when I wrote the Origin of Species, and it is since that time that it has very gradually, with many fluctuations, become weaker. But then arises the doubt…”

Francis Schaeffer commented:

On the basis of his reason he has to say there must be an intelligent mind, someone analogous to man. You couldn’t describe the God of the Bible better. That is man is made in God’s image  and therefore, you know a great deal about God when you know something about man. What he is really saying here is that everything in my experience tells me it must be so, and my mind demands it is so. Not just these feelings he talked about earlier but his MIND demands it is so, but now how does he counter this? How does he escape this? Here is how he does it!!!

Charles Darwin went on to observe:  —can the mind of man, which has, as I fully believe, been developed from a mind as low as that possessed by the lowest animals, be trusted when it draws such grand conclusions?”

Francis Schaeffer asserted:

So he says my mind can only come to one conclusion, and that is there is a mind behind it all. However, the doubt comes because his mind has come from the lowest form of earthworm, so how can I trust my mind. But this is a joker isn’t it?  Then how can you trust his mind to support such a theory as this? He proved too much. The fact that Darwin found it necessary to take such an escape shows the tremendous weight of Romans 1, that the only escape he can make is to say how can I trust my mind when I come from the lowest animal the earthworm? Obviously think of the grandeur of his concept, I don’t think it is true, but the grandeur of his concept, so what you find is that Darwin is presenting something here that is wrong I feel, but it is not nothing. It is a tremendously grand concept that he has put forward. So he is accepting the dictates of his mind to put forth a grand concept which he later can’t accept in this basic area with his reason, but he rejects what he could accept with his reason on this escape. It really doesn’t make sense. This is a tremendous demonstration of the weakness of his own position.

Darwin also noted, “I cannot pretend to throw the least light on such abstruse problems. The mystery of the beginning of all things is insoluble by us, and I for one must be content to remain an Agnostic.”

Francis Schaeffer remarked:

What a stupid reply and I didn’t say wicked. It just seems to me that here is 2 plus 2 equals 36 at this particular place.

Darwin, C. R. to Graham, William 3 July 1881

Nevertheless you have expressed my inward conviction, though far more vividly and clearly than I could have done, that the Universe is not the result of chance.* But then with me the horrid doubt always arises whether the convictions of man’s mind, which has been developed from the mind of the lower animals, are of any value or at all trustworthy. Would any one trust in the convictions of a monkey’s mind, if there are any convictions in such a mind?

Francis Schaeffer observed:

Can you feel this man? He is in real agony. You can feel the whole of modern man in this tension with Darwin. My mind can’t accept that ultimate of chance, that the universe is a result of chance. He has said 3 or 4 times now that he can’t accept that it all happened by chance and then he will write someone else and say something different. How does he say this (about the mind of a monkey) and then put forth this grand theory? Wrong theory I feel but great just the same. Grand in the same way as when I look at many of the paintings today and I differ with their message but you must say the mark of the mannishness of man are one those paintings titanic-ally even though the message is wrong and this is the same with Darwin.  But how can he say you can’t think, you come from a monkey’s mind, and you can’t trust a monkey’s mind, and you can’t trust a monkey’s conviction, so how can you trust me? Trust me here, but not there is what Darwin is saying. In other words it is very selective. 

Now we are down to the last year of Darwin’s life.

* The Duke of Argyll (Good Words, April 1885, p. 244) has recorded a few words on this subject, spoken by my father in the last year of his life. “. . . in the course of that conversation I said to Mr. Darwin, with reference to some of his own remarkable works on the Fertilisation of Orchids, and upon The Earthworms,and various other observations he made of the wonderful contrivances for certain purposes in nature—I said it was impossible to look at these without seeing that they were the effect and the expression of mind. I shall never forget Mr. Darwin’s answer. He looked at me very hard and said, ‘Well, that often comes over me with overwhelming force; but at other times,’ and he shook his head vaguely, adding, ‘it seems to go away.'”

Francis Schaeffer summarized :

And this is the great Darwin, and it makes you cry inside. This is the great Darwin and he ends as a man in total tension.

Francis Schaeffer noted that in Darwin’s 1876 Autobiography that Darwin he is going to set forth two arguments for God in this and again you will find when he comes to the end of this that he is in tremendous tension. Darwin wrote, 

At the present day the most usual argument for the existence of an intelligent God is drawn from the deep inward conviction and feelings which are experienced by most persons.Formerly I was led by feelings such as those just referred to (although I do not think that the religious sentiment was ever strongly developed in me), to the firm conviction of the existence of God and of the immortality of the soul. In my Journal I wrote that whilst standing in the midst of the grandeur of a Brazilian forest, ‘it is not possible to give an adequate idea of the higher feelings of wonder, admiration, and devotion which fill and elevate the mind.’ I well remember my conviction that there is more in man than the mere breath of his body; but now the grandest scenes would not cause any such convictions and feelings to rise in my mind. It may be truly said that I am like a man who has become colour-blind.

Francis Schaeffer remarked:

Now Darwin says when I look back and when I look at nature I came to the conclusion that man can not be just a fly! But now Darwin has moved from being a younger man to an older man and he has allowed his presuppositions to enter in to block his logic. These things at the end of his life he had no intellectual answer for. To block them out in favor of his theory. Remember the letter of his that said he had lost all aesthetic senses when he had got older and he had become a clod himself. Now interesting he says just the same thing, but not in relation to the arts, namely music, pictures, etc, but to nature itself. Darwin said, “But now the grandest scenes would not cause any such convictions  and feelings to rise in my mind. It may be truly said that I am like a man who has become colour-blind…” So now you see that Darwin’s presuppositions have not only robbed him of the beauty of man’s creation in art, but now the universe. He can’t look at it now and see the beauty. The reason he can’t see the beauty is for a very, very , very simple reason: THE BEAUTY DRIVES HIM TO DISTRACTION. THIS IS WHERE MODERN MAN IS AND IT IS HELL. The art is hell because it reminds him of man and how great man is, and where does it fit in his system? It doesn’t. When he looks at nature and it’s beauty he is driven to the same distraction and so consequently you find what has built up inside him is a real death, not  only the beauty of the artistic but the beauty of nature. He has no answer in his logic and he is left in tension.  He dies and has become less than human because these two great things (such as any kind of art and the beauty of  nature) that would make him human  stand against his theory.

________________________

DO THESE WORDS OF DARWIN APPLY TO YOU TODAY? “I am like a man who has become colour-blind.”  As a secularist you believe that it is sad indeed that millions of Christians are hoping for heaven but no heaven is waiting for them. Paul took a close look at this issue too. I Corinthians 15 asserts:

12 But if it is preached that Christ has been raised from the dead, how can some of you say that there is no resurrection of the dead? 13 If there is no resurrection of the dead, then not even Christ has been raised. 14 And if Christ has not been raised, our preaching is useless and so is your faith. 15 More than that, we are then found to be false witnesses about God, for we have testified about God that he raised Christ from the dead. But he did not raise him if in fact the dead are not raised. 16 For if the dead are not raised, then Christ has not been raised either. 17 And if Christ has not been raised, your faith is futile; you are still in your sins. 18 Then those also who have fallen asleep in Christ are lost. 19 If only for this life we have hope in Christ, we are of all people most to be pitied.

I sent you a CD that starts off with the song DUST IN THE WIND by Kerry Livgren of the group KANSAS which was a hit song in 1978 when it rose to #6 on the charts because so many people connected with the message of the song. It included these words, “All we do, crumbles to the ground though we refuse to see, Dust in the Wind, All we are is dust in the wind, Don’t hang on, Nothing lasts forever but the Earth and Sky, It slips away, And all your money won’t another minute buy.”

Kerry Livgren himself said that he wrote the song because he saw where man was without a personal God in the picture. Solomon pointed out in the Book of Ecclesiastes that those who believe that God doesn’t exist must accept three things. FIRST, death is the end and SECOND, chance and time are the only guiding forces in this life.  FINALLY, power reigns in this life and the scales are never balanced. The Christian can  face death and also confront the world knowing that it is not determined by chance and time alone and finally there is a judge who will balance the scales.

Both Kerry Livgren and the bass player Dave Hope of Kansas became Christians eventually. Kerry Livgren first tried Eastern Religions and Dave Hope had to come out of a heavy drug addiction. I was shocked and elated to see their personal testimony on The 700 Club in 1981 and that same  interview can be seen on You Tube today. Livgren lives in Topeka, Kansas today where he teaches “Diggers,” a Sunday school class at Topeka Bible ChurchDAVE HOPE is the head of Worship, Evangelism and Outreach at Immanuel Anglican Church in Destin, Florida.

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

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

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

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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.

You can hear DAVE HOPE and Kerry Livgren’s stories from this youtube link:

(part 1 ten minutes)

(part 2 ten minutes)

Kansas – Dust in the Wind (Official Video)

Uploaded on Nov 7, 2009

Pre-Order Miracles Out of Nowhere now at http://www.miraclesoutofnowhere.com

About the film:
In 1973, six guys in a local band from America’s heartland began a journey that surpassed even their own wildest expectations, by achieving worldwide superstardom… watch the story unfold as the incredible story of the band KANSAS is told for the first time in the DVD Miracles Out of Nowhere.

_____________________________

Adrian Rogers on Darwinism

XXXXXXXXXXXXXXXXXMax Tegmark – Why is the Quantum so Strange?

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MUSIC MONDAY George Harrison – All Things Must Pass (SONG)

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The Beatles – All Things Must Pass (Full Band Demo – 1969)

Uploaded on Jun 16, 2011

The Beatles performing “All Things Must Pass”, the George Harrison classic in 1968 during the Get Back / Let It Be sessions, 1969.

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George Harrison – All Things Must Pass (Live – 1997 on VH1 – HQ Audio)

Uploaded on Nov 2, 2011

George Harrison’s legendary impromptu performance of “All Things Must Pass” on VH1 in 1997, George’s last live performance before his death. The audio has been cleaned up and is high quality.

Paul McCartney – All things must pass (Concert For George)(HQ)

George Harrison – All Things Must Pass

All Things Must Pass (song)

From Wikipedia, the free encyclopedia
“All Things Must Pass”
ATMP juke.jpg

2001 jukebox single, “My Sweet Lord (2000)“/”All Things Must Pass”
Song by George Harrison from the album All Things Must Pass
Published Harrisongs
Released 27 November 1970
Genre Folk rock
Length 3:47
Label Apple
Writer(s) George Harrison
Producer(s) George Harrison, Phil Spector
All Things Must Pass track listing

All Things Must Pass” is a song by English musician George Harrison, issued in November 1970 as the title track to his triple album of the same name. Billy Preston released the song originally – as “All Things (Must) Pass” – on his Apple Records album Encouraging Words (1970), after the Beatles had rejected it for inclusion on their Let It Be album in January 1969. The composition reflects the influence of the Band‘s sound and communal music-making on Harrison, after he had spent time with the group in Woodstock, New York, in late 1968, while Timothy Leary‘s poem “All Things Pass”, a psychedelic adaptation of the Tao Te Ching, provided inspiration for his song lyrics.

The subject matter deals with the transient nature of human existence, and in Harrison’s All Things Must Pass reading, words and music combine to reflect impressions of optimism against fatalism. On release, together with Barry Feinstein‘s album cover image, commentators viewed the song as a statement on the Beatles’ break-up. Widely regarded as one of Harrison’s finest compositions, its rejection by his former band has provoked comment from biographers and reviewers. Music critic Ian MacDonald described “All Things Must Pass” as “the wisest song never recorded by The Beatles”,[1] while author Simon Leng considers it “perhaps the greatest solo Beatle composition”.[2] The recording was co-produced by Phil Spector in London; it features an orchestral arrangement by John Barham and contributions from musicians such as Ringo Starr, Pete Drake, Bobby Whitlock, Eric Clapton and Klaus Voormann.

Although the Beatles failed to formally record the song, a 1969 solo demo by Harrison appears on their compilation Anthology 3 (1996). An early version from the All Things Must Pass sessions was released on Harrison’s posthumous compilation Early Takes: Volume 1 in 2012. Paul McCartney performed “All Things Must Pass” at the Concert for George tribute in November 2002, a year after Harrison’s death. Jim James, the Waterboys, Klaus Voormann and Yusuf Islam, and Sloan Wainwright are among the other artists who have covered the song.

Background[edit]

The Band in Woodstock in 1969, with Levon Helm (centre) and Robbie Robertson (second from right)

Like his friend Eric Clapton, George Harrison was inspired by Music from Big Pink, the seminal debut album[3] from the Band, the former backing group for Bob Dylan.[4][5] Released in July 1968, Music from Big Pink was partly responsible for Harrison’s return to the guitar, his first instrument,[6] after he had spent two years attempting to master the more complex Indian sitar.[7][8] Harrison duly shared his enthusiasm with the British music press, declaring Big Pinkthe new sound to come from America”, drummer Levon Helm later recalled, thus helping to establish the Band internationally.[9] In appreciation, Robbie Robertson, the Band’s guitarist, extended an invitation to Harrison to stop by in Woodstock, New York, when the opportunity arose.[10]

I respected the Band enormously. All the different guys in the group sang, and Robbie Robertson used to say he was lucky, because he could write songs for a voice like Levon [Helm]’s. What a wise and generous attitude.[11]

– George Harrison to Musician magazine, 1987

Late in 1968, after producing sessions in Los Angeles for a solo album by Apple Records signing Jackie Lomax,[12] Harrison spent Thanksgiving and much of December in upstate New York,[13] where he renewed his friendship with a now semi-retired Dylan and took part in informal jam sessions with the Band.[1][14]According to Helm, they discussed making a possible “fireside jam” album with Clapton and an Apple Films “rock western” called Zachariah, but neither project progressed beyond the planning stage.[9] The bucolic surroundings proved fruitful for Harrison as a songwriter, producing his first collaboration with Dylan, “I’d Have You Anytime“,[15] and leading him to write “All Things Must Pass”.[16][17] He later described the latter song as a “Robbie Robertson–Band type of tune”,[18]and said that he always imagined it being sung by Helm.[19]

Composition[edit]

While discussing “All Things Must Pass” with music journalist Timothy White in 1987, Harrison recalled that his “starting point” for the composition was Robertson’s “The Weight” – a song that had “a religious and a country feeling to it”.[11] Musically, the verses of “All Things Must Pass” are set to a logical climb within the key of E;[20] the brief choruses form a departure from this, with their inclusion of a B minor chord rather than the more expected major voicing. Author Ian Inglis notes that the composition incorporates the same “modes, cadences and suspensions” found in Band songs such as “The Weight” and “The Night They Drove Old Dixie Down“.[21]

For his lyrics, Harrison drew inspiration from “All Things Pass”, a poem published in Timothy Leary‘s 1966 book Psychedelic Prayers after the Tao Te Ching.[16][22][nb 1] In his 1980 autobiography, I Me Mine, Harrison refers to the idea for the song originating from “all kinds of mystics and ex-mystics”, including Leary.[18] Like later Harrison compositions such as “Here Comes the Sun“, “So Sad” and “Blow Away“, the lyrical and emotional content is based around metaphors involving the weather and the cycle of nature.[25] Harrison states in the opening lines of verse one: “Sunrise doesn’t last all morning / A cloudburst doesn’t last all day“.[26]

The Catskill Mountains in upstate New York, surroundings that inspired the music of the Band, and Harrison’s song “All Things Must Pass”

According to Harrison biographer Simon Leng, the lyrics reflect “life’s ephemeral character” and the “transitory” nature of love.[27] Inglis suggests that the song is “[o]stensibly” about “the end of a love affair”.[21] He and theologian Dale Allison note the optimism offered in Harrison’s words,[21][28] since, as Leng puts it, “a new day always dawns.”[27] Although “All Things Must Pass” avoids religiosity, Allison writes that its statement on the “all-inclusive” transience of things in the material world explains why so much of its 1970 parent album, All Things Must Pass, “finds hope and meaning only in God, who does not pass away”.[29] The song’s main message is offered in its middle eight:[30][31]

All things must pass
None of life’s strings can last
So I must be on my way
And face another day.

Ultimately, the cycle of nature offers “consolation”, Leng writes,[30] as further evidenced in the verse-three lines “Now the darkness only stays at night time” and “Daylight is good at arriving at the right time“.[21]

The lyrics underwent some minor changes after Harrison presented the song to the Beatles in January 1969, when they began working at London’s Twickenham Film Studios for the so-called Get Back project (released as the Let It Be album and film).[32] He had initially written the second line of verse two as the more literal “A wind can blow those clouds away“,[33] but bootlegs from the sessions reveal John Lennon suggesting the word “mind” to introduce a bit of “psychedelia” into the song.[34] Similarly, the repeated line “it’s not always gonna be this grey” was originally “It’s not always been this grey” in verses one and two.[35]

Pre-All Things Must Pass recording history[edit]

The Beatles’ Get Back rehearsals[edit]

“All Things Must Pass”
Song by the Beatles from the album Anthology 3
Published Harrisongs
Released 28 October 1996
Recorded 25 February 1969
Abbey Road Studios, London
Genre Folk rock
Length 3:05
Label Apple
Writer(s) George Harrison
Producer(s) George Harrison

In contrast with the creative equality he enjoyed with Dylan and the Band in Woodstock,[36][37] Harrison returned to the Beatles fold and found the same discordant atmosphere that had blighted the White Album sessions in 1968.[5][38] Early on during the Get Back rehearsals – and tellingly, music journalist John Harris notes, before the arrival that day of Lennon and his partner Yoko Ono – Harrison enthused with fellow Beatles Ringo Starr and Paul McCartney about the Band’s camaraderie and group ethos, saying: “They’re just living, and they happen to be a band as well.”[39]

I got back to England for Christmas and then … we were to start on the thing which turned into Let It Be. And straight away, again, it was just weird vibes. You know, I found I was starting to be able to enjoy being a musician, but the moment I got back with the Beatles it was just too difficult.[13]

– Harrison to Crawdaddy, 1977

On 2 January, day one of the Twickenham film shoot,[40] Harrison introduced “All Things Must Pass”, and the band worked on the song intermittently over the next four days of filming.[41][42] In the search for a suitable musical arrangement, Harrison stressed his preference for a “feel” akin to the Band, a suggestion that resulted in Lennon switching from guitar to Lowrey organ, a keyboard favoured by the Band’s Garth Hudson.[43] During the Twickenham rehearsals, the Beatles also discussed the idea of Harrison performing “All Things Must Pass” solo for inclusion in the proposed film.[44]

They returned to the song briefly towards the end of January, by which time the project had moved location to their own Apple Studio, in central London[32] – one of Harrison’s conditions for rejoining the Beatles after his temporary walkout on 10 January.[3][45] Although the band gave a fair amount of time to “All Things Must Pass”, it was ultimately pushed aside,[46] just as other Harrison compositions including “Old Brown Shoe“, “Isn’t It a Pity“, “Let It Down” and “I Me Mine” received a lukewarm reception,[47][48] particularly from Lennon.[49][50] David Fricke of Rolling Stone has referred to this period as a “struggle” for Harrison “against the patronizing restrictions of writing within and for the Beatles”.[51] Doug Sulpy and Ray Schweighardt, authors of Get Back: The Unauthorized Chronicle of The Beatles’ Let It Be Disaster, observe that Lennon and McCartney routinely rejected Harrison’s songs, “even though some were far better than their own”.[52]

The Beatles never formally recorded “All Things Must Pass”,[32] and only rehearsal takes circulate on bootleg compilations from the sessions.[53] The Fly on the Wall bonus disc accompanying the McCartney-instigated Let It Be… Naked album (2003) includes a snippet of the Beatles indulging in some Band-like chorusing on the song.[54]

Harrison’s solo demo[edit]

During the Beatles’ Apple Studio session on 28 January,[55] Harrison talked with Lennon and Ono about possibly doing a solo album of his unused songs, in order to “preserve this, the Beatle bit, more”.[56] Lennon offered his support for the idea.[56] While author Bruce Spizer has suggested that Lennon was keen to “spare” the band from having to work on Harrison’s songs,[57] Sulpy and Schweighardt consider that Lennon’s enthusiasm was because such a solo project would allow him and Ono to continue their own recording activities “without causing friction within The Beatles”.[55][nb 2]

On 25 February 1969, his 26th birthday, Harrison entered Abbey Road Studios alone and recorded a demo of the song, along with other recent compositions “Old Brown Shoe” and “Something“.[59][60] With Ken Scott serving as engineer,[1] he recorded two takes of “All Things Must Pass”, adding extra electric guitar onto the second.[32][61] This version was eventually released in 1996 on the Beatles’ outtake collection Anthology 3.[32]

Billy Preston’s version[edit]

“All Things (Must) Pass”
Song by Billy Preston from the album Encouraging Words
Published Harrisongs
Released 11 September 1970 (UK)
9 November 1970 (US)
Genre Soul
Length 3:38
Label Apple
Writer(s) George Harrison
Producer(s) George Harrison, Billy Preston

Soon after Harrison had begun talking publicly about making a solo album, during the final months of 1969,[62][63] he offered “All Things Must Pass”, along with the more recent “My Sweet Lord“, to Billy Preston for the latter’s album Encouraging Words.[64][65] Through Harrison’s invitation,[66] Preston had played keyboards for the Beatles once the Get Back/Let It Be sessions resumed at Apple Studio,[32][67] where the 22-year-old Texan had impressed with his superior musicianship and convivial presence.[68][69] Preston was soon offered a recording deal with Apple Records,[70] Encouraging Words being the second album under the contract.[71][72]

Co-produced by Harrison, Preston’s reading of “All Things Must Pass” betrays an obvious debt to his former mentor, Ray Charles.[73] While Harrison’s later recording is generally viewed as the definitive version,[74] Bruce Eder of AllMusic considers this treatment of the song the superior of the two.[75] Preston’s version appeared in September 1970,[76] five months after the Beatles’ break-up.[77]

All Things Must Pass recording[edit]

While completing his production on Preston’s release,[78] Harrison chose to record the song himself for what became the title track of his post-Beatles solo debut, the triple album All Things Must Pass.[79] In describing “All Things Must Pass” as a “haunting hymn about the mortality of everything”, author Elliot Huntley notes the added poignance in Harrison’s version, due to the death of his mother in July 1970 after a long period of illness.[80]

With Phil Spector as his co-producer, Harrison taped the basic track at Abbey Road Studios between 26 May and early in June.[81] Other participants included Clapton, German bassist Klaus Voormann and Starr, the latter another avowed Band fan.[82] Leng credits the song’s piano part to Bobby Whitlock, who also sang backing vocals with Clapton,[27] his future bandmate in Derek and the Dominos.[83] In his 2010 autobiography, Whitlock states that it was Preston who played the piano on “All Things Must Pass”, while his own contribution was pump organ, or harmonium.[84][nb 3] Although Leng lists both Harrison and Clapton as having played acoustic guitar and Starr and Jim Gordon on drums,[27]according to the personnel that Whitlock offers, neither Clapton nor Gordon played on the song.[87] Among the overdubs on the track, Nashville session musician Pete Drake recorded a pedal-steel guitar part during a brief visit to London,[88] to participate in sessions for Harrison songs such as “Behind That Locked Door” and “I Live for You“.[89][nb 4]

I’d play it to them and they’d say, “Wow, yeah! Great song!” And I’d say, “Really? Do you really like it?” I realised that it was okay …[91]

– Harrison discussing the reception his compositions received during the album sessions

Spector’s erratic behaviour[92] during the All Things Must Pass sessions left Harrison to handle most of the project alone,[93][94] but in August 1970, after receiving a tape of Harrison’s early mixes of the songs, Spector provided him with written feedback and guidance.[27] Spector wrote of “All Things Must Pass”, “This particular song is so good that any honest [vocal] performance by you is acceptable as far as I’m concerned”,[27] but he expressed his disapproval of the horns at the start of the track.[74] In the words of authors Chip Madinger and Mark Easter, “clearer heads prevailed” and Jim Price and Bobby Keys‘ horn parts were retained.[74]

The recording opens with “unvaryingly steady” piano chords, Inglis writes,[21] and what Leng terms “sensitive” string orchestration from John Barham,[27] soon joined by the horns and Drake’s pedal steel.[32] Leng highlights this combination as providing the song with its rising and falling musical moods, implying variously light and darkness;[27] Inglis writes of the musical arrangement mirroring the “competing impressions” of hope and melancholy found in Harrison’s lyrics.[21] True to its Catskill roots, the recording evokes the Band’s “The Weight”[74][95] and their eponymous second album,[96] the tracks on which were similarly inspired by “the beauty of that autumn in Woodstock”, according to Helm.[97][nb 5]

Release and album artwork[edit]

The song’s title and message provided inspiration for Barry Feinstein‘s cover photo for All Things Must Pass

Almost two years after Harrison wrote the song, “All Things Must Pass” was released in November 1970,[48] closing side three of the triple album in its original LP format.[99] Despite its high retail price, All Things Must Pass was a major commercial success,[100][101] comfortably outselling concurrent solo releases by Lennon and McCartney.[94][102][nb 6]

The song’s title was invariably seen as a statement on the demise of the Beatles,[21][104] as commentators viewed the album as Harrison’s liberation from the artistic constraints imposed on him within the band.[105][106] The album’s cover image, showing Harrison seated on his Friar Park lawn surrounded by four reclining garden gnomes – thought to represent the Beatles – was also viewed as reflecting this theme.[107] While commenting that “All Things Must Pass” had “accrue[d] new layers of relevance” during the album’s creation, particularly with the death of Harrison’s mother, former Mojo editor Paul Du Noyer writes: “Nobody in November 1970 could have mistaken the title’s significance … As if to cement the association of ideas, the wry cover picture has George in solitary splendour, surrounded by a quartet of gnomes.”[108] In a 2001 interview, photographer Barry Feinstein admitted that the words “All Things Must Pass” had helped inspire his set-up for the photo, saying: “What else could it be? … [It] was over with The Beatles, right? And that title … Very symbolic.”[104]

Reception and legacy[edit]

On release, Ben Gerson of Rolling Stone described “All Things Must Pass” as “eloquently hopeful and resigned” while labelling the album “the music of mountain tops and vast horizons”.[109] Beatles Forever author Nicholas Schaffner noted in 1977, with reference to Harrison’s commercial and critical dominance over his former bandmates following the break-up: “The very fact that the Beatles had kept George’s flowering talents so under wraps proved to be his secret weapon.”[110] Schaffner named “All Things Must Pass” and “Beware of Darkness” as the two “most eloquent” songs on All Things Must Pass, “musically as well as lyrically”, with “mysterious, seductive melodies, over which faded strings and horns hover like Blue Jay Way fog”.[111]

Writing for Rolling Stone in 2000, Anthony DeCurtis praised the song for its musical demonstration of “the sweet satisfactions of faith”.[106] On a triple album where “nearly every song is excellent”, AllMusic picks “All Things Must Pass” as one of five standout tracks (or AMG track picks),[112] with Richie Unterberger writing of its autumnal theme: “It’s the kind of song that fits the mood in November, when the trees are getting stripped bare of their leaves, the days are getting shorter and colder, and you have to resign yourself to knowing it’s going to be tougher and tougher in those regards for months, also knowing that those hardships will pass away come springtime.”[113] In his book on Harrison, subtitled A Spiritual Biography, Gary Tillery refers to the song as “magisterial” and a “majestic title track” that “leaves even the shallowest listener contemplative”.[114] Michael Gallucci of Ultimate Classic Rock places “All Things Must Pass” third on his list of Harrison’s best solo songs (behind the two hit singles from All Things Must Pass, “My Sweet Lord” and “What Is Life“), and comments: “The album’s title track takes on more poignancy after Harrison’s death [in 2001], but it’s always been great.”[115] Writing for Rough Guides, Chris Ingham similarly describes the song as “a heart-rending piece of significant prescience which seems to take on more poignancy with every passing year”.[116]

Among Harrison’s biographers, Simon Leng considers “All Things Must Pass” a “classic of Harrison’s lyrical ambiguity, in essence a hopeful song, without sounding so”, with a lyric that “approaches Bob Dylan standard”.[117] Ian Inglis also praises the lyrics, writing: “The song contains some of Harrison’s most insightful and pensive words. ‘Daylight is good at arriving at the right time’ is a fine example of his … ability to position the profound within the commonplace.”[21] Elliot Huntley rates it as one of Harrison’s “most beautiful” songs, “if not the very best”, and suggests that the sentiments behind “All Things Must Pass” would have made it a “fitting conclusion” to the final album recorded by the Beatles, Abbey Road (1969).[80]

Bruce Spizer similarly rates “All Things Must Pass” a highlight of Harrison’s career,[32] while Leng considers it “perhaps the greatest solo Beatle composition” of all.[2] In his book Revolution in the Head, Ian MacDonald describes “All Things Must Pass” as “the wisest song never recorded by The Beatles”.[1] In 2009, The Guardian included the track in its list of “1000 Songs Everyone Must Hear”.[118]

Performance and later releases[edit]

“All Things Must Pass” was not a track that Harrison ever played in concert,[119] although it appeared on his preliminary setlist for the 1971 Concert for Bangladesh shows.[120] He twice performed the song live in front of TV cameras during the final years of his life,[121] beginning with his appearance with Ravi Shankar on VH1‘s Hard Rock Live, filmed in New York on 14 May 1997.[122][123] The pair were on the show to promote their recent collaboration, Chants of India,[123] but at host John Fugelsang‘s urging, Harrison accepted an acoustic guitar and performed a brief rendition of “All Things Must Pass”.[124][125][nb 7] In late 2000, Harrison sang “All Things Must Pass” while again seated on a stool on Friar Park’s main lawn, a performance that was included in the press kit for All Things Must Passs 30th anniversary reissue early the following year.[127][128][nb 8]

Coinciding with this 2001 reissue, the song appeared on a promotional single as the B-side to “My Sweet Lord (2000)“.[130][131] After being omitted from the “cursory” selection of 1970–75 tracks on The Best of George Harrison (1976), Inglis writes, the song appeared on Harrison’s 2009 career-spanning compilation Let It Roll.[132]

In Martin Scorsese‘s 2011 documentary George Harrison: Living in the Material World, “All Things Must Pass” is the first song featured in the movie, played over footage of German air raids over Britain during World War II.[133][134] In November that year, a 1970-recorded demo of the song (featuring just Harrison, Starr and Voormann) appeared on the deluxe edition CD accompanying the British DVD release of the film;[135][136] this CD was subsequently issued worldwide in May 2012 as Early Takes: Volume 1.[137]

Cover versions[edit]

Steve Wood and Daniel May composed music to the 1998 documentary film Everest incorporating melodies from some of George Harrison’s songs, one of which was “All Things Must Pass”.[138] At the Concert for George tribute to Harrison, held at London’s Royal Albert Hall on 29 November 2002, Paul McCartney sang “All Things Must Pass”,[2] backed by a large band that included Preston, Clapton, Voormann and Starr.[139] Leng notes the irony in McCartney performing the song,[2] while Beatles biographer Peter Doggett comments: “it wasn’t hard to imagine Harrison’s cynicism as McCartney led the band into a soulful rendition of ‘All Things Must Pass’ – one of the songs that the other Beatles had refused to take seriously in January 1969.”[140] According to Clapton, author Robert Rodriguez writes, McCartney “was humbled at having to relearn it”.[141]

Several other artists have recorded “All Things Must Pass” in the years since Harrison’s death. In 2003, Bobby Whitlock and his wife, CoCo Carmel, included the song on their acoustic live album Other Assorted Love Songs, Live from Whitney Chapel.[142] Jazz guitarist Joel Harrison covered “All Things Must Pass” on his album Harrison on Harrison: Jazz Explanations of George Harrison, released in October 2005.[143] In 2007, a live version by the Waterboys appeared on their CD single “Everybody Takes a Tumble”,[144]and the following year Sloan Wainwright included a cover of the song on her album Rediscovery.[145]

“All Things Must Pass” was among the Harrison compositions covered by Jim James on his Tribute To EP, recorded in December 2001 but not released until August 2009.[146] Also in 2009, Klaus Voormann released a version of the song on his solo album A Sideman’s Journey,[147] with Yusuf Islam on vocals and acoustic guitar.[148][149]

Personnel[edit]

The musicians who performed on Harrison’s All Things Must Pass version of the song are believed to be as follows:[27]

Notes[edit]

  1. Jump up^ Harrison had already adapted a passage from the Tao Te Ching, a Chinese classic text, in his 1968 B-side for the Beatles, “The Inner Light“.[23] This had come at the suggestion of Cambridge academic Juan Mascaró, who had been moved by Harrison’s lyrics to another of his Indian-inspired compositions, “Within You, Without You“.[24]
  2. Jump up^ By this point, Harrison had already released the largely instrumental soundtrack album Wonderwall Music, which was soon followed by Lennon and Ono’s experimental work Two Virgins.[58]
  3. Jump up^ Alternatively, Harrison said in 1971 that American musician Gary Wright had “played piano on the whole [All Things Must Pass] album”.[85]Leng concedes the difficulty in ascertaining precise musicians’ credits for each track and names Wright and Whitlock as the two “core” keyboard players on the sessions.[86]
  4. Jump up^ Whitlock recalls that originally he had whistled a melody, which Spector recorded onto the basic track, and that this served as a guide for Drake’s contribution.[90]
  5. Jump up^ Leng identifies the Band’s minimalist tradition as a significant influence on other All Things Must Pass songs, particularly “Run of the Mill” and “Behind That Locked Door”.[98]
  6. Jump up^ As of 2011, it remained the most successful album by any of the former Beatles.[103]
  7. Jump up^ Although 150 minutes of Harrison and Shankar’s appearance was filmed, VH1 originally aired only 22 minutes of footage, on 24 July, as George & Ravi – Yin & Yang.[124] Omitted from the broadcast but also performed by Harrison was the Traveling Wilburys tune “If You Belonged to Me” and “Any Road“, a track subsequently released on his posthumous album Brainwashed (2002).[124][126]
  8. Jump up^ On the day after Harrison’s death was publicly announced, the quirky, Terry Gilliam-inspired graphics on Harrison’s website, allthingsmustpass.com, were changed to show just a single gnome and the lyrics to “All Things Must Pass”.[129]

Sources[edit]

  • Dale C. Allison Jr., The Love There That’s Sleeping: The Art and Spirituality of George Harrison, Continuum (New York, NY, 2006; ISBN 978-0-8264-1917-0).
  • Keith Badman, The Beatles Diary Volume 2: After the Break-Up 1970–2001, Omnibus Press (London, 2001; ISBN 0-7119-8307-0).
  • Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961–1975, Ballantine Books (New York, NY, 1976; ISBN 0-345-25680-8).
  • Alan Clayson, George Harrison, Sanctuary (London, 2003; ISBN 1-86074-489-3).
  • Peter Doggett, You Never Give Me Your Money: The Beatles After the Breakup, It Books (New York, NY, 2011; ISBN 978-0-06-177418-8).
  • The Editors of Rolling Stone, Harrison, Rolling Stone Press/Simon & Schuster (New York, NY, 2002; ISBN 0-7432-3581-9).
  • Joshua M. Greene, Here Comes the Sun: The Spiritual and Musical Journey of George Harrison, John Wiley & Sons (Hoboken, NJ, 2006; ISBN 978-0-470-12780-3).
  • John Harris, “A Quiet Storm”, Mojo, July 2001, pp. 66–74.
  • George Harrison, I Me Mine, Chronicle Books (San Francisco, CA, 2002; ISBN 0-8118-3793-9).
  • Olivia Harrison, George Harrison: Living in the Material World, Abrams (New York, NY, 2011; ISBN 978-1-4197-0220-4).
  • Levon Helm (with Stephen Davis), This Wheel’s on Fire: Levon Helm and the Story of The Band, A Cappella Books (Chicago, IL, 2000; ISBN 978-1-55652-405-9).
  • Mark Hertsgaard, A Day in the Life: The Music and Artistry of the Beatles, Pan Books (London, 1996; ISBN 0-330-33891-9).
  • Elliot J. Huntley, Mystical One: George Harrison – After the Break-up of the Beatles, Guernica Editions (Toronto, ON, 2006; ISBN 1-55071-197-0).
  • Chris Ingham, The Rough Guide to the Beatles, Rough Guides/Penguin (London, 2006; 2nd edn; ISBN 978-1-84836-525-4).
  • Ian Inglis, The Words and Music of George Harrison, Praeger (Santa Barbara, CA, 2010; ISBN 978-0-313-37532-3).
  • Peter Lavezzoli, The Dawn of Indian Music in the West, Continuum (New York, NY, 2006; ISBN 0-8264-2819-3).
  • Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006; ISBN 1-4234-0609-5).
  • Ian MacDonald, Revolution in the Head: The Beatles’ Records and the Sixties, Pimlico (London, 1998; ISBN 0-7126-6697-4).
  • Chip Madinger & Mark Easter, Eight Arms to Hold You: The Solo Beatles Compendium, 44.1 Productions (Chesterfield, MO, 2000; ISBN 0-615-11724-4).
  • Barry Miles, The Beatles Diary Volume 1: The Beatles Years, Omnibus Press (London, 2001; ISBN 0-7119-8308-9).
  • Mojo: The Beatles’ Final Years Special Edition, Emap (London, 2003).
  • Robert Rodriguez, Fab Four FAQ 2.0: The Beatles’ Solo Years, 1970–1980, Backbeat Books (Milwaukee, WI, 2010; ISBN 978-1-4165-9093-4).
  • Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978; ISBN 0-07-055087-5).
  • Bruce Spizer, The Beatles Solo on Apple Records, 498 Productions (New Orleans, LA, 2005; ISBN 0-9662649-5-9).
  • Doug Sulpy & Ray Schweighardt, Get Back: The Unauthorized Chronicle of The Beatles’ Let It Be Disaster, St. Martin’s Griffin (New York, 1997; ISBN 0-312-19981-3).
  • Gary Tillery, Working Class Mystic: A Spiritual Biography of George Harrison, Quest Books (Wheaton, IL, 2011; ISBN 978-0-8356-0900-5).
  • Bobby Whitlock (with Marc Roberty), Bobby Whitlock: A Rock ‘n’ Roll Autobiography, McFarland (Jefferson, NC, 2010; ISBN 978-0-7864-6190-5).
  • Bob Woffinden, The Beatles Apart, Proteus (London, 1981; ISBN 0-906071-89-5).
  • Kenneth Womack, The Beatles Encyclopedia: Everything Fab Four, ABC-CLIO (Santa Barbara, CA, 2014; ISBN 978-0-313-39171-2).

External links[edit]

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

________

The Beatles – I Am The Walrus Recording Session 1967

__________

 

In the song I AM THE WALRUS John Lennon wrote the words, “Seen them kicking Edgar Allan Poe.” Poe died in 1949 as a drunk. As a drunk he probably got kicked around the street as others tried to rob him of whatever belongings he had. Alcoholism and being addicted to drugs are very similar and in the song I AM THE WALRUS we have many references to drugs. When I think of Poe the Bible passage that comes to mind is Proverbs 23:29-35.

29 Who hath woe? who hath sorrow? who hath contentions? who hath babbling? who hath wounds without cause? who hath redness of eyes?

30 They that tarry long at the wine; they that go to seek mixed wine.

31 Look not thou upon the wine when it is red, when it giveth his colour in the cup, when it moveth itself aright.

32 At the last it biteth like a serpent, and stingeth like an adder.

33 Thine eyes shall behold strange women, and thine heart shall utter perverse things.

34 Yea, thou shalt be as he that lieth down in the midst of the sea, or as he that lieth upon the top of a mast.

35 They have stricken me, shalt thou say, and I was not sick; they have beaten me, and I felt it not: when shall I awake? I will seek it yet again.

Jim Carrey and I Am The Walrus with George Martin – The Beatles

_

“I am the Walrus”

The Beatles

Produced By: George Martin
Written By: John Lennon & Paul McCartney

[Verse 1]
I am he as you are he as you are me and we are all together
See how they run like pigs from a gun, see how they fly
I’m crying

[Verse 2]
Sitting on a cornflake, waiting for the van to come
Corporation tee-shirt, stupid bloody Tuesday
Man, you’ve been a naughty boy, you let your face grow long

[Chorus]
I am the egg man, they are the egg men
I am the walrus, goo goo g’joob

[Verse 3]
Mister City, policeman sitting
Pretty little policemen in a row

See how they fly like Lucy in the Sky, see how they run
I’m crying, I’m crying
I’m crying, I’m crying

[Verse 4]
Yellow matter custard, dripping from a dead dog’s eye
Crabalocker fishwife, pornographic priestess
Boy, you’ve been a naughty girl you let your knickers down

[Chorus]

[Verse 5]
Sitting in an English garden waiting for the sun
If the sun don’t come, you get a tan
From standing in the English rain

[Chorus]

[Verse 6]
Expert textpert choking smokers
Don’t you think the joker laughs at you?

See how they smile like pigs in a sty
See how they snide
I’m crying

[Verse 7]
Semolina pilchard, climbing up the Eiffel Tower
Elementary penguin singing Hare Krishna
Man, you should have seen them kicking Edgar Allan Poe

[Outro]
I am the egg man, they are the egg men
I am the walrus, goo goo good job g’goo goo good job
Goo goo g’joob g’goo goo g’joob g’goo

Everybody’s got one, everybody’s got one (Repeat until end)

THE BEATLES – I AM THE WALRUS (Lyric Breakdown)

I Am the Walrus

by The Beatles

“See how they run like pigs from a gun, see how they fly / I’m crying”

Quick ThoughtIn an interview with Playboy magazine, John Lennon said that this line and the one before it were inspired by two different acid trips.

Deep Thought“The first line was written on one acid trip one weekend. The second line was written on the next acid trip the next weekend, and it was filled in after I met Yoko.” Just as The Beatles were the defining music group of the 1960s, acid (LCD) was the defining drug. The drug induces an altered state of perception in its users, causing distortions in physical, sensory, visual, audio, and thought processes. People sometimes feel colors and hear shapes, becoming almost synesthetic. Fixed objects seem to move or ripple, looking around causes sights to blur or leave a trail (tracers), and dull objects sparkle and shine. Some users claim to have intense religious experiences while tripping on acid. Others say that they enter other dimensions or relive their own birth.

LSD was invented accidentally by a Swedish chemist looking for a blood stimulant. It has since been used experimentally in psychotherapy to bring out repressed memories. The drug has also been used by doctors to elevate patients to a new level of self-awareness, allowing them to recognize problems that they previously denied, such as alcoholism. Although LSD was at first legal for use, it has now been banned in the US and other countries. Of course, that didn’t stop The Beatles and many other young people in the sixties and seventies from experimenting with the drug for recreational purposes. The Beatles openly admit that many of their songs were written at least in part while under the influence of LSD.

“Goo goo ga joob”

Quick ThoughtSome people speculate that Lennon got these lines from James Joyce’s long poem, Finnegans Wake, while others see them as pure gibberish.

Deep Thought James Joyce was a modernist Irish writer who was famous for his works A Portrait of the Artist as a Young Man, Ulysses, andDubliners. Some Joyce/Beatles fans have suggested (rather dubiously in our view) that “goo goo ga job” comes from part 557.7 of Finnegans Wake:
Here’s the excerpt from Finnegans Wake… watch out for that famous “googoo goosth” or you’ll miss it:

cramp for Hemself and Co, Esquara, or them four hoarsemen on
their apolkaloops, Norreys, Soothbys, Yates and Welks, and,
galorybit of the sanes in hevel, there was a crick up the stirkiss
and when she ruz the cankle to see, galohery, downand she went
on her knees to blessersef that were knogging together like milk-
juggles as if it was the wrake of the hapspurus or old Kong
Gander O’Toole of the Mountains or his googoo goosth she
seein, sliving off over the sawdust lobby out ofthe backroom, wan
ter, that was everywans in turruns, in his honeymoon trim, holding
up his fingerhals, with the clookey in his fisstball, tocher of davy’s,
tocher of ivileagh, for her to whisht, you sowbelly, and the
whites of his pious eyebulbs swering her to silence and coort;

In our view, the odds that John Lennon actually intended his line as a shout-out to these two obscure words in the middle of this one very long sentence in the middle of a very long and challenging experimental novel are somewhere between slim and none. But it would be kinda cool, if true!

 

“See how they fly like Lucy in the Sky”

Quick ThoughtThis is, of course, a nod to another Beatles hit, “Lucy in the Sky with Diamonds,” from the groundbreaking album Sgt. Pepper’s Lonely Hearts Club Band, released a few months before “I Am the Walrus” in 1967.

Deep Thought“Lucy in the Sky with Diamonds” is among the most famous of all Beatles songs. Although many fans claim that it is a song about acid (the initials spell out LSD), Lennon told an interviewer that the song is actually inspired by a drawing his son Julian brought home from grammar school:

LENNON: “My son Julian came in one day with a picture he painted about a school friend of his named Lucy. He had sketched in some stars in the sky and called it ‘Lucy in the Sky with Diamonds.’ Simple.”

INTERVIEWER: “The other images in the song weren’t drug-inspired?”

LENNON: “The images were from ‘Alice in Wonderland.’ It was Alice in the boat. She is buying an egg and it turns into Humpty Dumpty. The woman serving in the shop turns into a sheep and the next minute they are rowing in a rowing boat somewhere and I was visualizing that. There was also the image of the female who would someday come save me—a ‘girl with kaleidoscope eyes’ who would come out of the sky. It turned out to be Yoko, though I hadn’t met Yoko yet. So maybe it should be ‘Yoko in the Sky with Diamonds.'”

The two Lewis Carroll classics (Alice in Wonderland and Through the Looking Glass) were John Lennon’s favorite books of all time. It’s really not surprising that imagery from both books pops up constantly in his songs. Both “I Am the Walrus” and “Lucy in the Sky with Diamonds” draw heavily from Carroll’s writings. Even more interesting is that Lennon repeats the Humpty Dumpty/Eggman imagery in both songs. Drug-inspired or not, it certainly seems that Lewis Carroll was very much on Lennon’s mind when he penned these lyrics.

The real Lucy who inspired the song, Lucy Richardson, came out to the press 40 years after the song was written explaining that she was, in fact, the girl behind the immortal ballad. Evidently, Julian Lennon had a crush on her in grammar school and actually dedicated several art pieces to her, including the famous picture of the girl surrounded by a starry sky.

“Semolina Pilchard”

Quick ThoughtThis is a reference to Detective Sergeant Norman Pilcher, head of the Scotland Yard Drugs Unit. He was the most-feared drug agent in Britain in the 1960s and had an obsessive craving for the spotlight. Arresting a Beatle on pot charges is a quick way to get your name in many, many newspapers.

Deep ThoughtSergeant Norman Pilcher was the head of one of Britain’s police drug squads in the late sixties. Pilcher wanted to be famous, so he hatched a plan to go after the members of the Beatles one by one. He started with the man he suspected did the most drugs, John Lennon. Lennon and Yoko Ono were tipped off that John was on Pilcher’s hit list, but it was too late. Their flat was stormed by officer/canine units. They were arrested for possession of cannabis resin and obstructing the search warrant. John was told that Yoko, who was pregnant, would be let off the hook if he pleaded guilty. So he did so and they were released. Tragically, Yoko had to be immediately rushed to the hospital, where she had a miscarriage. John later told the press that the whole thing was set up by Pilcher as a media ploy for good photo ops. The news stations were at the flat before the police even got there! When John pleaded guilty, Pilcher told him, ”Well, we’ve got it now. So it’s nothing personal …” The picture on the back of the jacket of the album Unfinished Music No. 2 — Life with the Lions is of John and Yoko as they were being dragged out of the police station. Lennon also explained that Jimi Hendrix, who’d owned the same flat before them, had left piles of drugs when he moved out. John had tried to clean up the drugs when he found out about the raid. Apparently, he wasn’t quite thorough enough, hence the incriminating resin.

 

“Seen them kicking Edgar Allan Poe”

Quick ThoughtEdgar Allan Poe was a very famous American writer of short stories and poetry who lived during the 1800s. He was well-known for his dark, penetratingly creepy tales.

Deep ThoughtPoe was a brilliant, if dark, guy. His stories and poems—including“The Raven,”“The Tell-Tale Heart,” and “The Fall of the House of Usher”—are short yet incredibly powerful, probing universal human flaws like insecurity, fear, and pride.

(Adrian Rogers pictured below)

Adrian Rogers in his sermon THE BATTLE OF THE BOTTLE notes the following:

There’s the instability factor. Look again in verse 34 of this same chapter. The Bible says, “Hear, yea, thou shalt be as he that is lieth down in the midst of the sea, or he that lieth upon the top of a mask.” A drunk person can’t control himself. He’s like a drunken sailor with rubber legs, tottering, reeling.  He can’t walk straight. He can’t talk straight. He can’t think straight, and he becomes a menace to those around him. A drunk is not funny, by the way, tottering, slobbering.  He can’t control himself. He is out of control. He’s driving an automobile. He has one shot, the one drink of liquor, traveling at 40 miles an hour, an emergency, it will take him six more feet to stop. He says, “It’s none of your business what I do!” If one of my grandchildren is in that six feet, it’s a lot of my business. It’s a lot of my business. When he gets out there driving around, and he says, “This is my business, it’s not your business” – oh, my dear friend, the lives that are snuffed out in America, that’s all of our business.  There was a child killed by a drunken driver in a Midwestern town, and the editor of the newspaper courageously wrote these words in the newspaper, Get the children off the streets, the man of distinction is at the wheel. He’s out of control.

There’s the instability factor and, friend, there’s the sensitivity factor.  Look if you will in verse 35 again of this same chapter. “‘They have striken me,’ shalt thou say, ‘and I will sit, they have beaten me and I felt it not.'” Have you ever heard a man when he’s drunk say he’s feeling no pain? “They have beaten me and I felt it not.” I heard a preacher, I think I shared this with you on one occasion, I heard a preacher say that when he was a boy he made up his mind he wasn’t going to drink, not because of what his mom and dad said, not because of what the Bible says, not because of what his pastor said. He made up his mind, he said, when he saw a man getting in a car and trying to drive off.  But the man couldn’t get started because he couldn’t get his door shut and the reason he couldn’t get the door shut was he had one leg outside the car and he kept slamming the door on his leg and he didn’t have enough sense to pull his leg in.  The man said, “When I, as a boy, saw that pitiful sight, I saw a man so drunk that he was slamming the car door on his leg, I made up my mind I would never drink.” There is the insensibility. They have striken me and I felt it not.

Then there is the addiction factor.  Look if you will in verse 35 again. “When shall I wake, I will seek it yet again.” He wants to wake up, sober up, so he can drink up. When shall I awake, I will seek it yet again.  The Reader’s Digest recently reported a report from the American Medical Association that says we now have in America 17 million alcoholics, 17 million. Do you know there’s not but about 15 million Southern Baptists in all of the world, but seventeen million alcoholics. Line them up, count them. We advertise that. We promote that. We draw taxes.  We’ll talk about the taxes tonight when we talk about the mockery of alcohol. I’m just talking to you right now about the miseries of alcohol, the miseries of alcohol. Oh listen, dear friend, think, think with me, don’t fold up now, I’m not quite finished, no need just put things up just because I said tonight.  Now wait a minute, I’ve got just a couple of minutes to go here.

There is the addiction factor.  You know, the Japanese have a Proverb that says, “First the man takes a drink, then the drink takes a drink and then the drink takes the man. When shall I awake, I will seek it yet again.” There’s the national disgrace factor. I already read to you over there in Proverbs chapter 31, “For it’s not for kings, it’s nor for princes to drink strong drink.”  Did you know what capital is the leader for consumption of alcoholic beverages? Washington D.C. Did you know that in Washington D.C., twice the national average consumption takes place, in Washington D.C.? You’ve got three parties up there, the Democratic Party, the Republican Party, and the Cocktail Party. That, you know, is not a comforting thought to me to think that we have this bourbon diplomacy, that we’re about one drink of vodka away from somebody pushing a red button that may get us into trouble.

That is the national disgrace and it is a national disaster, and that’s the reason I want to say again that we can’t get the judges – why, my goodness, that judge is sitting on the bench and there’s a drunken driver. Do you know what that judge is thinking?  Boy, that could have been me. That could have been me. I was driving down the streets of our city. I came upon a horrible automobile accident: the man driving on the wrong side of the road like a bullet hit a car head on. Lovely lady was killed instantaneously. I came on the scene just after it happened. I walked up, a policeman came over to me, and he said, “Dr. Rogers, I want to tell you something.” He said, “That drunk that we pulled out of that car was so drunk he could hardly walk.” I said, “Do you know what you did, sir? You just killed a woman.”  He said, “I don’t give a damn.”  But there will be a judge, when that man comes to stand in front of him, and the judge says, “Boy, that could have been me.” We’re so lenient, it’s a national disgrace. It is a national disgrace.  That’s the misery of the bottle.

(Francis Schaeffer below)
There is a connection between losing yourself in drugs and losing yourself in alcohol. Both are attempts of losing yourself from reality.
Francis Schaeffer noted:
At about the same time as the Berkeley Free Speech Move- 
ment came a heavy participation in drugs. The beats had not 
been deeply into drugs the way the hippies were. But soon 
after 1964 the drug scene became the hallmark of young 
people.
The philosophic basis for the drug scene came from Aldous 
Huxley's concept that, since, for the rationalist, reason is not 
taking us anywhere, we should look for a final experience, one 
that can be produced "on call," one that we do not need to 
wait for. The drug scene, in other words, was at first an ideol- 
ogy, an ideology that had very practical consequences. Some of 
us at L'Abri have cried over the young people who have blown 
their minds. But many of them thought, like Alan Watts, Gary 
Snyder, Alan Ginsberg and Timothy Leary, that if you could 
simply turn everyone on, there would be an answer to man's 
longings. It wasn't just the far-out freaks who suggested that 
you could put drugs in the drinking water and turn on a whole 
city so that the "pigs" and the kids would all have flowers in 
their hair. In those days it really was an optimistic ideological 
concept. 

So two things have to be said here. First, the young people's 
analysis of culture was right, and, second, they really thought 
they had an answer to the problem. Up through Woodstock 
(1969) the young people were optimistic concerning drug- 
being the ideological answer. The desire for community and 
togetherness that was the impetus for Woodstock was not wrong, of course. God has made us in his own image, and he 
means for us to be in a strong horizontal relationship with each 
other. While Christianity appeals and applies to the individual, 
it is not individualistic. God means for us to have community. 
There are really two orthodoxies: an orthodoxy of doctrine 
and an orthodoxy of community, and both go together. So the 
longing for community in Woodstock was right. But the path 
was wrong. 

After Woodstock two events "ended the age of innocence," 
to use the expression of Rolling Stone magazine. The first 
occurred at Altamont, California, where the Rolling Stones put 
on a festival and hired the Hell's Angels (for several barrels of 
beer) to police the grounds. Instead, the Hell's Angels killed 
people without any cause, and it was a bad scene indeed. But 
people thought maybe this was a fluke, maybe it was just 
California! It took a second event to be convincing. 

On the Isle of Wight, 450,000 people assembled, and it was 
totally ugly. A number of people from L'Abri were there, and I 
know a man closely associated with the rock world who knows 
the organizer of this festival. Everyone agrees that the situation 
was just plain hideous. 

Thus, after these two rock festivals the picture changed. It is 
not that kids have stopped taking DRUGS, for more are taking 
DRUGS all the time. And what the eventual outcome will be is 
certainly unpredictable. I know that in many places, California 
for example, DRUGS are down through the high schools and on 
into the heads of ten- and eleven-year-olds. But drugs are not 
considered a philosophic expression anymore; among the very 
young they are just a peer group thing. It's like permissive 
sexuality. You have to sleep with a certain number of boys or 
you're not in; you have to take a certain kind of drug or you're 
not in. The optimistic ideology has died.The Beatles are a sort of test case.First they were just a 
rock group, then they took to drugs and expressed that in such 
songs as Sergeant Pepper's Lonely Hearts Club Band. When 
drugs didn't pan out, when they saw what was happening in 
Haight-Ashbury, they turned to the psychedelic sounds of 
Strawberry Fields, and then went further into Eastern religiousexperiences. But that, too, did not work out, and they wound 
up their career as a group by making The Yellow Submarine. 
When they made this movie, some people said, "The Beatles 
are coming back." But of course that was not the case. It was 
really 'the sad end of their ideological search as a group. It's 
interesting that Erich Segal, the man who wrote the film script 
for The Yellow Submarine, then wrote Love Story.
 Styx – I Am The Walrus

_______

Poe is pictured on the cover of "Sgt Peppers Lonely Heart Club Band." The Beatles (seventh top row) Photo: DR

Poe is pictured on the cover of “Sgt Peppers Lonely Heart Club Band.” The Beatles (seventh top row) Photo: DR

Edgar Allan Poe: The writer Lou Reed and The Beatles sang

Labels: Art, Literature,

More than 200 years after his death, the “poet of the mystery” is still very present in contemporary culture. In music, he influenced composers like Debussy or the iconic Beatles.

“The Raven” is just one of the most paradigmatic albums the influence of Edgar Allan Poe in contemporary musical creation. Lou Reed recreated in 2003, the author’s writing environment in a conceptual disc.

Anabela Duarte, anthropologist, presented at the International Conference “Poe and Gothic Creativity” a thesis on the influence of Poe in aesthetics and contemporary musical creation.Speaking to JPN highlights the “philosophy of transgression and darkness” on the album “The Raven” markedly “poesca”.

But the legacy of Poe [Infographics] not limited to the work of the former Velvet Underground.In fact, shortly after the death of the writer, Claude Debussy composed an opera based on the short story “The Fall of the House of Usher”, which, however, did not finish. Already in the 80s of the twentieth century, minimalist Philip Glass produced an opera based on the same work.

“Man, you shouldnt have seen Them kicking Edgar Allan Poe”, sang the Beatles, a song entitled “I’m the Walrus,” which explains the JPN Anabela Duarte, “is a satire on English society of his time and, both a revolt in protest against the way Poe had been treated by his countrymen. ” In the 60s, Poe appears even on the cover “Sgt. Peppers Lonely Heart Club Band “.

A kind of punk nihilism

According Anabela Duarte, “the appetite of the younger generation by Poe” is due to the fact that being an author “non-conformist and unconventional.” In 1844, Edgar Allan Poe published an article entitled “The Ballon-Hoax” in the newspaper “The Sun”. “Drunk, was placed to the newspaper’s door and told people,” Do not buy, do not buy, I did write, “says the anthropologist.

“The troubled spirit, paranoia, rebellion, the desire for self-destruction are some of the lines which are governed by many of the trends and contemporary artistic sensibilities,” said Anabela Duarte.

Diamanda Galás as “distorting mirror” of Poe

The themes of Diamanda Galás are steeped in mystery, rebellion and nonconformity. It is not therefore surprising that it is one of the best examples of the influence of Poe in the current music. Anabela Duarte believes that Galás “reflects, as a distorting mirror, the atmosphere of darkness and diabolism present in many of the writings” of the author.

“Masque of the Red Death” is a triple CD songwriter who subverts the homonymous tale of Poe.Each disc “bet for a typology of the Red Death, the plague being equivalent to plague par excellence of the century. And XX century. XXI, ie AIDS, “says anthropologist Anabela Duarte.

Over 200 years, Edgar Allan Poe was a source of inspiration in the music aesthetics and contemporary art. Tales as “The Raven,” “The Fall of the House of Usher” and “The Mask of the Red Death” were some of the most influential writings in the art world, particularly in music.

The Beatles Countdown #2: “I Am The Walrus”

“It’s one of those that has enough little biddies going to keep you interested even a hundred years later.”- John Lennon, describing “I Am The Walrus” on The Beatles Anthology

What can I possibly add to that to properly do justice to “I Am The Walrus”? That really says it all. You didn’t think I’d be fool enough to try to analyze this famously indecipherable song. Many have tried to parse those lyrics, and more power to ‘em.  As for me, I’ve always chosen to bask in the wonderful inscrutability of this colossal track from 1967, and leave the analysis alone.

After all, wasn’t the whole point of this song to confound easy interpretation? Lennon had heard about the fact that certain schools were studying Beatles’ lyrics as if they were poetry. John decided to pick up that gauntlet and construct a narrative that makes Ulysses look like a nursery rhyme. It’s as if he was saying, “Let’s see what your professors can make of this.”

Hence you get crazy word-association phrases like “pornographic priestess” and “elementary penguin,” and nonsensical non-sequiturs like “Man you shoulda seen ‘em kicking Edgar Allan Poe.” It doesn’t matter that you can’t actually “get a tan from standing in the English rain”; in this surreal context, it all somehow makes sense.

I don’t think it’s any coincidence that Lennon took inspiration for the title from Lewis Carroll’s The Walrus And The Carpenter, a poem in which the titular characters entice a bunch of oysters to go on a moonlight stroll and then feast on them. There’s not much of a moral to that story, nor does there always have to be. “I Am The Walrus” is a testament to that.

Contrasting all the verbal whimsy is a musical track that generates high drama from a strange commingling of instruments and an odd structure. The swirling strings play off Ringo’s insatiable beat, which breaks down now and again, both for John’s “I’m crying” interlude and a bizarre bridge that saunters slowly forward until rejoining the main rhythm.

Best of all is that coda, which, instead of doing the normal thing and slowly dying down, insists on soaring higher and higher amidst crazy chanted vocals and disembodied voices everywhere. It’s an absolutely exhilarating piece of work, both frenzied and light-hearted but still indescribably compelling.

Of course, here I am celebrating a song that poo-poohs the endless dissection of Beatle songs, when I’ve been doing exactly that in this list for the past few months. I think the point here is that these songs work both ways. As I’ve grown older, I’ve delved deeper into the meanings and looked at how certain musical ideas were used to express those meanings.

Still, like everyone else, there was once a first time for me hearing these songs, and my first experience with the majority of them came became before I was even in college, probably about half of them before I was even in my teens. The songs hit me on a basic, unthinking level that needed no further inspection to figure out why. That I’ve chosen, over the years and in this list, to really burrow into the songs does not in any way lessen the guttural impact they still have on me when they pop up on my stereo.

I think that “I Am The Walrus” is the perfect embodiment of that phenomenon more than any other Beatle song. I’m not sure that I’ll ever put my finger on why I love it so, or why it nearly made the very top of this personal list. All I’m sure about is that, when it comes on, I don’t want it to end. When it does end, I want to hear it again immediately.

If I tried to get any deeper than that, I might miss out on all the “little biddies” that make the song such a joy. No analysis necessary.

(E-mail the author at countdownkid@hotmail.com.)

“I Am The Walrus” by the Beatles

MagicalMysteryTourDoubleEPcover

“Semolina pilchard climbing up the Eiffel Tower/Elementary penguin singing Hare Krishna/Man you should have seen them kicking Edgar Allan Poe/I am the eggman, they are the eggmen/I am the walrus, goo goo g’ joob goo goo g’ joob”

Admittedly the entirety of the Magical Mystery tour albums begs the question, “WTF were they smoking?” and perhaps picking on lyrics from The Beatles’ drug years is a bit unfair, but a penguin singing Hare Krishna? “Sitting on a cornflake waiting for the van to come?” If there was ever a reason to put down the drugs before writing, this song is proof positive.

(Francis Schaeffer pictured below)

______

BY FREDDIE MOORE

Before The Beatles were inspiring writers — Haruki Murakami, Nick Hornby and, hell, even Kurt Vonnegut, to name a few — they were borrowing their fair share from literature, including the works of Lewis Carroll, James Joyce and Thomas Dekker.

The 1967 hit “I am the Walrus” is known for being influenced by Lewis Carroll’sThrough the Looking-Glass (and healthy amounts of LSD). In the spirit of Carroll’s poem “Jabberwocky,” the song is infused with nonsensical, onomonopiac language — but the chant “goo goo g’joob” actually comes from James Joyce’s Finnegans Wake. (Joyce used a slightly different sound: “googoo goosth.”) Leave it to John Lennon to mix his favorite childhood book with one of the most dense, experimental pieces of Irish literature.

The title of “I am the Walrus” also nods emphatically to Carroll’s poem “The Walrus and the Carpenter” — specifically to the walrus character, who expresses his remorse after devouring helpless oysters by crying at the poem’s end. Lennon confessed in an interview with Playboy that he felt they should have instead sided with the carpenter after learning of the possible political connotations of the poem (the walrus could represent unrepentant capitalists replete with crocodile tears). He admitted, though, that “I am the carpenter” just wouldn’t have had the same ring.

“I am the Walrus” incorporated literature on a subliminal level, as well. During the recording of their 1967 version of the song, The Beatles may have intentionally included two snippets from a static radio broadcast of William Shakespeare’s King Lear (Edgar leading his blinded father, then killing Oswald) at the end of their performance. I like to think that The Beatles planned all of this meticulously, but who knows, it may have coincidentally been picked up.

There were other literary sources The Beatles borrowed from more directly. Their song “Golden Slumbers” took quite a bit from Thomas Dekker’s lullaby of the same name. “Tomorrow Never Knows” also practically copies The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead for its opening lines, which are only a few words off from those of authors Timothy Leary, Ralph Metzner and Richard Alpert: “Whenever in doubt, turn off your mind, relax, float downstream.”

Most of the references The Beatles made to literature in their music were to the books that stuck with them from childhood or had recent on their mind. It had little to do with reference snobbery and much more to do with the actual texts that had made John, Paul, George and Ringo the songwriters they became.

It’s possible to say the same of the literary greats who have made references to The Beatles in their books: They’re not showing off their musical chops, but paying tribute to the a band that influenced their art. Half a century on, The Beatles retain a tremendous influence over literature. Writers like S. E. Hinton (in The Outsiders) included references to The Beatles’ as a sort of timestamp to mark an era, while other authors have given the band tremendous praise in their fiction, as Kurt Vonnegut does in Timequake:

I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, “The Beatles did.”

In literature, it often seems like The Beatles can do no wrong. Their music does what Vonnegut describes: It brings people back to life. Whether it’s the comfort of nostalgia or the ease of their melodies, characters in literature often love The Beatles. Even the fictional record snob Rob Fleming in Nick Hornby’s novel High Fidelityconveys the band’s healing powers after a brutal long-term break-up:

Me, I’ll be playing the Beatles when I get home. Abbey Road, probably, although I’ll programme the CD to skip out ‘Something.’ The Beatles were bubblegum cards and Help at the Saturday morning cinema and toy plastic guitars and singing ‘Yellow Submarine’ at the top of my voice in the back row of the coach on school trips. They belong to me, not to me and Laura, or me and Charlie, or me and Alison Ashworth, and though they’ll make me feel something, they won’t make me feel anything bad.

Other fictional characters have used The Beatles as a way to express their own sentiments, to fill in feelings that they can’t express themselves. Charlie in The Perks of Being a Wallflower desperately loves the song “Something,” to the point that it defines his concept of what it means to be in love:

It was an old 45 record that had the Beatles’ song “Something.” I used to listen to it all the time when I was little and thinking about grown-up things. I would go to my bedroom window and stare at my reflection in the glass and the trees behind it and just listen to the song for hours. I decided then that when I met someone I thought was as beautiful as the song, I should give it to that person. And I didn’t mean beautiful on the outside. I meant beautiful in all ways.

But the writer to take the crown for the most Beatles references in their work must be Haruki Murakami. Not only has he named one of his most well-known novels after the Rubber Soul track “Norwegian Wood,” he’s mentioned the band in passing in many of his other works and even named one of his short stories after another track, “Yesterday.”

In Norwegian Wood, The Beatles come attached to the narrator Toru Watanabe’s issues with nostalgia and loss. At one point in the novel, a friend of Toru’s love interest plays the guitar and sings along to several Beatles songs, telling him: “Those guys sure knew something about sadness of life, and gentleness.”

And Murakami’s right — except that The Beatles have the power to be gentle but mighty, silly yet wise. I remember singing along with them at night while doing my homework and bowing my head to “Lucy in the Sky with Diamonds” at a school-wide memorial after a girl two grades younger than me was hit by a car. I’ve yelled songs drunk with my friends, and I’ve sobbed through the lyrics of “I’m Looking Through You.”

In Jonathan Safran Foer’s novel Extremely Loud and Incredibly Close, “I am the Walrus” is the tune the protagonist Oskar Schell imagines his father whistling before he dies in the World Trade Center. At one point in the book, Oskar worries that he can’t remember more about his father from that morning — how high his shirt was buttoned up or how exactly he was holding his copy of The New York Times — but the whistle of his father’s favorite Beatles’ melody sticks out. It is infectious; it fills the reader with its melody. The key to empathy right there in the first few lyrics: “I am he as you are he as you are me and we are all together.”

At the end of Foer’s novel, you want to hear Oskar’s father whistle “I am the Walrus” backwards. That is the unyielding literary power of The Beatles: They connect us.


Freddie Moore is a Brooklyn-based writer. Her full name is Winifred, and her writing has appeared in The Paris Review Daily and The Huffington Post. As a former cheesemonger, she’s a big-time foodie who knows her cheese. Follow her on Twitter: @moorefreddie

(Image Credits, from top: Flickr, End of the Game, Macmillan Dictionary Blog, ABS CBN, Fanpop)

October & the City Link
the Walrus & the Raven

Edgar Allan Poe (d. Oct. 7, 1849, Boston) and John Lennon (b. Oct.9, 1940, Liverpool) would’ve likely enjoyed each other’s company. One could even picture them sharing a coffee in Greenwich Village, just a few blocks from where they both lived briefly in New York.
Sharing a certain sensibility, they’ve twisted rules and noses with their talent and non-conformism. While Poe’s genius was acknowledged mostly after death, Lennon’s was still shaping his own times when life was brutally taken away from him. Despite their enormous sway over our era, they’ve both died at 40.
Their status as two of the world’s most recognized pop icons often obscures the depth of their art and endurance of their legacy. And maybe their irresistible appeal owes more to a contemporary deficit of revolutionary artists than to their particular take on human expression.
Or it may be that we’re so desperate to find paradigms upon which to pile our frustration about the world, that a walking wound such asPoe, or a talking head like Lennon, may offer the conduit we seek to connect and placate our own shortcomings. Just like it ever was.
They couldn’t help it but being such tragic heroes, either, with terrible upbringings and disturbing deaths to boot. But that’s when shallow similarities between the two begin to falter, and no longer serve us to rescue their relevance out of the amber it’s been encased.
THE MESMERIC & THE MAUDIT
Poe, who lived in three separate places in Greenwich Village, New York City, before moving to a farmhouse uptown where he wrote The Raven at age 36, is the only American writer routinely mentioned along the French poètes maudits.
The Paul Verlaine-concocted term encapsulated the romantic ideal of the artist as a tragic hero, not suited to this world, who inevitably self-immolates. We won’t get into how flawed and self-indulgent it is such notion, but the literature the group produced transcended it all.
Perhaps the best known among those poets was Charles Baudelaire, who championed, translated and wrote essays about Poe, (more)
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Read Also:
* Murder & Unkindness
* Hallowed Ground

who he considered an equal. Even as his opinion is as flawed as the label, it was one of the few high-caliber vindications Poe has ever known in life.
ON THE COVER OF ANOTHER TIME
Perhaps intuitively, or because he always detested that phony dead poet myth, Lennon included him in one of the most intriguing lyrics in rock music. Years later, he too would move to New York, initially to the Village, just a few blocks of Poe’s old hangouts.
The Beatles had already included Poe, along Lewis Carroll, Dylan Thomas, James Joyce, and others, on the cover of their 1967 masterpiece, Sgt. Pepper, but it was I’m the Walrus that became identified with the poor old sod of Baltimore.
It was probably all a play with words, but judging by the way Poe was despised by critics and mostly ignored by readers during his life, singing, Man, You Should’ve Seen Them Kicking Edgar Allan Poe, has some of the pointed poignancy Lennon was known for as a writer and lyricist.
THEY’RE GONNA CRUCIFY ME
The irony was that Lennon used the same sharp eye to somehow foresee his own demise, in the kind of morbid exercise better associated with Poe. It’s arguable that he was being seriously afraid of being killed violently, as he did in New York in 1980, and his life till the end was a boost of optimism, peace, and faith in the future.
That’s exactly where their legacies split wide open, for Poe was very much aware that the sum of his expression was hitched forever to a boat suffused with premonitions and visions of what was not yet there. Or never was. In that view, Lennon was the Sun and Poe, the Moon.
Nothing will ever be that simple about these two, or anybody, though. Throughout the world, between today and Friday, people will be holding seances and saraus, feverish praying and full-throated singing to celebrate the lives of two extraordinarily gifted artists.
So, Happy Birthday, John & Poe.

 

___________________

Edgar Allan Poe And Alcohol

Edgar Allan Poe had a long problem with alcohol and said the stress and pain of his wife’s illness was the cause of both his alcoholism and his “insanity.” He joined a temperance movement in 1849, a year before he died at age 40. Theorists have blamed Poe’s death on everything from carbon monoxide poisoning, to rabies (??), to murder, but it’s often accredited to alcohol withdrawal.

Poe was famously prone to alcoholic sprees during the 1840s, and his “enemies” (as he calls them) thought that his irregular behavior was due to his drinking. In 1842 Poe wrote a letter to his publishers, pleading with them to buy his work and apologising for a drunken encounter. Poe blamed fellow poet, William Ross Wallace, for making him drink too many juleps during a visit to New York.

“Will you be so kind enough to put the best possible interpretation upon my behaviour while in N-York? You must have conceived a queer idea of me – but the simple truth is that Wallace would insist upon the juleps, and I knew not what I was either doing or saying.” He included an article with his letter which he hoped they would publish. He admitted that he was “desperately pushed for money”, adding: “I set no price – leaving all to your own liberality”. He signed off with the hope that they might meet again “under better auspices”. But either the publishers didn’t like the article or Poe had been very, very drunk, as they returned the article unpublished.

edgar-allan-poe-alcohol-death-addicaid

Months before his death, Poe became a vocal member of the temperance movement, eschewing alcohol, which he’d struggled with all his life. Biographer Susan Archer Talley Weiss recalls, in her biography “The Last Days of Edgar A. Poe,” an event, toward the end of Poe’s time in Richmond, that might be relevant to theorists that prefer a “death by drinking” demise for Poe. Poe had fallen ill in Richmond, and after making a somewhat miraculous recovery, was told by his attending physician that “another such attack would prove fatal.” According to Weiss, Poe replied that “if people would not tempt him, he would not fall,” suggesting that the first illness was brought on by a bout of drinking.

Those around Poe during his finals days seem convinced that the author did, indeed, fall into that temptation, drinking himself to death. As his close friend J. P. Kennedy wrote on October 10, 1949: “On Tuesday last Edgar A. Poe died in town here at the hospital from the effects of a debauch. . . . He fell in with some companion here who seduced him to the bottle, which it was said he had renounced some time ago. The consequence was fever, delirium, and madness, and in a few days a termination of his sad career in the hospital. Poor Poe! . . . A bright but unsteady light has been awfully quenched.”

 


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Featured artist is Christopher Wool

Christopher Wool – Crosstown Crosstown, artist talk at DCA.flv

Uploaded on Jan 27, 2011

Artist Christopher Wool talking about his exhibition, Crosstown Crosstown (6 April – 8 June 2003), at Dundee Contemporary Arts.

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Image result for christopher wool art
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Image result for christopher wool art

Christopher Wool (born 1955) has emerged as one of the most important abstract painters of his generation. The artist—a Chicago native who today divides his time between New York City and Marfa, Texas—is perhaps best known for his paintings of large stenciled letters, which he uses to form words or phrases, often abbreviated or arranged in run-on configurations that disrupt ordinary patterns of perception and speech. This retrospective, the most comprehensive examination of Wool’s career to date, goes beyond these now-iconic word paintings to present nearly 90 paintings, photographs, and works on paper that showcase the wide range of styles and painterly techniques the artist has employed throughout his influential career.

Wool rose to prominence with his experimentations in painting in New York in the 1980s, a time and place where the medium was largely seen as irrelevant to avant-garde practice. Since then the artist has used a variety of means—spray, screens, stencils, rags, solvents, air guns, and other tools—to fully re-imagine the possibilities of gestural mark-making on a surface. He also often now uses photographs of his own paintings as sources for new paintings, taking images of particular passages or gestures—best understood as outtakes or samples—and then transmitting them onto aluminum or linen grounds anew through silkscreen, either alone on a surface or in combination with enamel. And even though the majority of his works are black and white, color also makes rare appearances.

Combining aspects inherited from Abstract Expressionist art of the 1950s (painterly gesture), Pop Art of the 1960s (the use of silkscreen and other reproductive technologies as well as the influence of street culture), and Conceptual Art of the 1970s (the use of language), Wool’s work simultaneously draws from the recent history of art and points to entirely new possibilities for the future of painting. At the heart of his creative project, which now spans more than three decades, is the question of how a picture can be conceived, realized, and experienced today. The paintings and works on paper for which he is best known accrue their raucous authority from an interrogative approach to technique and process and from their cool refusal to abandon the lingering possibilities of authentic expression through language, mediated gesture, and abstraction. The result is an exhibition steeped in the practice of painting by an artist fully committed to its longevity and perpetual promise.

Organizer
This exhibition is organized by the Solomon R. Guggenheim Foundation, New York.

Sponsors
Lead sponsorship for this exhibition has been generously provided by Liz and Eric Lefkofsky.

Major support has been provided by Marilyn and Larry Fields with additional funds from The Aaron I. Fleischman Foundation.

Annual support for Art Institute exhibitions is provided by the Exhibitions Trust: Goldman Sachs, Kenneth and Anne Griffin, Thomas and Margot Pritzker, the Earl and Brenda Shapiro Foundation, the Trott Family Foundation, and the Woman’s Board of the Art Institute of Chicago.

Christopher Wool

From Wikipedia, the free encyclopedia
Christopher Wool
Born 1955
Boston, USA
Nationality American
Known for Painting

Christopher Wool (born 1955, Boston) is an American artist.[1] Since the 1980s, Wool’s art has incorporated issues surrounding post-conceptual ideas. He lives and works in New York City and Marfa, Texas, together with his wife and fellow painter Charline von Heyl.[2]

Early life and career[edit]

Wool was born in Boston to Glorye and Ira Wool, a molecular biologist and a psychiatrist.[2] He grew up in Chicago.[3] In 1973, he moved to New York City and enrolled in Studio School studies with Jack Tworkov and Harry Krame.[2] After a short period of formal training as a painter at the New York Studio School, he dropped out and immersed himself in the world of underground film and music.[4] Between 1980 and 1984, he worked as part-time studio assistant to Joel Shapiro.[5]

Work[edit]

An example of work by Christopher Wool Untitled (2000) Enamel paint on aluminium.

Wool is best known for his paintings of large, black, stenciled letters on white canvases.[6] Wool began to create word paintings in the late 1980s, reportedly after having seen graffiti on a brand new white truck. Using a system of alliteration, with the words often broken up by a grid system, or with the vowels removed (as in ‘TRBL’ or ‘DRNK’), Wool’s word paintings often demand reading aloud to make sense.[4]

At 303 Gallery in 1988, Wool and fellow artist Robert Gober presented a collaborative exhibition and installation which included Wool’s seminal text-based painting, Apocalypse Now (1988). The work features words from a famous line in Francis Ford Coppola‘s film Apocalypse Now, based on the Joseph Conrad novel Heart of Darkness.[7] From the early 1990s through the present, the silkscreen has been a primary tool in Wool’s practice.[8] In his abstract paintings Wool brings together figures and the disfigured, drawing and painting, spontaneous impulses and well thought-out ideas. He draws lines on the canvas with a spray gun and then, directly after, wipes them out again with a rag drenched in solvent to give a new picture in which clear lines have to stand their own against smeared surfaces.

Writing in 2000, in The New York Times, Ken Johnson highlighted Wool’s response to an observation made on the street as significant, “in the 1980s, Christopher Wool was doing a Neo-Pop sort of painting using commercial rollers to apply decorative patterns to white panels. One day he saw a new white truck violated by the spray-painted words ‘sex’ and ‘luv.’ Mr. Wool made his own painting using those words and went on to make paintings with big, black stenciled letters saying things like ‘Run Dog Run’ or ‘Sell the House, Sell the Car, Sell the Kids.’ The paintings captured the scary, euphoric mood of a high-flying period not unlike our own.”[9]

Although Wool is best known as a painter, he has amassed a large body of black-and-white photographs taken at night in the streets between the Lower East Side and Chinatown. Originally begun in the mid-1990s, the project was resumed and completed in 2002. East Broadway Breakdown, a book reproducing all 160 photographs, was issued by Holzwarth Publications in 2004.[10]

In 2012, Wool contributed the set design for Moving Parts, a piece conceived by Benjamin Millepied‘s L.A. Dance Project.[11]

Artist books[edit]

  • Can your monkey do the dog, Christopher Wool & Josh Smith. 168 pages, 27,9 x 21,5 cm. Limited edition of 1000 copies and 300 artist’s proofs. Produced and published in 2007 by mfc-michèle didier.

Exhibitions[edit]

In 1998, a retrospective of Wool’s work was mounted at the Museum of Contemporary Art, Los Angeles, an exhibition which then traveled to the Carnegie Museum of Art in Pittsburgh and Kunsthalle Basel in Switzerland. In 2009 he had an exhibition at the Gesellschaft für Moderne Kunst am Museum Ludwig in Köln, Germany and in 2012 at the Musée d’Art Moderne de la Ville de Paris. From October 25, 2013 to January 22, 2014, a retrospective of Wool’s work was exhibited at The Guggenheim Museum in New York City, and traveled to the Art Institute of Chicago in the spring of 2014.[12]

Recognition[edit]

Among many honors, Wool has been named a Fellow of the American Academy in Rome (1989), served as a DAAD Berlin Artist-in-Residence (1992), and received the Wolfgang Hahn Prize.[13] In 2010, he was honored with amfAR’s Award of Excellence for Artistic Contributions to the Fight Against AIDS.[5]

Art market[edit]

Wool shows with Luhring Augustine Gallery, New York, which has represented him since 1987.[14] In 2006, he had a solo exhibition at Gagosian Gallery, Beverly Hills.[6] Other galleries Wool works with include Simon Lee Gallery, London, and Galerie Max Hetzler, Berlin.[14]

Wool’s Word paintings made between the late 1980s and early 2000s are the most sought-after pieces on the art market; as of 2013, seven “word” works feature in Wool’s top ten auction sales.[14] At Christie’s London in February 2012, Untitled (1990), a later word painting bearing the broken word FOOL, sold for £4.9 million ($7.7 million).[7] In November 2013, art dealer Christophe van de Weghe bought Apocalypse Now (1988) for $26.4 million on behalf of a client at Christie’s New York.[15] Wool’s monumental black and white word painting Riot (1990) sold for $29.9 million at Sotheby’s New York in 2015.[16] That same month, Untitled (1990), made with alkyd and graphite on paper and featuring the words ‘RUN DOG EAT DOG RUN’, realized $2.4 million, the record for a work on paper by the artist.[17]

Personal life[edit]

Since 1997, Wool has been married to fellow artist Charline von Heyl.[5][18]

References[edit]

  1. Jump up^ Christopher Wool: CV on i1.exhibit-e.com
  2. ^ Jump up to:a b c Christopher Wool Luhring Augustine Gallery, New York.
  3. Jump up^ Guggenheim Museum Presents Major Survey of American Artist Christopher Wool, Opening October 25 Solomon R. Guggenheim Museum, New York.
  4. ^ Jump up to:a b Christopher Wool Museum of Modern Art, New York.
  5. ^ Jump up to:a b c Award of Excellence for Artistic Contributions to the Fight Against AIDS amfAR, The Foundation for AIDS Research.
  6. ^ Jump up to:a b Christopher Wool Gagosian Gallery.
  7. ^ Jump up to:a b Judd Tully (October 11, 2013), Christopher Wool’s “Apocalypse Now” to Hit Christie’s Sales Floor Artinfo.
  8. Jump up^ Guggenheim Museum Presents Major Survey of American Artist Christopher Wool, Opening October 25 Solomon R. Guggenheim Museum, New York.
  9. Jump up^ Ken Johnson, ” Art in Review: Christopher Wool,” The New York Times, March 17, 2000.
  10. Jump up^ William Gedney — Christopher Wool: Into the Night, June 27 – October 3, 2004MoMA PS1, New York.
  11. Jump up^ Laura Bleiberg (November 21, 2011), Benjamin Millepied and Music Center announce L.A. Dance Project Los Angeles Times.
  12. Jump up^ Smith, Roberta (24 October 2013). “Painting’s Endgame, Rendered Graphically”. The New York Times. Retrieved 10 February 2016.
  13. Jump up^ Guggenheim Museum Presents Major Survey of American Artist Christopher Wool, Opening October 25. Press release of October 18, 2013 Solomon R. Guggenheim Museum, New York.
  14. ^ Jump up to:a b c Gareth Harris (September 20, 2013), Why the rise of Christopher Wool? The Art Newspaper.
  15. Jump up^ Carol Vogel (November 12, 2013), At $142.4 Million, Triptych Is the Most Expensive Artwork Ever Sold at an Auction New York Times.
  16. Jump up^ Scott Reyburn (May 13, 2015), A Rothko Tops Sotheby’s Contemporary Art AuctionNew York Times.
  17. Jump up^ Christopher Wool, Untitled (1990) Christie’s Post-War and Contemporary Art Evening Sale, 13 May 2015, New York.
  18. Jump up^ Cityfile: Christopher Wool

External links[edit]

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WOODY WEDNESDAY Reviews of past Woody Allen Movies PART 2

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Hannah and Her Sisters – Favorite Scenes

Reviews of past Woody Allen Movies

Thursday, June 16, 2011



Hannah and Her Sisters (1986) 
104 min., rated PG-13. 
Grade: A

Woody Allen’s heartfelt, literate, evenly balanced Robert Altman-esque ensemble piece is structured like a chapter novel, revolving around three New York sisters with themes of love, relationships, and faithfulness. 

Hannah (Mia Farrow) is the nurturing lamb to her two sisters, Lee (Barbara Hershey), a flighty former alcoholic living in a loft with an artist (Max von Sydow), and Holly (Dianne Wiest) is the free-thinking aspiring actress who owns a catering company with her always-overshadowing friend (Carrie Fisher). Hannah is married to Elliot (Michael Caine), an accountant, who’s in love with Lee, and Hannah’s ex-husband, Mickey (Allen), a hypochondriac TV executive, thinks he’s dying. 

Allen intersperses his typically acute sense of humor with sensitivity, and as the film takes place over the span of two years, beginning and ending at Thanksgiving, much has changed from when we first Hannah, Lee, and Holly. Each character has a voice (literally, a voice-over) but it works, they have arcs, and every performance is finely tuned. 

Full of warmth, truth, and humor, “Hannah and Her Sisters” is a treasure and quintessential Woody Allen next to “Annie Hall” and “Manhattan.” 


Alice (1990)
106 min., rated PG-13.
Grade: B –
In filmmaker Woody Allen’s “Alice”—a musing, light-as-helium comic variation on “Alice in Wonderland” and Federico Fellini’s “Juliet of the Spirits”—his lamblike muse and girlfriend Mia Farrow snags the title spot. 

She’s Alice Tate, a rich, pampered Manhattan housewife who spends her days shopping, pedicuring, and gossiping with her socialite lady friends. At an appointment with Chinese healer Dr. Yang (Keye Luke), an ersatz for psychoanalysis, he treats her with hypnosis and mystical herbs, making her realize that she’s holding onto her youth. When she meets a handsome, gentle divorced dad (an appealing Joe Mantegna), she begins fantasizing about having an affair with him. But while she’s a mousy, goody-goody Mother Teresa and believes in fidelity with her husband (William Hurt), her fantasy becomes reality. 

Although Allen takes time off from the lead spotlight, his one-liners slip through and Farrow is virtually in the “Woody role” with her fast-thinking jitteriness. She’s charming. Blythe Danner shines as Alice’s distant but down-to-earth sister, and Bernadette Peters and Alec Baldwin enliven their small roles, respectively, as Alice’s muse and ghostly first love. Unfortunately, Julie Kavner and Judy Davis don’t even register here in bit parts. 

“Alice” is certainly Woody-lite, not always comfortably blurring the line between hokey fancy and affirmativeness about a woman’s selfless self-discovery, but it sure is sweet.


Shadows and Fog (1991)
85 min., rated PG-13.
Grade: C
Woody Allen’s tepid experiment in German expressionist style comes and goes like a puff of smoke. In “Shadows and Fog” (based on the filmmaker’s comedy play “Death”), a Jack the Ripper-esque serial strangler lurks in the shadows of a European city during the 1920s and strikes in the fog! 

Allen casts himself as another nebbish schlemiel, a bookkeeping clerk named Max Kleinman who’s roused from his sleep to help a band of vigilantes find the killer. Naturally, Allen peppers the gloom and doom every now and then with his one-liners, but they’re more than mild here. 

The real suspense lies in which actor will pop up next, but so little is done with the cast. Allen’s dear Mia Farrow gives the same whiny, lamblike performance here as a sword-swalling circus act, whom we’re supposed to believe is mistaken for a prostitute and wholly desired by John Cusack. John Malkovich is surprisingly dull as a circus clown, Farrow’s husband. Julie Kavner is momentarily amusing as Max’s bitter ex. Lily Tomlin, Kathy Bates, and Jodie Foster show up as the hookers at a brothel, as do Madonna, Katie Nelligan, Donald Pleasence, and Wallace Shawn in bit parts. Allen’s entrapment of the strangler with a magician’s (Kenneth Mars) help is an absurdist highlight. 

“Shadows and Fog” would make Fritz Lang and Franz Kafka proud, but will leave Woodyphiles wanting. Nice try but a non-starter in Woody’s canon. 


Husbands and Wives (1992)
108 min., rated R.
Grade: A –

“Thou shalt not commit adultery,” obviously at the top of Woody Allen’s commandments, comes out full throttle in “Husbands and Wives,” the Woodman’s most perceptive, witty, and generous look at broken relationships. 

Allen casts himself as Gabe, a faithful (New York) writer and English professor who, along with his wife of 10 years, Judy (Mia Farrow, with a haircut that makes her look like Dianne Wiest), get a very formal announcement by their two married best friends, Jack (Sydney Pollack) and Sally (Judy Davis), that they’re splitting up. Of course, Gabe and Judy’s marriage becomes endangered once a student (Juliette Lewis), who’s attracted to older men, looks his way. Then once Sally gets jealous that Jack has already moved on to a chatty airhead (Lysette Anthony), Judy sets Sally up with a sweet colleague, Michael (Liam Neeson). He falls hard for Sally, but Judy is in love with him. 

This truthfully messy exploration of marriage has the characters making confessions in a talking-head couch setting to an off-screen voice that’s either a shrink or an interviewer; it’s a device but effectively gets us into these people’s heads. It’s no concidence that life imitates art in “Husbands and Wives,” with much conjunction to Allen and Farrow’s real-life breakup, as Allen allows us to understand the emotionally fragile and confusing period after a breakup, the dull security of marriage, and the excitement of spontaneous sex. 

In a well-written scene in a cab with Allen and Lewis (the camera on her the entire time), her dialogue in criticizing Gabe’s book is so pointed about the film’s own themes. Husbands and Wives is so well-acted that we believe these characters exist. Davis is incredibly good as hyperactive, hypocritical Sally. Her character could’ve been a shrew cliché, but the great Davis goes deeper, finding the rage, confused feelings, and vulnerability of Sally. And veteran director Pollack gives a stellar performance as a man sinking in self-delusion. We see him finally crack at a friends’ party where he literally drags his girlfriend out. 

Shot documentary-style as if we’re eavesdropping on these couples, the antsy, handhand camera and jump cuts, made to make things feel raw and real, are often distracting and feel overly rigged but don’t break the film. 

One of Allen’s most emotionally intimate works to date, “Husbands and Wives” is done with the truth, wit, angst, and irony that we’ve come to expect from the filmmaker’s voice.


Manhattan Murder Mystery (1993)
104 min., rated PG.
Grade: A –
Woody Allen’s “Manhattan Murder Mystery” marks a few great returns. It’s a return to classic, funny Woody (especially after his past work dealt with heavy themes), his first-co-writing collaboration with Marshall Brickman since “Annie Hall” and “Manhattan,” and it’s his first pairing with Diane Keaton since “Manhattan.” 

Allen and Keaton play Larry and Carol Lipton, a long-married couple afraid they’re turning dull like their friendly old neighbors, Paul and Lillian House (Jerry Adler, Lynn Cohen). Then Lillian drops dead of a heart attack, case closed. But Carol becomes suspicious of Mr. House acting a little too cheerful as a widower. The Liptons’ old close friend, Ted (Alan Alda), plays along with Carol’s theories and helps her out in her Nancy Drew sleuthing. 

“Manhattan Murder Mystery” is a flat-out entertaining caper. The mystery plot is actually pretty clever and suspenseful, kind of a Hitchcockian goof on “Vertigo” and “Double Indemnity.” And the Woodman’s funny quips, phobias, and one-liners are on full display here and so consistent it’s hard to keep up or stop laughing. It’s a pleasure to see the reunited teaming of Allen and Keaton (whose role was originally intended for Mia Farrow), whose frantic verbal rhythms and neuroses go hand in hand. They feel so at ease with one another that their natural chemistry recalls Alvy Singer and Annie Hall. Alda and Anjelica Huston (both appearing last in Allen’s “Crimes and Misdemeanors”) are also very sharp as their friends, respectively, a divorced playwright who still yearns for Carol and a sexy fiction writer that gives Larry the eye. 

The one complaint for this very enjoyable film is the same conceit that somewhat plagued last year’s “Husbands and Wives”: Carlo DiPalma’s voyeuristic, roving, handheld cinematography. It’s mostly smooth but is sometimes annoying. But this Allen lark is so fun and involving that it hardly matters.

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RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 130 A.C.Grayling, Philosopher, “If you think that the reasons you have for believing in fairies are very poor reasons; that it is irrational to think that there are such things, then the belief in supernatural agencies in general is equally as irrational”

 

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

 

Wikipedia notes:

Anthony CliffordA. C.Grayling (/ˈɡrlɪŋ/; born 3 April 1949) is a British philosopher. In 2011 he founded and became the first Master of New College of the Humanities, an independent undergraduate college in London. Until June 2011, he was Professor of Philosophy at Birkbeck, University of London, where he taught from 1991. He is also a supernumerary fellow of St Anne’s College, Oxford.

Grayling is the author of about 30 books on philosophy, including The Refutation of Scepticism (1985), The Future of Moral Values (1997), The Meaning of Things (2001), The Good Book (2011), and The God Argument (2013). He is a Trustee of the London Library, a Fellow of the Royal Society of Literature and a Fellow of the Royal Society of Arts.[1]

He is a director and contributor at Prospect Magazine, as well as a Vice President of the British Humanist Association. His main academic interests lie inepistemology, metaphysics and philosophical logic.[1] He has described himself as “a man of the left” and is associated in Britain with the new atheismmovement,[2] and is sometimes described as the ‘Fifth Horseman of New Atheism’.[3] He appears in the British media discussing philosophy.

A. C. Grayling
AC Grayling.jpg

Master of the New College of the Humanities
Assumed office
2011
Personal details
Born Anthony Clifford Grayling
3 April 1949 (age 67)
Luanshya, Northern Rhodesia
Nationality British
Spouse(s) Katie Hickman
Children One son, two daughters
Residence London, England
Education BA (Sussex), BA (London), MA (Sussex), DPhil (Oxon)
Alma mater University of Sussex
University of London external programme
Magdalen College, Oxford
Occupation Philosopher
Signature
Website www.acgrayling.com

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

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

In  the first video below in the 27th clip in this series are his words and  my response is below them. 

50 Renowned Academics Speaking About God (Part 1)

Another 50 Renowned Academics Speaking About God (Part 2)

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

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Below is the letter I wrote to Dr. Grayling responding to his quote.

September 29, 2015

Dr. A.C.Grayling, New College of Humanities,  London, United Kingdom

Dear Dr. Grayling,

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

The question at stake here is one of rationality. The intellectual respectability of a claim there are gods, say the gods of Olympus or the gods of Hinduism, or one God, say the God of Christianity seem to me to be exactly on a par with the intellectual respectability that there are fairies in your garden. I am not being trite. The belief in fairies was very widespread and very well attested right up until the late nineteenth century. Indeed people believed that fairies were much more present in their lives than god was because when things went missing, like your shoe laces or a teaspoon, it was because the little imps had made off with them. So the comparison here is not a ridiculous one. And if you think that the reasons you have for believing in fairies are very poor reasons; that it is irrational to think that there are such things, then the belief in supernatural agencies in general is equally as irrational. So agnostics, who think there is much chance that there might be such entities as that there might not be such entities, fall foul of this stricture.

EVERY PERSON HAS TO JUDGE FOR THEMSELVES IF THERE IS GOOD AND SUFFICIENT REASONS FOR BELIEVING THE HISTORICAL CLAIMS IN THE BIBLE AND I HAVE SOME FOR YOU TO CONSIDER.  Let me further respond with the words of Francis Schaeffer from his book HE IS THERE AND HE IS NOT SILENT (the chapter is entitled, “Is Propositional Revelation Nonsense?”

Of course, if the infinite uncreated Personal communicated to the finite created personal, he would not exhaust himself in his communication; but two things are clear here:
 
1. Even communication between once created person and another is not exhaustive, but that does not mean that for that reason it is not true. 
 
2. If the uncreated Personal really cared for the created personal, it could not be thought unexpected 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. In such a case, there is no intrinsic reason why the uncreated Personal could communicate some vaguely true things, but could not communicate propositional truth concerning the world surrounding the created personal – for fun, let’s call that science. Or why he could not communicate propositional truth to the created personal concerning the sequence that followed the uncreated Personal making everything he made – let’s call that history. There is no reason we could think of why he could not tell these two types of propositional things truly. They would not be exhaustive; but could we think of any reason why they would not be true? The above is, of course, what the Bible claims for itself in regard to propositional revelation.
DOES THE BIBLE ERR IN THE AREA OF SCIENCE AND HISTORY? The Bible is true from cover to cover and can be trusted. Charles Darwin himself longed for evidence to come forward from the area of  Biblical Archaeology  but so much has  advanced  since Darwin wrote these words in the 19th century! Here are some of the posts I have done in the past on the subject and if you like you could just google these subjects: 1. The Babylonian Chronicleof Nebuchadnezzars Siege of Jerusalem, 2. Hezekiah’s Siloam Tunnel Inscription.13. The Pilate Inscription14. Caiaphas Ossuary14 B Pontius Pilate Part 214c. Three greatest American Archaeologists moved to accept Bible’s accuracy through archaeology.

Recently I had the opportunity to come across a very interesting article by Michael Polanyi, LIFE TRANSCENDING PHYSICS AND CHEMISTRY, in the magazine CHEMICAL AND ENGINEERING NEWS, August 21, 1967, and I also got hold of a 1968 talk by Francis Schaeffer based on this article. Polanyi’s son John actually won the 1986 Nobel Prize for Chemistry. This article by Michael Polanyi concerns Francis Crick and James Watson and their discovery of DNA in 1953. Polanyi noted:

Mechanisms, whether man-made or morphological, are boundary conditions harnessing the laws of in
animate nature, being themselves irreducible to those laws. The pattern of organic bases in DNA which functions as a genetic code is a boundary condition irreducible to physics and chemistry. Further controlling principles of life may be represented as a hierarchy of boundary conditions extending, in the case of man, to consciousness and responsibility.

I would like to send you a CD copy of this talk because I thought you may find it very interesting. It includes references to not only James D. Watson, and Francis Crick but also  Maurice Wilkins, Erwin Schrodinger, J.S. Haldane (his son was the famous J.B.S. Haldane), Peter Medawar, and Barry Commoner. I WONDER IF YOU EVER HAD THE OPPORTUNITY TO RUN ACROSS THESE MEN OR ANY OF THEIR FORMER STUDENTS?

Below is a portion of the transcript from the CD and Michael Polanyi’s words are in italics while Francis Schaeffer’s words are not:

During the past 15 years, I have worked on these questions, achieving gradually stages of the argument presented in this paper. These are:

  1. Machines are not formed by physical and chemical equilibration. 
  2. The functional terms needed for characterizing a machine cannot for defined in terms of physics and chemistry. 

Polanyi is talking about specific machines but I would include the great cause and effect machine of the external universe that functions on a cause and effect basis. So if this is true of the watch,  then you have to ask the same question about the total machine that Sartre points out that is there, and that is the cause and effect universe. Polanyi doesn’t touch on this and he doesn’t have an answer, and I know people who know him. Yet nevertheless he sees the situation exactly as it is. And I would point out what  Alfred North Whitehead (1861–1947) and J. Robert Oppenheimer (1904–1967) said and that it needed a Christian consensus to produce modern science because it was the Christian consensus that gave the concept that the world being created by a reasonable God and that it could be found out and discovered by reason. So the modern science when it began with Copernicus and Galileo and all these men conceived that the cause and effect system of the universe would be there on the basis that it was created by a reasonable God, and that is Einstein’s big dilemma and that is why he became a mystic at the end of life…What Polanyi says here can be extended to the watch, and the bridge and the automobile but also to the big cause and effect universe. You have to give some kind of answer to this too and I would say this to Michael Polanyi if I ever have a chance to talk to him. You need another explanation too Polanyi.

3. No physical chemical topography will tell us that we have a machine before us and what its functions are. 

In other words, if you only know the chemicals and the physics you don’t know if you have a machine. It may just be junk. So nobody in the world could tell if it was a machine from merely the “physical chemical-topography.” You have to look at the machineness of the machine to say it is a machine. You could take an automobile and smash it into a small piece of metal with a giant press and it would have the same properties of the automobile, but the automobile would have disappeared. The automobile-ness of the automobile is something else than the physical chemical-topography.

4. Such a topography can completely identify one particular specimen of a machine, but can tell us nothing about a class of machines. 

5. And if we are asked how the same solid system can be subject to control by two independent principles, the answer is: The boundary conditions of the system are free of control by physics and can be controlled therefore by nonphysical, purely technical, principles. 

In other words you have to explain the engineering by something other than merely physical principles and of course it is. You can’t explain the watchness of the watch merely by this. You can explain it on the basis of engineering principles in which the human mind conceives of a use for the machine and produces the machine. But notice where Polanyi is and that is in our argument of a need of personality in the universe though Polanyi doesn’t draw this final conclusion, though I thought that is the only explanation.

If you look at the watch a man has made it for the purpose of telling time. When you see the automobile a man has made it for the purpose of locomotion and the explanation of the difference is not in the chemical and physical properties but in the personality of a man to make these two different machines for two different purposes out of the same material. So what you are left here is the need of personality in the universe.

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Thank you for your time. I know how busy you are and I want to thank you for taking the time to read this letter.

Sincerely,

Everette Hatcher,

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

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