Monthly Archives: April 2015

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 57 THE BEATLES (Part I, Schaeffer loved the Beatles’ music and most of all SERGEANT PEPPER’S LONELY HEARTS CLUB BAND ) (Feature on artist Heinz Edelmann )

Francis Schaeffer loved the Beatles’ music and his son said:

My father’s favorite contemporary music was Bob Dylan songs  and later Beatles’  SERGEANT PEPPER’S which he listened to ENDLESSLY and DISCUSSED AVIDLY and sang along with in his terrible off-key voice upon occasion.

When I’m Sixty-Four- The Beatles

The Beatles first radio interview (10/27/1962)

Published on Mar 3, 2013

The Beatles (John Lennon, Paul McCartney, George Harrison and Ringo Starr) with Monty Lister at their first radio interview, 27 October 1962. Before their fourth and final live appearance at the Hulme Hall in Birkenhead, The Beatles recorded a radio interview for Radio Clatterbridge. It’s the first surviving spoken-word interview.

Francis Schaeffer holding up the album Sergeant Pepper’s Lonely Hearts Club Band below in his film series HOW SHOULD WE THEN LIVE?

What are some of the main points made by Schaeffer concerning the Beatles? I hope to answer that today in a different way. I wanted to try and relate the points that Schaeffer made concerning the Beatles and relate them to our culture today. Furthermore, I wanted to take some of these same points that Schaeffer has made and show how this message could be used to relate to other people and tell them about Christ. Relating to the culture and then showing how the Biblical Worldview applies was Francis Schaeffer’s specialty. Maybe the fact that it was so apparent that the Beatles were searching for the meaning in life in so many places was the main reason that Schaeffer spent so much time analyzing them or maybe part of the reason was Schaeffer just loved their music! In the review of the Book  “Sham Pearls For Real Swine” FRANKY SCHAEFFER BY ROWLAND CROUCHER AND OTHERS NOVEMBER 25, 2004, Franky Schaeffer is quoted as saying:

My parents [Francis and Edith Schaeffer] protected me as best they could, not from art or hard questions, but from mediocrity. That is why we had so few contemnporary or fundamentalist books in the house. … That is why my parents never played contemporary Christian music of the gospel variety. … My father’s favourite contemporary music was Bob Dylan songs like “Route 66″ and later the Beatles’ “Sergeant Pepper’s” which he listened to endlessly and discussed avidly and sang along with in his terrible off-key voice upon occasion. p.8

I have dedicated several posts to this series on the Beatles and I don’t know when this series will end because Francis Schaeffer spent a lot of time listening to the Beatles and talking and writing about them and their impact on the culture of the 1960’s. In this series we have looked at several areas in life where the Beatles looked for meaning and hope but also we have examined some of the lives of those  writers, artists, poets, painters, scientists, athletes, models, actors,  religious leaders, musicians, comedians, and philosophers  that were put on the cover of Sergeant Pepper’s Lonely Hearts Club Band album. We have discovered that many of these individuals on the cover have even taken a Kierkegaardian leap into the area of nonreason in order to find meaning for their lives and that is the reason I have included the 27 minute  episode THE AGE OF NONREASON by Francis Schaeffer. In that video Schaeffer noted,  ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world.”

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

One of those young people who joined in that “rallying cry for young people throughout the world” was Carolyn Porco. 

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Beyond Belief: Carolyn Porco On Science & Religion, Part 1

Uploaded on Dec 4, 2006

At the Beyond Belief conference, astronomer Carolyn Porco describes the spirituality inherent in the scientific view of the Universe.

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Dr. Carolyn Porco is the leader of the Cassini Imaging Science team and the Director of the Cassini Imaging Central Laboratory for Operations (CICLOPS) at the Space Science Institute in Boulder,

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Wikipedia notes  Carolyn C. Porco (born March 6, 1953) is an American planetary scientist known for her work in the exploration of the outer solar system, beginning with her imaging work on the Voyager missions to Jupiter,Saturn, Uranus, and Neptune in the 1980s. She leads the imaging science team on the Cassini mission currently in orbit around Saturn.[1] She is also an imaging scientist on the New Horizons[2] mission launched to Pluto on January 19, 2006. She is an expert on planetary rings and the Saturnian moon, Enceladus

A frequent public speaker, Porco has given two popular lectures at TED[8][9] as well as the opening speech for Pangea Day, a May 2008 global broadcast coordinated from six cities around the world, in which she described the cosmic context for human existence.[10] Porco has also won a number of awards and honors for her contributions to science and the public sphere; for instance, in 2009, New Statesman named her as one of ‘The 50 People Who Matter Today.’[11] In 2010 she was awarded the Carl Sagan Medal, presented by the American Astronomical Society for Excellence in the Communication of Science to the Public.[12] And in 2012, she was named one of the 25 most influential people in space by Time magazine.[13]

Public speaking[edit]

Porco speaks frequently on the Cassini mission and planetary exploration in general, and has appeared at renowned conferences such as PopTech 2005[32] and TED (2007, 2009).[8][9] She attended and was a speaker at the Beyond Belief symposium on November 2006.[33][34]

Porco’s 2007 TED talk, “The Human Journey,” detailed two major areas of discovery made by the Cassini mission: the exploration of the Saturnian moons Titan and Enceladus. In her introductory remarks, Porco explained:

So the journey back to Saturn is really part of, and is also a metaphor for, a much larger human voyage.

In describing the environment of Titan, with its molecular nitrogen atmosphere suffused with organic compounds, Porco invited her audience to imagine the scene on the moon’s surface:

Stop and think for a minute. Try to imagine what the surface of Titan might look like. It’s dark: high noon on Titan is as dark as deep Earth twilight on the Earth. It’s cold, it’s eerie, it’s misty, it might be raining, and you are standing on the shores of Lake Michigan brimming with paint thinner.

That is the view that we had of the surface of Titan before we got there with Cassini. And I can tell you that what we have found on Titan, though not the same in detail, is every bit as fascinating as that story is, and for us, for Cassini people, it has been like a Jules Verne adventure come true.

After describing various features discovered on Titan by Cassini, and presenting the historic first photograph of Titan’s surface by the Huygens lander, Porco went on to describe Enceladus and the jets of “fine icy particles” which erupt from the moon’s southern pole:

…we have arrived at the conclusion that these jets may, they may, be erupting from pockets of liquid water near, under the surface of Enceladus. So we have, possibly, liquid water, organic materials and excess heat. In other words we have possibly stumbled upon the holy grail of modern-day planetary exploration, or in other words an environment that is potentially suitable for living organisms. And I don’t think I need to tell you that the discovery of life elsewhere in our Solar system, whether it be on Enceladus or elsewhere, would have enormous cultural and scientific implications. Because if we could demonstrate that genesis had occurred – not once but twice, independently, in our Solar system – then that means by inference it has occurred a staggering number of times throughout our Universe in its 13.7 billion year history. 

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Porco is fascinated by the 1960s and The Beatles and has, at times, incorporated references to The Beatles and their music into her presentations, writings, and press releases. The first color image released by Cassini to the public was an image of Jupiter, taken during Cassini’s approach to the giant planet and released on October 9, 2000 to honor John Lennon’s 60th birthday.[59] In 2006, she produced and directed a brief 8-minute movie of 64 of Cassini’s most spectacular images,[60] put to the music of the Beatles, in honor of Paul McCartney’s 64th birthday. And in 2007, she produced a poster showing 64 scenes from Saturn.[61][62]

Porco is also interested in dance and fascinated with Michael Jackson. In August 2010, she won a Michael Jackson costume/dance contest held in Boulder, Colorado.[63]

Quotes of Porco’s were used in the production of “The Poetry of Reality (An Anthem for Science)”, “A Wave of Reason”, “Children of Africa (The Story of Us)”, and “Onward to the Edge!” by Symphony of Science.

Carolyn (at right) re-enacting the famous Beatles photograph at Abbey Road with the other members of the Cassini Imaging Team.

 

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

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I grew up at Bellevue Baptist Church under the leadership of our pastor Adrian Rogers and I read many books by the Evangelical Philosopher Francis Schaeffer and have had the opportunity to contact many of the evolutionists or humanistic academics that they have mentioned in their works. Many of these scholars have taken the time to respond back to me in the last 20 years and some of the names  included are  Ernest Mayr (1904-2005), George Wald (1906-1997), Carl Sagan (1934-1996),  Robert Shapiro (1935-2011), Nicolaas Bloembergen (1920-),  Brian Charlesworth (1945-),  Francisco J. Ayala (1934-) Elliott Sober (1948-), Kevin Padian (1951-), Matt Cartmill (1943-) , Milton Fingerman (1928-), John J. Shea (1969-), , Michael A. Crawford (1938-), Paul Kurtz (1925-2012), Sol Gordon (1923-2008), Albert Ellis (1913-2007), Barbara Marie Tabler (1915-1996), Renate Vambery (1916-2005), Archie J. Bahm (1907-1996), Aron S “Gil” Martin ( 1910-1997), Matthew I. Spetter (1921-2012), H. J. Eysenck (1916-1997), Robert L. Erdmann (1929-2006), Mary Morain (1911-1999), Lloyd Morain (1917-2010),  Warren Allen Smith (1921-), Bette Chambers (1930-),  Gordon Stein (1941-1996) , Milton Friedman (1912-2006), John Hospers (1918-2011), Michael Martin (1932-), John R. Cole  (1942-),   Wolf Roder,  Susan Blackmore (1951-),  Christopher C. French (1956-)  Walter R. Rowe Thomas Gilovich (1954-), Paul QuinceyHarry Kroto (1939-), Marty E. Martin (1928-), Richard Rubenstein (1924-), James Terry McCollum (1936-), Edward O. WIlson (1929-), Lewis Wolpert (1929), Gerald Holton (1922-), Martin Rees (1942-), Alan Macfarlane (1941-),  Roald Hoffmann (1937-), Herbert Kroemer (1928-), Thomas H. Jukes (1906-1999), Glenn BranchGeoff Harcourt (1931-) and  Ray T. Cragun (1976-).

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HERE IS A QUOTE FROM Dr. Porco  AT THE BEYOND BELIEF CONFERENCE:

“It seemed to me, if there were any answers to be found at all, they were going to be found in the facts, and understanding the greater theater in which human life has unfolded. And I was right about that. Being a scientist, and staring immensity and eternity in the face every day is about as meaningful I think, and grand and awe-inspiring as it gets. We, especially we astronomers, confront the big questions of wonder every day and the answers to these questions in the aggregate have produced, and this is absolutely with no hype,…the greatest story every told. And there isn’t a religion, I think, that can offer anything better. And as Jules Verne said, reality provides us with facts so romantic that imagination itself could add nothing to them.”

 Below is a letter I recently wrote to Dr. Porco challenging her views on evolution while including a lot of details about her favorite rock group. 

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Francis Schaeffer 1912-1984

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March 26, 2015

Dear Dr. Porco,

YOU HAVE SAID that religions use the conceptional device “that people need to feel connected to something greater than they are and this is the idea that God is omnipotent, omniscient and immortal and He made me in his image and through that connection to find meaning and purpose and ultimately to find they too will be immortal and the issue is that people fear death. I THINK THE SAME SPIRITUAL FULFILLMENT THAT PEOPLE FIND IN RELIGION CAN BE FOUND IN SCIENCE.”

There are many ways to respond to that but I am going to do it in a very lengthy but entertainingly way I hope. I read a lot of your material and wanted to talk to about two passions in your life. Francis Schaeffer talked about the views of the Beatles and Charles Darwin a lot and since you  have taken an interest in music and science I thought you would be interested in these thoughts of Schaeffer. Another interesting thing about Charles Darwin is that he left the Christian faith of his youth just like you did.

Francis Schaeffer’s  son Frank wrote recently about the impact of SGT. PEPPER’S LONELY HEARTS CLUB BAND:

“Sgt. Pepper’s” became my personal sound track of liberation back then…Genie, my wife of 44 years… grew up in the Bay Area and as a teen had the distinction of seeing the Beatles three times (!) live and the Rolling Stones four times (!) live.

Meanwhile, I was growing up in Switzerland in a mission (L’Abri Fellowship), and my “almost famous” rock-n-roll high point came when I got a job helping with the Led Zeppelin’s light show at the Montreux Jazz/rock festival. I met Jimmy Page and noticed he was reading one of my dad’s first books, ESCAPE FROM REASON. (No kidding.)

This was back in the days when Dad was a sort of hippie guru for Jesus catering to Beats, hippies and dropouts hitching across Europe. Eric Clapton had given Page the book as it turned out. I was trying to be “cool” that day on the light show crew… and I wasn’t too pleased to find my brief escape into the rock world from the world of my Dad’s evangelical mission was no escape from my God-world at all. He’d been giving lectures on Bob Dylan, and drug guru Timothy Leary had been a guest at L’Abri. And now I got to briefly “hang out with the band” and Dad got there first, or at least one of his books did! Sheesh! It’s hard to be cool!

Jimmy Page with Paul MacCartney

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John Lennon, Eric Clapton, Keith Richards, Mitch Mitchell, Jimi Hendrix

Uploaded on Jul 1, 2010

John Lennon (Beatles), Eric Clapton (Cream), Keith Richards (Rolling Stones), Mitch Mitchell (Jimi Hendrix Experience) – Yer Blues

Jimmy Page and Eric Clapton back together again

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Peter Blake artist behind cover

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NOT MANY PEOPLE HAVE THOUGHT ABOUT THE FACT THAT THE PICTURE ON THE COVER OF SGT. PEPPER’S LONELY HEARTS CLUB BAND IS THE BEATLES’ GRAVE SITE.  In the article Philosophy and its Effect on Society Robert A. Sungenis (who was a personal friend of Schaeffer) tells us:

On the front cover are all the famous “Lonely Hearts” of the world who also could not find answers to life with reason and rationality, resorting to the existential leap into the dark (e.g ., Marlene Dietrich, Carl Jung, W.C. Fields, Bob Dylan, Marilyn Monroe, Sigmund Freud, Aleister Crowley, Edgar Allan Poe, Karl Marx, Oscar Wilde, Marlon Brando, Stan Laurel and Oliver Hardy, Lenny Bruce). They are all viewing the burial scene of the Beatles, which, in the framework we are using here, represents the passing of idealistic innocence and the failure to find a rational answer and meaning to life, an answer to love, purpose, significance and morals. They instead were leaping into the irrational, whether it was by drugs, the occult, suicide, or the bizarre.

William Lane Craig observed that BERTRAND RUSSELL wrote that we must build our lives upon “the firm foundation of unyielding despair.” and also that Francis Schaeffer noted:

Modern man resides in a two-story universe. In the lower story is the finite world without God; here life is absurd, as we have seen. In the upper story are meaning, value, and purpose. Now modern man lives in the lower story because he believes there is no God. But he cannot live happily in such an absurd world; therefore, he continually makes leaps of faith into the upper story to affirm meaning, value, and purpose, even though he has no right to, since he does not believe in God. Modern man is totally inconsistent when he makes this leap, because these values cannot exist without God, and man in his lower story does not have God.

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Great debate

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Charles Darwin had a very interesting reaction late in his life to the possibility that we live in an absurd universe and that was he blamed science for causing him to lose his aesthetic tastes and I read that in his biography ( Charles Darwin: his life told in an autobiographical chapter, and in a selected series of his published letters.). I am going to quote some of Charles Darwin’s own words 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.

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

“I have said that in one respect my mind has changed during the last twenty or thirty years. Up to the age of thirty, or beyond it, poetry of many kinds, such as the works of Milton, Gray, Byron, Wordsworth, Coleridge, and Shelley, gave me great pleasure, I have also said that formerly pictures gave me considerable, and music very great delight. But now for many years I cannot endure to read a line of poetry: I have tried lately to read Shakespeare, and found it so intolerably dull that it nauseated me. I have also almost lost my taste for pictures or music. Music generally sets me thinking too energetically on what I have been at work on, instead of giving me pleasure. I retain some taste for fine scenery, but it does not cause me the exquisite delight which it formerly did….My mind seems to have become a kind of machine for grinding general laws out of large collections of facts, but why this should have caused the atrophy of that part of the brain alone, on which the higher tastes depend, I cannot conceive….The loss of these tastes is a loss of happiness, and may possibly be injurious to the intellect, and more probably to the moral character, by enfeebling the emotional part of our nature.”

Francis Schaeffer commented:

This is the old man Darwin writing at the end of his life. What he is saying here is the further he has gone on with his studies the more he has seen himself reduced to a machine as far as aesthetic things are concerned. I think this is crucial because as we go through this we find that his struggles and my sincere conviction is that he never came to the logical conclusion of his own position, but he nevertheless in the death of the higher qualities as he calls them, art, music, poetry, and so on, what he had happen to him was his own theory was producing this in his own self just as his theories a hundred years later have produced this in our culture. 

Unlike Darwin many people today still hang on to their love of music and the arts. Schaeffer points out in his book The God Who Is There, pages 68-69, “The very ‘mannishness’ of man refuses to live in the logic of the position  to which his humanism and rationalism have brought him.  To say that I am only a machine is one thing; to live consistently  as if this were true is quite another…Every truly modern man is forced to accept some sort of leap in theory or practice, because the pressure of his own humanity demands it.  He can say what he will concerning what he himself is; but no matter what he says he is, he is still a man.”

YOU SAID that “I think we can replace the God concept…it is just a matter of developing a socially appealing way to get the word out to everybody. That brings me to religion and whether or not if anything doing with scientific inquiry could ever offer the social embrace that religious organizations do.” At this point you suggested showing the young people what “Awe and Wonder” knowledge of the universe can give. That reminds me of this next letter from Charles Darwin. 

Charles Darwin pictured below:

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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, …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.

Schaeffer later asserted, “We cannot deal with people like human beings, we cannot deal with them on the high level of true humanity, unless we really know their origin-who they are. God tells man who he is. God tells us that He created man in His image. So man is something wonderful.” ( Escape from Reason: A Penetrating Analysis of Trends in Modern Thought )

Many young people  turned to Eastern Religions in the 1960’s and 1970’s. Francis Schaeffer asserted, “But this finally brings them to the place where the word GOD merely becomes the word GOD, and no certain content can be put into it. In this many of the established theologians are in the same position as George Harrison (1943-) (the former Beatles guitarist) when he wrote MY SWEET LORD (1970). Many people thought he had come to Christianity. But listen to the words in the background: “Krishna, Krishna, Krishna.” Krishna is one Hindu name for God. This song expressed  no content, just a feeling of religious experience. To Harrison, the words were equal: Christ or Krishna. Actually, neither the word used nor its content was of importance,” HOW SHOULD WE THEN LIVE? (page 191 Vol 5).

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In the film series HOW SHOULD WE THEN LIVE? Francis Schaeffer shows the Beatles visiting Maharishi Mahesh Yogi in India.

Within You Without You- The Beatles

Uploaded on Jan 19, 2009

Within You Without You
The Beatles
Sgt. Pepper’s

We were talking-about the space between us all
And the people-who hide themselves behind a wall of illusion
Never glimpse the truth-then it’s far too late-when they pass away.
We were talking-about the love we all could share-when we find it
To try our best to hold it there-with our love
With our love-we could save the world-if they only knew.
Try to realise it’s all within yourself
No-one else can make you change
And to see you’re really only very small,
And life flows within you and without you.
We were talking-about the love that’s gone so cold and the people,
Who gain the world and lose their soul-
They don’t know-they can’t see-are you one of them?
When you’ve seen beyond yourself-then you may find, peace of mind,
Is waiting there-
And the time will come when you see
we’re all one, and life flows on within you and without you

Patti Boyd wedding ceremony with George Harrison:

However, this is not the personal God that Christians worship. Darwin only had a problem with the idea of a personal God. In 1879 Charles Darwin was applied to by a German student, in a similar manner. The letter was answered by a member of Darwin’s family, who wrote:–

“Mr. Darwin…considers that the theory of Evolution is quite compatible with the belief in a God; but that you must remember that different persons have different definitions of what they mean by God.” 

Francis Schaeffer commented:

You find a great confusion in Darwin‘s writings although there is a general structure in them. Here he says the word “God” is alright but you find later what he doesn’t take is a personal God. Of course, what you open is the whole modern linguistics concerning the word “God.” is God a pantheistic God? What kind of God is God? Darwin says there is nothing incompatible with the word “God.”

The Beatles 

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Besides looking to Eastern Religions the Beatles tried to escape from reason by turning to drugs. In the book HOW SHOULD WE THEN LIVE?, Schaeffer observed, “This emphasis on hallucinogenic drugs brought with it many rock groups–for example, Cream, Jefferson Airplane, Grateful Dead, Incredible String Band, Pink Floyd, and Jimi Hendrix. Most of their work was from 1965-1968. The Beatles’  SERGEANT PEPPER’S LONELY HEART S CLUB BAND (1967) also fits here. This disc is a total unity, not just an isolated series of individual songs, and for a time it became the rallying cry for young people throughout the world. As a whole, this music was the vehicle to carry the drug culture and the mentality which went with it across frontiers which were almost impassible by other means of communication.”

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The Cover of Sergeant Pepper’s :

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In his recent article, “Lucy in the Mind of Lennon: An Empirical Analysis of Lucy in the Sky with DiamondsMarch 10, 2014,  , notes: 

When the Beatles released their album Sgt. Pepper’s Lonely Hearts Club Band in the late spring of 1967,fans and critics alike were quick to find references to drugs throughout the LP. The album’s deliriously decorated jacket featured marijuana plants in the garden behind which the Beatles stood. The lyrics of With a Little Help from My Friends, Lovely Rita, and A Day in the Life all referred to marijuana, mentioning getting “high” and taking “some tea,” as well a desire to “turn you on.” And tuned-in listeners easily connected the feelings, sensations, and visions people typically experience while on hallucinogenic drugs to the dreamlike imagery of Lucy in the Sky with Diamonds. Some clever listeners even pointed out that the song’s title shares the initials of the hallucinogen LSD (lysergic acid diethylamide).

The Beatles had no doubt contributed to the perception that Sgt. Pepper was indeed a piece of hippie propaganda for hallucinogenic partying. Around the time the album was released, Paul McCartney revealed in a Life magazine interview that he had been using marijuana and LSD. McCartney even went on to extol the virtues of LSD, claiming that it had brought him closer to God and would yield world peace if only politicians would try it. Soon after, John Lennon, George Harrison, and the Beatles’ manager Brian Epstein also admitted that they had used LSD. Later that summer, the Beatles endorsed the legalization of marijuana by signing their names to a full-page advertisement in the London Times.

Lucy in the Mind of Lennon By Tim Kasser (Oxford University Press)

Despite these public proclamations about his drug use, John Lennon steadfastly denied that Lucy in the Sky with Diamonds was about drugs. Lennon instead consistently claimed that the song was a response to a picture painted by his almost four-year-old son Julian. The oft-repeated story goes that Julian had brought the picture home from school and told his father that it was of his friend, Lucy, who was up in the sky with diamonds. Lennon’s mind had then wandered toward the Lewis Carroll books Alice in Wonderland and Through the Looking-Glass that he had long admired and recently been re-reading. Lucy in the Sky with Diamonds was born when Lennon took images from Julian’s picture and combined them with elements of Carroll’s stories and poems.

A third explanation for the song’s meaning and origin was provided by Lennon many years after it was written, just a few weeks before he was killed. While reflecting on each of the songs in his discography, Lennon said this about Lucy in the Sky with Diamonds:

“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. . . . The imagery was Alice in the boat. And also the image of this female who would come and save me—this secret love that was going to come one day. So it turned out to be Yoko, though, and I hadn’t met Yoko then. But she was my imaginary girl that we all have.”

Despite the fact that some people do not think that LUCY IN THE SKY WITH DIAMONDS was about drugs, the fact remains that it was probably considered so through the years by most drug users!!!!!!

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News in London Newspaper: 

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Tara Browne in 1966

Suki Poitier (centre) and Tara Browne (right), 1966

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The Beatles documentary || A Long and Winding Road || Episode 5 (This video discusses Stg. Pepper’s creation

SERGEANT PEPPER’S LONELY HEART S CLUB BAND not only dealt with drugs but also with death. In the TELEGRAPH in Nicky Browne’s obit it was noted that “Paul McCartney told interviewers that he took LSD for the first time with Tara Browne.” Wikipedia records, “The Honourable Tara Browne (4 March 1945 – 18 December 1966) was a young London socialite and heir to the Guinness fortune and was the son of Dominick Browne, 4th Baron Oranmore and Browne, a member of the House of Lords since 1927 who later became famous for having served in that house longer than any other peer…According to some sources, Tara was the inspiration for the Beatles song “A Day in the Life“.  He sat in on the making of the Beatles record ‘Revolver’.

On 17 January 1967 John Lennon, a friend of Browne’s, was composing music at his piano whilst idly reading London’s Daily Mail and happened upon the news of the coroner’s verdict into Browne’s death. He worked the story into the song “A Day in the Life“, later released on the album Sgt. Pepper’s Lonely Hearts Club Band. The second verse features the following lines:

He blew his mind out in a car, He didn’t notice that the lights had changed, A crowd of people stood and stared, They’d seen his face before, Nobody was really sure, If he was from the House of Lords.

According to Lennon, in his 1980 interview with Playboy magazine, “I was reading the paper one day and I noticed two stories. One was the Guinness heir who killed himself in a car. That was the main headline story. He died in London in a car crash.”

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Samuel Beckett was the Nobel Prize Winner in Literature in 1969

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A side note about Tara Browne is that in  Paris his social circle was the likes of Samuel Beckett, Salvador Dali, and Jean Cocteau. Samuel Beckett had a lot to say on this issue of man’s significance as William Lane Craig has noted:

If each individual person passes out of existence when he dies, then what ultimate meaning can be given to his life? Does it really matter whether he ever existed at all? It might be said that his life was important because it influenced others or affected the course of history. But this shows only a relative significance to his life, not an ultimate significance. His life may be important relative to certain other events, but what is the ultimate significance of any of those events? If all the events are meaningless, then what can be the ultimate significance of influencing any of them? Ultimately it makes no difference.

This is the horror of modern man: because he ends in nothing, he is nothing.

Twentieth-century man came to understand this. Read WAITING FOR GODOT by Samuel Beckett. During this entire play two men carry on trivial conversation while waiting for a third man to arrive, who never does. Our lives are like that, BECKETT IS SAYING: WE JUST KILL TIME WAITING–FOR WHAT, WE DON’T KNOW. In a tragic portrayal of man, Beckett wrote another play in which the curtain opens revealing a stage littered with junk. For thirty long seconds, the audience sits and stares in silence at that junk. Then the curtain closes. That’s all.

French existentialists Jean-Paul Sartre and Albert Camus understood this, too. Sartre portrayed life in his play No Exit as hell—the final line of the play are the words of resignation, “Well, let’s get on with it.” Hence, Sartre writes elsewhere of the “nausea” of existence. Man, he says, is adrift in a boat without a rudder on an endless sea. Camus, too, saw life as absurd. At the end of his brief novel The Stranger, Camus’s hero discovers in a flash of insight that the universe has no meaning and there is no God to give it one. The French biochemist Jacques Monod seemed to echo those sentiments when he wrote in his work Chance and Necessity, “Man finally knows he is alone in the indifferent immensity of the universe.”

Thus, if there is no God, then life itself becomes meaningless. Man and the universe are without ultimate significance. 

IN LIGHT OF THESE STATEMENTS BY SARTRE, CAMUS, BECKETT, and MONAD HOW CAN YOU STILL ASSERT THE FOLLOWING:

“It is possible to regard death as a natural event and even perhaps a wondrous state that takes place in the wonderful story in what we see around us in the universe. That can be taught to be a comforting thought. We know exactly what it is like to be dead because it is exactly the same state we were in before we were born.”

IN SPITE OF ALL THIS MANY SECULARISTS HAVE ADOPTED WHAT I CALL “EVOLUTIONARY OPTIMISTIC HUMANISM” and even in the 19th century Charles Darwin in his autobiography was touting THE SAME PRODUCT AS I SEE YOU ARE TODAY!!! 

HERE IS A QUOTE FROM YOUR LIPS AT THE BEYOND BELIEF CONFERENCE:

“It seemed to me, if there were any answers to be found at all, they were going to be found in the facts, and understanding the greater theater in which human life has unfolded. And I was right about that. Being a scientist, and staring immensity and eternity in the face every day is about as meaningful I think, and grand and awe-inspiring as it gets. We, especially we astronomers, confront the big questions of wonder every day and the answers to these questions in the aggregate have produced, and this is absolutely with no hype,…the greatest story every told. And there isn’t a religion, I think, that can offer anything better. And as Jules Verne said, reality provides us with facts so romantic that imagination itself could add nothing to them.”

YOUR QUOTE DEMONSTRATES WHAT I CALL “OPTIMISTIC HUMANISM.” It is truly a “romantic” point of view of secularism.

Francis Darwin noted, “passages which here follow are extracts, somewhat abbreviated, from a part of the Autobiography, written in 1876, in which my father gives the history of his religious views:”

“Believing as I do that man in the distant future will be a far more perfect creature than he now is,”

FRANCIS SCHAEFFER COMMENTED:

Now you have now the birth of Julian Huxley’s evolutionary optimistic humanism already stated by Darwin. Darwin now has a theory that man is going to be better. If you had lived at 1860 or 1890 and you said to Darwin, “By 1970 will man be better?” He certainly would have the hope that man would be better as Julian Huxley does today. Of course, I wonder what he would say if he lived in our day and saw what has been made of his own views in the direction of (the mass murder) Richard Speck (and deterministic thinking of today’s philosophers). I wonder what he would say. So you have the factor, already the dilemma in Darwin that I pointed out in Julian Huxley and that is evolutionary optimistic humanism rests always on tomorrow. You never have an argument from the present or the past for evolutionary optimistic humanism.

You can have evolutionary nihilism on the basis of the present and the past. Every time you have someone bringing in evolutionary optimistic humanism it is always based on what is going to be produced tomorrow. When is it coming? The years pass and is it coming? Arthur Koestler doesn’t think it is coming. He sees lots of problems here and puts forth for another solution.

WHAT EVOLUTIONISTS LIKE YOURSELF ARE LEFT WITH IS ONLY THE HOPE OF “biological continuity and increased biological complexity” AS DARWIN AND SCHAEFFER POINT OUT BELOW. YOU HAVE SAID CONCERNING “Enceladus, “That was tremendously exciting to find, because not only do we think there’s liquid water there, not only is there an enormous amount of excess heat, but we also have organic materials. That, I mean, that is the trifecta that we’re looking for, the three main ingredients for a habitable zone.”

Why are you searching so hard for intelligent life? The answer is pretty clear. We were created in God’s image and we will feel empty until we reunite with him. YOU SAID IT YOURSELF AND I QUOTED IT IN THIS LETTER ALREADY and that is you as a secularist are competing with this view that God created in his own image for a special purpose.  The message of the movie CONTACT is basically about mankind trying to reach out to other beings so we can ask them the big questions. The scientist Blaise Pascal summarized it up best when he said, “There is a God shaped vacuum in the heart of every man which cannot be filled by any created thing, but only by God, the Creator, made known through Jesus.” Just today I heard this radio commentary from Eric Metaxas on the SETI PROGRAM.

It’s been fifty years and E.T. still hasn’t called. So maybe it’s time we give him a call? Although some don’t think that’s such a great idea.

Eric Metaxas

When we step out at night and look up at the stars, we can’t help wondering: Is there someone else out there? And if there is, would these extraterrestrials be benign and curious like the musical aliens in “Close Encounters of the Third Kind,” or would they be malicious and hostile like the Klingons of “Star Trek”?

Well, ever since stargazer Frank Drake conducted his first scan of the heavens in 1960, that’s the question he and other scientists have been asking. Drake, the chairman emeritus of the Search for Extraterrestrial Intelligence or SETI, was one of the first to point a radio telescope toward space and listen for the tell-tale signals of intelligent life.

Like astronomer and “Cosmos” host Carl Sagan, Drake developed an equation for estimating the number of civilizations on other planets in our galaxy. And like Sagan’s estimates, his were astronomical: Billions of planets should have life, he reasoned, and of those, millions ought to have evolved intelligent beings. And so the researchers at SETI turned their radio dishes skyward, and listened.

Of course, as I write in my book “Miracles,” Carl Sagan (and hence Drake) got it wrong. The probability for life is astronomical all right—astronomically IM-probable, since we now know there are more than 150 absolutely-necessary and rare conditions that must be met to sustain life. So it’s no wonder that instead of a cacophony of radio signals from intelligent life somewhere out there, all we’re hearing is the silence of the stars.

But some scientists insist that just because we haven’t heard from E.T. doesn’t mean he’s not out there. So now they’re proposing a radical new strategy. It’s called “Active SETI,” and as Joel Achenbach explains in The Washington Post, its goal would be to “boldly announce our presence and try to get the conversation started.”

Rather than just listening for signals from space, scientists would beam messages at stars that they considered good candidates for life and they’d wait for potential civilizations orbiting those stars to respond. Maybe within a few hundred years, we would finally discover we aren’t alone in the universe.

But not everyone likes that idea. A petition signed by 28 influential scientists warns of the potential danger of Active SETI. They’ve seen the movie, or the movies, I should say, and they know it doesn’t end well for us earthlings. Their concern is whether these ETI’s will be benign or hostile: good point.

Frank Drake himself thinks Active SETI is a waste of time. We’ve been leaking radio signals into space since before the days of “I Love Lucy,” he points out. Anyone in our galactic neighborhood with an antenna already knows we’re here.

Hearing all of this talk of aliens, I can’t help but think of Walker Percey’s brilliant book, “Lost in the Cosmos.” In it, he observes that the more we learn about the universe, the lonelier we become. And he’s right. Even the most rational scientists have poured untold treasure, time, and talent into the hunt for extraterrestrial neighbors—with nothing to reward their efforts.

One thing we do know, we humans long to know we’re not alone. And the good news, as Christians know, is that we’re not! We aren’t “lost in the cosmos,” but we are the centerpiece of a grand plan that culminated in a visitation by Someone from beyond our universe.

(Carl Sagan pictured below)

In Darwin’s 1876 Autobiography he noted:

“…it is an intolerable thought that he and all other sentient beings are doomed to complete annihilation after such long-continued slow progress. To those who fully admit the immortality of the human soul, the destruction of our world will not appear so dreadful.”

Francis Schaeffer commented:

Here you feel Marcel Proust and the dust of death is on everything today because the dust of death is on everything tomorrow. Here you have the dilemma of Nevil Shute’s ON THE BEACH. If it is true that all we have left is biological continuity and increased biological complexity, which is all we have left in Darwinism here, or with many of the modern philosophers, then you can’t stand Shute’s ON THE BEACH. Maybe tomorrow at noon human life may be wiped out. Darwin already feels the tension, because if human life is going to be wiped out tomorrow, what is it worth today? Darwin can’t stand the thought of death of all men. Charlie Chaplin when he heard there was no life on Mars said, “I’m lonely.”

You think of the Swedish Opera (ANIARA) that is pictured inside a spaceship. There was a group of men and women going into outer space and they had come to another planet and the singing inside the spaceship was normal opera music. Suddenly there was a big explosion and the world had blown up and these were the last people left, the only conscious people left, and the last scene is the spaceship is off course and it will never land, but will just sail out into outer space and that is the end of the plot. They say when it was shown in Stockholm the first time, the tough Swedes with all their modern  mannishness, came out (after the opera was over) with hardly a word said, just complete silence.

Darwin already with his own position says he CAN’T STAND IT!! You can say, “Why can’t you stand it?” We would say to Darwin, “You were not made for this kind of thing. Man was made in the image of God. Your CAN’T- STAND- IT- NESS is screaming at you that your position is wrong. Why can’t you listen to yourself?”

You find all he is left here is biological continuity, and thus his feeling as well as his reason now is against his own theory, yet he holds it against the conclusions of his reason. Reason doesn’t make it hard to be a Christian. Darwin shows us the other way. He is holding his position against his reason.

These words of Darwin ring in my ear, “…it is an intolerable thought that he and all other sentient beings are doomed to complete annihilation after such long-continued slow progress…” . Schaeffer rightly noted, “Maybe tomorrow at noon human life may be wiped out. Darwin already feels the tension, because if human life is going to be wiped out tomorrow, what is it worth today? Darwin can’t stand the thought of death of all men.” IN OTHER WORDS ALL WE ARE IS DUST IN THE WIND.  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.  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.

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Kansas, circa 1973 (Phil Ehart, Kerry Livgren, Steve Walsh, Rich Williams, Robby Steinhardt, Dave Hope) (photo credit: DON HUNSTEIN)

Kansas, circa 1973 (Phil Ehart, Kerry Livgren, Steve Walsh, Rich Williams, Robby Steinhardt, Dave Hope) (photo credit: DON HUNSTEIN)

____________________________________________

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.

(Aldous Huxley, pictured above,  was an English literary author who is renowned for his novel,Brave New World, which was published in 1931. Apart from writing novels, he also wrote a few travel books, poems, plays and several essays on religion, art and sociology)

HOW DID THE BEATLES SEARCH END UP AND WHY WAS ALDOUS HUXLEY PUT ON THE COVER OF “SERGEANT PEPPER’S LONELY HEART S CLUB BAND”? Below is an excerpt from Francis A. Schaeffer‘s 1972 paper on the trends seen in secular society concerning drug use:

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...
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 
Straivberry Fields, and then went further into Eastern religious 
experiences. 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.

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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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.

___________________

Strawberry Fields Forever is not only mentioned by Schaeffer above but also in this article below.

September 19, 2011

By Elvis Costello

 

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

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

beatles – in my life

Uploaded on Nov 8, 2007

beatles former wives/girlfriends
this is my first video, thanks for watching,please comment 😉

5

‘In My Life’

the beatles 100 greatest songs
Hulton Archive/Getty Images

Writers: Lennon-McCartney
Recorded: October 18 and 22, 1965
Released: December 6, 1965
Not released as a single

‘In My Life” represented a crucial breakthrough for John Lennon — as well as a creative struggle. The song began with a question: During a March 1964 interview with Lennon, journalist Kenneth Allsop asked why he hadn’t written more lyrics about his life and experiences. “I had a sort of professional songwriter’s attitude to writing pop songs,” Lennon said to Rolling Stone in 1970. “I would write [books like] In His Own Write, to express my personal emotions. I’d have a separate songwriting John Lennon who wrote songs for the meat market. I didn’t consider them to have any depth at all. They were just a joke.”

Taking Allsop’s critique to heart, Lennon wrote a long poem about people and places from his past, touching on Liverpool landmarks like Penny Lane, Strawberry Field and Menlove Avenue. “I had a complete set of lyrics after struggling with a journalistic version of a trip downtown on a bus, naming every sight,” he said. When he read the poem later, though, “it was the most boring ‘What I Did on My Holidays’ song, and it wasn’t working. But then I laid back, and these lyrics started coming to me about the places I remember.”

What happened next is a dispute that will never be resolved. “In My Life” is one of only a handful of Lennon-McCartney songs where the two strongly disagreed over who wrote what: According to Lennon, “The whole lyrics were already written before Paul even heard it. His contribution melodically was the harmony and the middle eight.” According to McCartney, Lennon basically had the first verse done. At one of their writing sessions at Lennon’s Weybridge estate, the two painstakingly rewrote the lyrics, making them less specific and more universal. (Some of Lennon’s lines, like his reference to the late Stu Sutcliffe, the Beatles’ former bassist, in “some are dead and some are living,” remained.) McCartney also says he wrote the melody on Lennon’s Mellotron, inspired by Smokey Robinson, as well as the gentle opening guitar figure.

Regardless of its true authorship, “In My Life” represented Lennon’s evolution as an artist. “I started being me about the songs, not writing them objectively, but subjectively,” Lennon said. “I think it was Dylan who helped me realize that — not by any discussion or anything, but by hearing his work.” The Beatles were huge Dylan fans by early 1964, playingThe Freewheelin’ Bob Dylan nonstop in between gigs. When Dylan visited the Beatles in New York that August, he famously introduced them to marijuana. (He thought the Beatles were already pot smokers, having misheard the lyrics “I can’t hide” in “I Want to Hold Your Hand” as “I get high.”) Dylan and pot would be the great twin influences that led the Beatles out of their moptop period and on to their first masterpiece, Rubber Soul.

Before that album, “We were just writing songs à la the Everly Brothers and Buddy Holly,” Lennon said, “pop songs with no more thought to them than that.” He rightly called “In My Life” “my first real, major piece of work. Up until then, it had all been glib and throwaway.”

Appears On: Rubber Soul

 

4

‘Yesterday’

the beatles 100 greatest songs
Leslie Lee/Express/Getty Images

Main Writer: McCartney
Recorded: June 14 and 17, 1965
Released: September 13, 1965
11 weeks; no. 1

The tune that would go on to become the most covered song in history began as something called “Scrambled Eggs.” It also began in a dream.

“It fell out of bed,” Paul McCartney once said about the origins of “Yesterday.” “I had a piano by my bedside, and I must have dreamed it, because I tumbled out of bed and put my hands on the piano keys and I had a tune in my head. It was just all there, a complete thing. I couldn’t believe it. It came too easy.”

In fact, it was so fully formed that he was sure he must have unconsciously plagiarized a melody he’d heard somewhere else. So for months he allowed the unpolished song to sit on the shelf, occasionally strumming a few bars for George Martin or Ringo Starr and asking, “Is this like something?”

Martin recalled McCartney playing him the song as far back as January 1964, before the Beatles even landed in America. McCartney’s own recollection has him writing the tune later, but regardless, John Lennon confirmed that the song “was around for months and months before we finally completed it.”

For a long time, McCartney couldn’t get past the placeholder words “Scrambled eggs/Oh, my baby, how I love your legs.” He finished the actual lyrics on a holiday with his girlfriend, actress Jane Asher, creating a frank poem of regret that he has called “the most complete song I have ever written.”

Recording the track was more challenging. As Martin explained, “It wasn’t a three-guitars-and-drums kind of song. I said, ‘Put down guitar and voice just to begin with, Paul, and then we’ll see what we can do with it.'” After trying several different approaches, including one with Lennon on the organ, Martin made an unorthodox suggestion. “I said, ‘What about having a string accompaniment, you know, fairly tastefully done?’ Paul said, ‘Yuk! I don’t want any of that Mantovani rubbish. I don’t want any of that syrupy stuff.’ Then I thought back to my classical days, and I said, ‘Well, what about a string quartet, then?'”

McCartney still wasn’t convinced. “I said, ‘Are you kidding?'” he recalled. “‘This is a rock group!’ I hated the idea. [Martin] said, ‘Well, let’s just try it, and if you hate it, we can just wipe it and go back to you and the guitar.’ So I sat at the piano and worked out the arrangements with him, and we did it, and, of course, we liked it.”

The recording captures the Beatles’ inventive spirit, opening the door to a willingness to experiment with new sounds. “Yesterday” signaled to the world that the Beatles — and rock & roll — had made a sudden leap from brash adolescence to literate maturity.

After the session, Martin took manager Brian Epstein aside and quietly suggested that since none of the other Beatles contributed to the track, perhaps the song should be issued as a Paul McCartney solo record. Epstein’s response, according to Martin, was, “This is the Beatles — we don’t differentiate.” Meanwhile, the group was still unsure about “Yesterday” and didn’t release it as a single in the U.K. “We were a little embarrassed by it,” McCartney said. “We were a rock & roll band.”

“Yesterday” quickly went to Number One in the U.S. (It was one of a half-dozen tracks Capitol left off the American version of the Help! soundtrack and was released as a single instead.) It is the most popular song in the Beatles’ catalog, recorded more than 2,500 times — by everyone from Ray Charles and Elvis Presley to Frank Sinatra and Daffy Duck — a fact that did not necessarily sit well with Lennon, who had nothing to do with it. Lennon once joked, “I go to restaurants and the groups always play ‘Yesterday.’ I even signed a guy’s violin in Spain after he played us ‘Yesterday.’ He couldn’t understand that I didn’t write the song. But I guess he couldn’t have gone from table to table playing ‘I Am the Walrus.'”

Appears On: Help!

 

3

‘Strawberry Fields Forever’

the beatles 100 greatest songs
David Redfern/Redferns

Main Writer: Lennon
Recorded: November 24, 28 and 29, December 8, 9, 15, 21 and 22, 1966
Released: February 13, 1967
9 weeks; no. 8

John Lennon wrote “Strawberry Fields Forever” in September 1966 in Spain, where he was making the film How I Won the War. Alone, with no Beatles business for the first time in years, he found himself free to reach deep for inspiration, going back to childhood memories. As Lennon told Rolling Stone in 1968, “We were trying to write about Liverpool, and I just listed all the nice-sounding names arbitrarily. But I have visions of Strawberry Fields. . . . Because Strawberry Fields is just anywhere you want to go.” Strawberry Field (Lennon added the “s”) was a Liverpool children’s home near where Lennon grew up with his Aunt Mimi. When he was young, Lennon, who had been abandoned by both his parents, would climb over the wall of the orphanage and play in its wild gardens.

“I was hip in kindergarten,” Lennon explained in 1980. “I was different all my life. The second verse goes, ‘No one I think is in my tree.’ Well, I was too shy and self-doubting. Nobody seems to be as hip as me is what I was saying. Therefore, I must be crazy or a genius — ‘I mean it must be high or low,’ the next line. There was something wrong with me, I thought, because I seemed to see things other people didn’t see.”

After finishing the song on a Spanish beach, Lennon returned to England and played it for the rest of the band. As engineer Geoff Emerick recalled, “There was a moment of stunned silence, broken by Paul, who in a quiet, respectful tone said simply, ‘That is absolutely brilliant.'” At that point, it was an acoustic-guitar ballad, reminiscent of Bob Dylan’s “It’s All Over Now, Baby Blue.” But in the studio, it became a whole new thing, as the Beatles experimented with it for days. Having retired from touring earlier that year, they were free to record at their leisure, cutting dozens of takes in the next two weeks. McCartney composed the intro on a Mellotron, a primitive synthesizer.

Lennon wanted to keep the first part from one take (Take 26) and the second part from another, recorded the previous week (Take 7) — despite the fact that they were in different keys and tempos. Producer George Martin accomplished this by slightly speeding up one take and slowing down the other. The manipulation of time and key only added to the brooding, ghostly feeling of Lennon’s vocals, giving the entire song an aura of surreal timelessness. The finished take ends with a fragment of a long jam session, in which Lennon says “cranberry sauce”: Paul Is Dead freaks believed he was saying, “I buried Paul.”

“Strawberry Fields” was the first track cut during the Sgt. Pepper sessions. The innovative studio techniques the Beatles employed recording it and McCartney’s “Penny Lane,” another childhood memory of a Liverpool landmark, heralded the band’s new direction — as did the acid-inspired reverie in the lyrics of both songs. The tracks were to be centerpieces of the Beatles’ greatest album, but under pressure by EMI to produce a new single (it had been six months since their last 45), they released both songs in February 1967 as a double A side. Martin later regretted the decision to remove the tracks from Sgt. Pepper as “the biggest mistake of my career.”

Growing up “was scary because there was nobody to relate to,” Lennon once said. Strawberry Field the place (which closed in 2005) represented those haunting childhood visions. With “Strawberry Fields” the song, he conquered them forever.

Appears On: Magical Mystery Tour

 

______

Artist featured today is:

Heinz Edelmann


Heinz Adelmann

Design is more complex than art. There is good-good design, bad-good design, good-bad design, and bad-bad design. Art is just art.

The British youth of the 1960s were familiar with the mordant style of cartoonists like Gerald Scarfe and Ralph Steadman, who propagated their anti-establishment satire in Private eye, and later with the absurd animations of Terry Gilliam in the BBC television series Monty Python’s Flying Circus. This revolutionary imagery of swinging Britain was the real pop-art of the times, rather than the elite works of artists such as David Hockney and R B Kitaj. As the artistic director of The Yellow Submarine, Heinz Edelmann helped to make the Beatles famous but his name is less well known today.

Edelmann was born in Czechoslovakia in 1934. After studying  at the Düsseldorf Art Academy he became a successful illustrator, drawing satirical cartoons for the German newspaper Frankfurter Allgemeine Zeitung. He began his career as a designer of theatre posters and provided cover illustrations for the youth magazine twenand also schule magazine. Illustrations from the latter, shown below, are strangely reminiscent of the cartoons of Edward Lear. Magazine production in the 1960s was relatively primitive and relied on the kind of typographical tricks used by Edelmann in the Sophia Loren poster below.

Cinema Poster, 1964

He also illustrated children’s books, an example of which is shown below, which also has a 19th Century flavour with the swift cross hatching and the dynamism of the striding figure.

Children’s book illustration

During the 1950s Edelman worked in advertising, with the Cologne agency Putz, and also as a teacher, which was his main occupation during the later years of his life. He lived and worked in several countries, including Germany, England and the Netherlands. In the 1960s, he became involved in developing the story for the Beatles’ film Yellow Submarine and created the drawing style and many characters used in the animated film. A drawing of the Fab Four in the design stage is shown below.

Visiting the Tate Gallery one day, the producer of The Yellow Submarine, Al Brodax and Brian Epstein had been impressed by the colours in Turner’s Burial at Sea, and this helped to overcome Epstein’s resistance to appointing Edelmann artistic director, as he was an artist capable of realising such a vision. Although a chain smoker, Edelmann insisted that he had never taken LSD and that his knowledge of psychedelic experience was second hand. Despite this, his colourful creations became the visual signature of the drug enthused generation of the 1960s. There was clearly a political element as well, epitomised by the Blue Meanies, who so presciently anticipated the cruel regime of Margaret Thatcher, who became Prime Minister a decade or so later and put an end to the joyful era ushered in by the Beatles. The flying glove, based on the US flag, was a symbol of  puritanism and a wonderful evocation of the US imperialism of the Vietnam War.

Yellow Submarine character, Blue Meanie

Heinz Edelmann, drawings of fantastic creatures.

Yellow Submarine poster featuring Edelmann’s many creations

Heinz Edelmann, magazine illustration

 

works was the design of Curro, the mascot for the 1992 Seville World Fair.

Edelmann was a professor at the State Academy of Art and Design at Stuttgart until 1999, when he became professor of illustration at the State Academy of Fine Arts in Stuttgart. He recorded his own experience as an art student as follows:

When I was a student, my teacher impressed on me the obligation to pass on the  Wings of Art, across the Gulf of Centuries! But seriously: it took many years to perfect my stand-up-comedy-act, and I needed a captive audience.

He also designed the cover for the German edition of Lord of the Rings, and did illustrations for an edition of Kenneth Graham’s Wind in the willows.

Jeremy Hillary Boob Phd, Yellow Submarine character

Heinz Edelmann died of heart disease and kidney failure on July 21, 2009, aged 75.

Tony Thomas was born in England in 1939, and is a retired bureaucrat living in Brisbane, Australia. He has an Australian wife, two adult daughters, a dog and a cat. He holds a degree in economics from the University of Queensland. His interests are catholic, and include: philosophy, writing fiction, poetry, and blogging.

_____

 

 

 

Related posts:

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Carl Sagan v. Nancy Pearcey

Review of Carl Sagan book (Part 4 of series on Evolution)

Review of Carl Sagan book (Part 3 of series on Evolution)

Carl Sagan versus RC Sproul

Review of Carl Sagan book (Part 4 of series on Evolution)jh68

Review of Carl Sagan book (Part 3 of series on Evolution)

Atheists confronted: How I confronted Carl Sagan the year before he died jh47

 

My correspondence with George Wald and Antony Flew!!!

Woody Allen: The Stand-Up Years 1964-1968 (Part 8)

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Woody Allen Stand Up Comic 1964 1968 07 Kidnapped

Woody Allen’s Sixties Stand-Up Albums Reissued

A new, two-disc collection that includes a never-before-heard routine and bonus material will come out this fall

By September 22, 2014

Read more: http://www.rollingstone.com/movies/news/woody-allens-sixties-stand-up-albums-reissued-20140922#ixzz3XwTy3p8i
Follow us: @rollingstone on Twitter | RollingStone on Facebook

Woody Allen
Woody Allen photographed in 1965. Daily Mail/Rex USA

The recordings Woody Allen made of his comedy routines in the mid-Sixties will once again be available at an affordable price. November 25th will see the release of a comprehensive two-disc set – The Stand-Up Years: 1964 – 1968 – which will contain everything from the three records Allen released in the Sixties, along with a previously unreleased routine and more bonus audio. The additional material comprises 25 minutes of excerpts from the 2012 film Woody Allen: A Documentary, in which he discusses how stand-up comedy changed his life, as well as liner notes by the documentary’s producer and director, Robert B. Weide.

The album contains Allen’s routines from the Chicago club Mr. Kelly’s in March 1964, the Washington D.C. venue the Shadows in April 1965 and the San Francisco club Eugene’s in August 1968. Previously, Allen’s three comedy LPs had been split between two compilations, Standup Comic and The Nightclub Years. Among the performances are the comic’s routines about everything from Brooklyn and marriage to a vodka ad and “The Moose,” a memorable bit about shooting a moose – and the repercussions he faced from doing so.

Read more: http://www.rollingstone.com/movies/news/woody-allens-sixties-stand-up-albums-reissued-20140922#ixzz3XwTrTpju
Follow us: @rollingstone on Twitter | RollingStone on Facebook

Allen embarked on his stand-up career after stints writing for shows like The Tonight Show, during its Steve Allen and Jack Paar days, and Sid Caesar’s Caesar’s Hour show in the Fifties. In the early Sixties, he began doing stand-up in New York nightclubs like the Blue Angel and the Duplex, where he developed his witty, nervous onstage persona.

“If you remember, there was a whole rush of comedians in the Sixties,” Allen told Rolling Stone in 1971. “[There was] Mike Nichols and Elaine May, Shelley Berman, Mort Sahl. Bill Cosby and I were on the tail end of it. Just like a lot of folk musicians, we got our start in small clubs that just don’t exist anymore.”

But even though he was doing stand-up on the regular, it took him awhile to feel comfortable with the term “comedian.” “I had great trepidation about calling myself that years ago, when I first switched from writing to comedy,” he told Rolling Stone in 1976. “But now unequivocally, I call myself a comedian.” When the magazine asked him if he felt like he was breaking ground as a comedian with the opportunity to make movies, he said no. “The only interest to me was making people laugh,” Allen said.

Read more: http://www.rollingstone.com/movies/news/woody-allens-sixties-stand-up-albums-reissued-20140922#ixzz3XwSxViAd
Follow us: @rollingstone on Twitter | RollingStone on Facebook

________

Woody Allen Stand Up Comic 1964 1968 05 Mechanical Objects

I have spent alot of time talking about Woody Allen films on this blog and looking at his worldview. He has a hopelessmeaningless, nihilistic worldview that believes we are going to turn to dust and there is no afterlife. Even though he has this view he has taken the opportunity to look at the weaknesses of his own secular view. I salute him for doing that. That is why I have returned to his work over and over and presented my own Christian worldview as an alternative.

My interest in Woody Allen is so great that I have a “Woody Wednesday” on my blog www.thedailyhatch.org every week. Also I have done over 30 posts on the historical characters mentioned in his film “Midnight in Paris.” (Salvador DaliErnest Hemingway,T.S.Elliot,  Cole Porter,Paul Gauguin,  Luis Bunuel, and Pablo Picassowere just a few of the characters.)

Woody Allen – “The New Comic” from The Stand-Up Years

Published on Dec 4, 2014

Woody Allen – “The Stand-Up Years” Available January 13, 2015. Pre-order on Amazon: http://www.amazon.com/The-Stand-Up-Ye…

-INCLUDES ALL THREE LIVE STAND-UP ALBUMS RECORDED BETWEEN 1964-1968
-REMASTERED AND AVAILABLE ON CD AND DIGITALLY
-BONUS MATERIAL INCLUDES: AUDIENCE Q&A AND OVER 20 MINUTES OF AUDIO EXCERPTS FROM WOODY ALLEN: A DOCUMENTARY

______________________

Related posts:

WOODY WEDNESDAY Woody Allen’s past movies and the subject of the Meaning of Life examined by Kyle Turner

____ Woody Allen’s past movies and the subject of the Meaning of Life examined!!! Out of the Past: Woody Allen, Nostalgia, the Meaning of Life, and Radio Days Kyle Turner Jul 25, 2014 Film, Twilight Time 1 Comment “I firmly believe, and I don’t say this as a criticism, that life is meaningless.” – Woody […]

WOODY WEDNESDAY Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments

Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight”   I am no Roger Ebert and don’t watch that many movies, but in my opinion, for what it’s worth, Woody Allen’s 2014 film “Magic in […]

WOODY WEDNESDAY My letter to Woody Allen’s Sister!!!!

______________ If anyone has read my blog for any length of time they know that I am the biggest Woody Allen fan of all time. No one except maybe Bergman has attacked the big questions in life as well as Woody Allen. Furthermore, Francis Schaeffer is my favorite Christian Philosopher and he spent a lot […]

Woody Allen to make first TV series for Amazon Prime

  ___________ Woody Allen to make first TV series for Amazon Prime ‘I’m not sure where to begin,’ says 79-year-old Oscar-winner about his small screen debut, as streaming TV service seeks to gain march on rivals with exclusive content Comment: in signing Woody Allen, Amazon Prime has delivered a nuclear blast to the competition Woody […]

Woody Allen: “the whole thing is tragic” July 20, 2012

______________________ Woody Allen: “the whole thing is tragic” July 20, 2012 Mr. Allen, do you truly believe that happiness in life is impossible? This is my perspective and has always been my perspective on life. I have a very grim, pessimistic view of it. I always have since I was a little boy; it hasn’t […]

WOODY WEDNESDAY Dr. Jack Graham Challenges Agnostic Woody Allen’s ‘Hopeless State of Mind’ BY NICOLA MENZIE , CHRISTIAN POST REPORTER August 23, 2013|4:51 pm

______________ Dr. Jack Graham Challenges Agnostic Woody Allen’s ‘Hopeless State of Mind’ BY NICOLA MENZIE , CHRISTIAN POST REPORTER August 23, 2013|4:51 pm Prolific Hollywood filmmaker and religious skeptic Woody Allen maintains in a recent interview that human life on earth is “just an accident” filled with “silly little moments,” and the “best you can […]

WOODY WEDNESDAY Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments

________ Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight”   I am no Roger Ebert and don’t watch that many movies, but in my opinion, for what it’s worth, Woody Allen’s 2014 film “Magic […]

WOODY WEDNESDAY Woody Allen to make first TV series for Amazon Prime

___________ Woody Allen to make first TV series for Amazon Prime ‘I’m not sure where to begin,’ says 79-year-old Oscar-winner about his small screen debut, as streaming TV service seeks to gain march on rivals with exclusive content Comment: in signing Woody Allen, Amazon Prime has delivered a nuclear blast to the competition Woody Allen […]

My letter to Woody Allen’s Sister!!!

If anyone has read my blog for any length of time they know that I am the biggest Woody Allen fan of all time. No one except maybe Bergman has attacked the big questions in life as well as Woody Allen. Furthermore, Francis Schaeffer is my favorite Christian Philosopher and he spent a lot of […]

WOODY WEDNESDAY Woody Allen‘s latest film finally has a release date and a studio. Irrational Man will be distributed by Sony Pictures Classics,

_______ Woody Allen’s New Film Is Called ‘Irrational Man’ Posted on Friday, January 30th, 2015 by Angie Han 85 SHARES TwitterFacebook Woody Allen‘s latest film finally has a release date and a studio. Irrational Man will be distributed by Sony Pictures Classics, as were Allen’s last six films.Emma Stone, Joaquin Phoenix, Parker Posey, and Jamie […]

 

______________

Woody Allen: The Stand-Up Years 1964-1968 (Part 7)

__________

 

Woody Allen Stand Up Comic 1964 1968 20 Bullet In My Breast Pocket

Woody Allen riffs on his early comedy career in ‘The Stand Up Years’ — exclusive

Long before he morphed into one of the most celebrated American filmmakers in history, Woody Allen got his first taste of fame as a stand-up comedian working in the clubs in New York’s Greenwich Village in the 1960s. Those formative experiences are captured on the forthcoming The Stand Up Years, a two-disc set that captures some of Allen’s finest jokes and onstage moments.

It’s not only an incredible time capsule of top-shelf Allen humor, but the seeds of his approach to film also lie in his riffs on his youth, advertising, selling out, and Hollywood. A bunch of the material hasn’t been heard in decades, and there’s also some great bonus material—including the track below, which finds Allen reflecting on his early career and riffing on how loyal his longtime managers Jack Rollins and Charles Joffe were.

Woody Allen’s The Stand Up Years arrives in stores on Jan. 13. You can currently pre-order it at Amazon, Barnes & Noble, and iTunes. A pre-order will get you an instant download of a track from the album. It’s an absolute must for both completist Allen fans and anybody who appreciates the art of stand-up.

 

______

Woody Allen Stand Up Comic 1964 1968 17 Pets

I have spent alot of time talking about Woody Allen films on this blog and looking at his worldview. He has a hopelessmeaningless, nihilistic worldview that believes we are going to turn to dust and there is no afterlife. Even though he has this view he has taken the opportunity to look at the weaknesses of his own secular view. I salute him for doing that. That is why I have returned to his work over and over and presented my own Christian worldview as an alternative.

My interest in Woody Allen is so great that I have a “Woody Wednesday” on my blog www.thedailyhatch.org every week. Also I have done over 30 posts on the historical characters mentioned in his film “Midnight in Paris.” (Salvador DaliErnest Hemingway,T.S.Elliot,  Cole Porter,Paul Gauguin,  Luis Bunuel, and Pablo Picassowere just a few of the characters.)

Woody Allen – “The New Comic” from The Stand-Up Years

Published on Dec 4, 2014

Woody Allen – “The Stand-Up Years” Available January 13, 2015. Pre-order on Amazon: http://www.amazon.com/The-Stand-Up-Ye…

-INCLUDES ALL THREE LIVE STAND-UP ALBUMS RECORDED BETWEEN 1964-1968
-REMASTERED AND AVAILABLE ON CD AND DIGITALLY
-BONUS MATERIAL INCLUDES: AUDIENCE Q&A AND OVER 20 MINUTES OF AUDIO EXCERPTS FROM WOODY ALLEN: A DOCUMENTARY

______________________

Related posts:

WOODY WEDNESDAY Woody Allen’s past movies and the subject of the Meaning of Life examined by Kyle Turner

____ Woody Allen’s past movies and the subject of the Meaning of Life examined!!! Out of the Past: Woody Allen, Nostalgia, the Meaning of Life, and Radio Days Kyle Turner Jul 25, 2014 Film, Twilight Time 1 Comment “I firmly believe, and I don’t say this as a criticism, that life is meaningless.” – Woody […]

WOODY WEDNESDAY Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments

Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight”   I am no Roger Ebert and don’t watch that many movies, but in my opinion, for what it’s worth, Woody Allen’s 2014 film “Magic in […]

WOODY WEDNESDAY My letter to Woody Allen’s Sister!!!!

______________ If anyone has read my blog for any length of time they know that I am the biggest Woody Allen fan of all time. No one except maybe Bergman has attacked the big questions in life as well as Woody Allen. Furthermore, Francis Schaeffer is my favorite Christian Philosopher and he spent a lot […]

Woody Allen to make first TV series for Amazon Prime

  ___________ Woody Allen to make first TV series for Amazon Prime ‘I’m not sure where to begin,’ says 79-year-old Oscar-winner about his small screen debut, as streaming TV service seeks to gain march on rivals with exclusive content Comment: in signing Woody Allen, Amazon Prime has delivered a nuclear blast to the competition Woody […]

Woody Allen: “the whole thing is tragic” July 20, 2012

______________________ Woody Allen: “the whole thing is tragic” July 20, 2012 Mr. Allen, do you truly believe that happiness in life is impossible? This is my perspective and has always been my perspective on life. I have a very grim, pessimistic view of it. I always have since I was a little boy; it hasn’t […]

WOODY WEDNESDAY Dr. Jack Graham Challenges Agnostic Woody Allen’s ‘Hopeless State of Mind’ BY NICOLA MENZIE , CHRISTIAN POST REPORTER August 23, 2013|4:51 pm

______________ Dr. Jack Graham Challenges Agnostic Woody Allen’s ‘Hopeless State of Mind’ BY NICOLA MENZIE , CHRISTIAN POST REPORTER August 23, 2013|4:51 pm Prolific Hollywood filmmaker and religious skeptic Woody Allen maintains in a recent interview that human life on earth is “just an accident” filled with “silly little moments,” and the “best you can […]

WOODY WEDNESDAY Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments

________ Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight”   I am no Roger Ebert and don’t watch that many movies, but in my opinion, for what it’s worth, Woody Allen’s 2014 film “Magic […]

WOODY WEDNESDAY Woody Allen to make first TV series for Amazon Prime

___________ Woody Allen to make first TV series for Amazon Prime ‘I’m not sure where to begin,’ says 79-year-old Oscar-winner about his small screen debut, as streaming TV service seeks to gain march on rivals with exclusive content Comment: in signing Woody Allen, Amazon Prime has delivered a nuclear blast to the competition Woody Allen […]

My letter to Woody Allen’s Sister!!!

If anyone has read my blog for any length of time they know that I am the biggest Woody Allen fan of all time. No one except maybe Bergman has attacked the big questions in life as well as Woody Allen. Furthermore, Francis Schaeffer is my favorite Christian Philosopher and he spent a lot of […]

WOODY WEDNESDAY Woody Allen‘s latest film finally has a release date and a studio. Irrational Man will be distributed by Sony Pictures Classics,

_______ Woody Allen’s New Film Is Called ‘Irrational Man’ Posted on Friday, January 30th, 2015 by Angie Han 85 SHARES TwitterFacebook Woody Allen‘s latest film finally has a release date and a studio. Irrational Man will be distributed by Sony Pictures Classics, as were Allen’s last six films.Emma Stone, Joaquin Phoenix, Parker Posey, and Jamie […]

 

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WOODY WEDNESDAY Woody Allen has signed up Kristen Stewart for his new movie.

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Woody Allen has cast Bruce Willis, Kristen Stewart and Jesse Eisenberg in his latest movie. As usual with Allen’s projects at this stage, the film is untitled and there are no details, though it’s being produced by Letty Arsonson, Stephen Tenenbaum and Edward Walson.

Kristen StewartKristen Stewart will star in Woody Allen’s latest movie, alongside Bruce Willis and Jesse Eisenberg

It’s an eye-striking and typically varied and unusual cast and Allen remains one of the few directors who signs up talent without showing them a script. Everybody wants to work with Allen and the general rule of thumb is: if you’re asked, you take the job. Cate Blanchet won the Oscar for Best Actress in 2014 after starring in Allen’s Blue Jasmine.

More: Woody Allen to create show for Amazon, currently has “no ideas”

Allen’s next movie will be Irrational Man, with Emma Stone and Joaquin Phoenix. Set on a small town college campus, it tells the story of a philosophy professor in an existential crisis who gives his life new purpose when he enters into a relationship with his student. The movie hits theaters through Sony Pictures Classics on July 24.

The new film appears to be the latest career high for Stewart, who’s turned in a few stellar performances as of late. She gained rave reviews for her performance alongside Juliette Binoche in Cloud of Sils Maria and was similarly impressive alongside Oscar-winner Julianne Moore in Still Alice. She recently joined the cast of an untitled project from Kelly Reichardt co-starring Laura Dern and Michelle Williams. The film focuses on the lives of people living in small-town Montana, with Stewart as a lawyer who befriends a student in her class.

More: critical consesus: Magic in the Moonlight is not magic enough

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Related posts:

WOODY WEDNESDAY Woody Allen’s past movies and the subject of the Meaning of Life examined by Kyle Turner

____ Woody Allen’s past movies and the subject of the Meaning of Life examined!!! Out of the Past: Woody Allen, Nostalgia, the Meaning of Life, and Radio Days Kyle Turner Jul 25, 2014 Film, Twilight Time 1 Comment “I firmly believe, and I don’t say this as a criticism, that life is meaningless.” – Woody […]

WOODY WEDNESDAY Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments

Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight”   I am no Roger Ebert and don’t watch that many movies, but in my opinion, for what it’s worth, Woody Allen’s 2014 film “Magic in […]

WOODY WEDNESDAY My letter to Woody Allen’s Sister!!!!

______________ If anyone has read my blog for any length of time they know that I am the biggest Woody Allen fan of all time. No one except maybe Bergman has attacked the big questions in life as well as Woody Allen. Furthermore, Francis Schaeffer is my favorite Christian Philosopher and he spent a lot […]

Woody Allen to make first TV series for Amazon Prime

  ___________ Woody Allen to make first TV series for Amazon Prime ‘I’m not sure where to begin,’ says 79-year-old Oscar-winner about his small screen debut, as streaming TV service seeks to gain march on rivals with exclusive content Comment: in signing Woody Allen, Amazon Prime has delivered a nuclear blast to the competition Woody […]

Woody Allen: “the whole thing is tragic” July 20, 2012

______________________ Woody Allen: “the whole thing is tragic” July 20, 2012 Mr. Allen, do you truly believe that happiness in life is impossible? This is my perspective and has always been my perspective on life. I have a very grim, pessimistic view of it. I always have since I was a little boy; it hasn’t […]

WOODY WEDNESDAY Dr. Jack Graham Challenges Agnostic Woody Allen’s ‘Hopeless State of Mind’ BY NICOLA MENZIE , CHRISTIAN POST REPORTER August 23, 2013|4:51 pm

______________ Dr. Jack Graham Challenges Agnostic Woody Allen’s ‘Hopeless State of Mind’ BY NICOLA MENZIE , CHRISTIAN POST REPORTER August 23, 2013|4:51 pm Prolific Hollywood filmmaker and religious skeptic Woody Allen maintains in a recent interview that human life on earth is “just an accident” filled with “silly little moments,” and the “best you can […]

WOODY WEDNESDAY Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments

________ Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight”   I am no Roger Ebert and don’t watch that many movies, but in my opinion, for what it’s worth, Woody Allen’s 2014 film “Magic […]

WOODY WEDNESDAY Woody Allen to make first TV series for Amazon Prime

___________ Woody Allen to make first TV series for Amazon Prime ‘I’m not sure where to begin,’ says 79-year-old Oscar-winner about his small screen debut, as streaming TV service seeks to gain march on rivals with exclusive content Comment: in signing Woody Allen, Amazon Prime has delivered a nuclear blast to the competition Woody Allen […]

My letter to Woody Allen’s Sister!!!

If anyone has read my blog for any length of time they know that I am the biggest Woody Allen fan of all time. No one except maybe Bergman has attacked the big questions in life as well as Woody Allen. Furthermore, Francis Schaeffer is my favorite Christian Philosopher and he spent a lot of […]

WOODY WEDNESDAY Woody Allen‘s latest film finally has a release date and a studio. Irrational Man will be distributed by Sony Pictures Classics,

_______ Woody Allen’s New Film Is Called ‘Irrational Man’ Posted on Friday, January 30th, 2015 by Angie Han 85 SHARES TwitterFacebook Woody Allen‘s latest film finally has a release date and a studio. Irrational Man will be distributed by Sony Pictures Classics, as were Allen’s last six films.Emma Stone, Joaquin Phoenix, Parker Posey, and Jamie […]

 

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RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 23 (Dr. Roald Hoffmann, Cornell University, American theoretical chemist who won the 1981 Nobel Prize in Chemistry, WHY DO PEOPLE HAVE A DESIRE FOR GOD?)

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Frank H. T. Rhodes Professor  of Humane Letters Emeritus

_____________

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

__________________________

There are 3 videos in this series and they have statements by 150 academics and scientists and I hope to respond to all of them. Wikipedia notes Roald Hoffmann (born Roald Safran; July 18, 1937)[1] is an American theoretical chemist who won the 1981 Nobel Prize in Chemistry. He is the Frank H. T. Rhodes Professor of Humane Letters, Emeritus, at Cornell University, in Ithaca, New York.[2]

Hoffmann was born in Złoczów, Poland (now Ukraine), to a Jewish family, and was named in honor of the Norwegian explorer Roald Amundsen. His parents were Clara (Rosen), a teacher, and Hillel Safran, a civil engineer.[3] After Germany invaded Poland and occupied the town, his family was placed in a labor camp where his father, who was familiar with much of the local infrastructure, was a valued prisoner. As the situation grew more dangerous, with prisoners being transferred to liquidation camps, the family bribed guards to allow an escape and arranged with a Ukrainian neighbor named Mikola Dyuk for Hoffman, his mother, two uncles and an aunt to hide in the attic and a storeroom of the local schoolhouse, where they remained for eighteen months, from January 1943 to June 1944, while Hoffman was aged 5 to 7.

His father remained at the labor camp, but was able to occasionally visit, until he was tortured and killed by the Germans for his involvement in a plot to arm the camp prisoners. When she received the news, his mother attempted to contain her sorrow by writing down her feelings in a notebook her husband had been using to take notes on a relativity textbook he had been reading. While in hiding his mother kept Hoffman entertained by teaching him to read and having him memorize geography from textbooks stored in the attic, then quizzing him on it. He referred to the experience as having been enveloped in a cocoon of love.[4]

Most of the rest of the family perished in the Holocaust, though one grandmother and a few others survived.[5] They migrated to the United States in 1949.

Hoffman visited Zolochiv with his adult son (by then a parent of a five-year-old) in 2006 and found that the attic where he had hidden was still intact, but the storeroom had been incorporated, ironically enough, into a chemistry classroom. In 2009, a monument to Holocaust victims was built in Zolochiv on Hoffmann’s initiative.[6]

His comments can be found on the 3rd video and the 107th clip in this series. Below the videos you will find his words.

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)

_______________

I grew up at Bellevue Baptist Church under the leadership of our pastor Adrian Rogers and I read many books by the Evangelical Philosopher Francis Schaeffer and have had the opportunity to contact many of the evolutionists or humanistic academics that they have mentioned in their works. Many of these scholars have taken the time to respond back to me in the last 20 years and some of the names  included are  Ernest Mayr (1904-2005), George Wald (1906-1997), Carl Sagan (1934-1996), Antony Flew (1923-2010),  Robert Shapiro (1935-2011), Nicolaas Bloembergen (1920-),  Brian Charlesworth (1945-),  Francisco J. Ayala (1934-) Elliott Sober (1948-), Kevin Padian (1951-), Matt Cartmill (1943-) , Milton Fingerman (1928-), John J. Shea (1969-), , Michael A. Crawford (1938-), Paul Kurtz (1925-2012), Sol Gordon (1923-2008), Albert Ellis (1913-2007), Barbara Marie Tabler (1915-1996), Renate Vambery (1916-2005), Archie J. Bahm (1907-1996), Aron S “Gil” Martin ( 1910-1997), Matthew I. Spetter (1921-2012), H. J. Eysenck (1916-1997), Robert L. Erdmann (1929-2006), Mary Morain (1911-1999), Lloyd Morain (1917-2010),  Warren Allen Smith (1921-), Bette Chambers (1930-),  Gordon Stein (1941-1996) , Milton Friedman (1912-2006), John Hospers (1918-2011), Michael Martin (1932-), John R. Cole  (1942-),   Wolf Roder,  Susan Blackmore (1951-),  Christopher C. French (1956-)  Walter R. Rowe Thomas Gilovich (1954-), Paul QuinceyHarry Kroto (1939-), Marty E. Martin (1928-), Richard Rubenstein (1924-), James Terry McCollum (1936-), Edward O. WIlson (1929-), Lewis Wolpert (1929), Gerald Holton (1922-), Martin Rees (1942-), Alan Macfarlane (1941-),  Roald Hoffmann (1937-), Herbert Kroemer (1928-), Thomas H. Jukes (1906-1999), Glenn BranchGeoff Harcourt (1931-) Noam Chomsky (1928-), Dudley R. Herschbach (1932-), and  Ray T. Cragun (1976-).

QUOTE OF DR. HOFFMANN FROM THE VIDEO ABOVE:

I think this is a human creation because the other part of observing the variety religious experiences that has ever risen in this world out there is that they all take different formats and that convinces me there is no God.

______________________________

 IS DR. HOFFMANN RIGHT ABOUT THE VARIETY OF RELIGIONS INDICATING THERE IS NO GOD?
OR ROMANS CHAPTER ONE RIGHT WHEN IT SAYS THAT GOD PUT THAT CONSCIENCE IN EVERYONE’S HEART THAT BEARS WITNESS THAT HE CREATED THEM FOR A PURPOSE AND THAT IS WHY THE VAST MAJORITY OF PEOPLE IN THE WORLD ARE ATTEMPTING TO SEEK OUT GOD?
Solomon wisely noted in Ecclesiastes 3:11 “God has planted eternity in the heart of men…” (Living Bible). No wonder Bertrand Russell wrote in his autobiography, “It is odd, isn’t it? I feel passionately for this world and many things and people in it, and yet…what is it all? There must be something more important, one feels, though I don’t believe there is. I am haunted. Some ghosts, for some extra mundane regions, seem always trying to tell me something that I am to repeat to the world, but I cannot understand that message.”

CSICOP experts commented 15 years ago on a lie-detector’s ability to detect one’s repressed belief in God!!!!

In the book, THE DEMON-HAUNTED WORLD: Science as a Candle in the Dark by Carl Sagan.  Sagan writes:

The Committee for the Scientific Investigation of Claims of the Paranormal is an organization of scientists, academics, magicians, and others dedicated to skeptical scrutiny of emerging or full-blown pseudo-sciences. It was founded by the University of Buffalo philosopher Paul Kurtz in 1976. I’ve been affiliated with it since its beginning. Its acronym, CSICOP, is pronounced sci-cop C as if it’s an organization of scientists performing a police function  CSICOP publishes a bimonthly periodical called The Skeptical Inquirer. On the day it arrives, I take it home from the office and pore through its pages, wondering what new misunderstandings will be revealed (p. 299).

Back in the late 1990’s I corresponded with many scholars from CSICOP concerning the lie-detector’s ability to detect one’s repressed belief in God. I have a good friend Rev Sherwood Haisty Jr.  who is a street preacher who preaches on the Santa Monica Promenade in California and during the Q/A sessions he does have lots of atheists that enjoy their time at the mic. When this happens he  always quotes Romans 1:18-19 (Amplified Bible) ” For God’s wrath and indignation are revealed from heaven against all ungodliness and unrighteousness of men, who in their wickedness REPRESS and HINDER the truth and make it inoperative. For that which is KNOWN about God is EVIDENT to them and MADE PLAIN IN THEIR INNER CONSCIOUSNESS, because God  has SHOWN IT TO THEM,”(emphasis mine). Then he  tells the atheist that the atheist already knows that God exists but he has been suppressing that knowledge in unrighteousness. This usually infuriates the atheist.

Rev Haisty draws some large crowds at times and was thinking about setting up a lie detector test and see if atheists actually secretly believe in God. He discussed this project with me since he knew that I had done a lot of research on the idea about 20 years ago.

Nelson Price in THE EMMANUEL FACTOR (1987) tells the story about Brown Trucking Company in Georgia who used to give polygraph tests to their job applicants. However, in part of the test the operator asked, “Do you believe in God?” In every instance when a professing atheist answered “No,” the test showed the person to be lying. My pastor Adrian Rogers used to tell this same story to illustrate Romans 1:19 and it was his conclusion that “there is no such thing anywhere on earth as a true atheist. If a man says he doesn’t believe in God, then he is lying. God has put his moral consciousness into every man’s heart, and a man has to try to kick his conscience to death to say he doesn’t believe in God.”

It is true that polygraph tests for use in hiring were banned by Congress in 1988.  Mr and Mrs Claude Brown on Aug 25, 1994  wrote me a letter confirming that over 15,000 applicants previous to 1988 had taken the polygraph test and EVERY TIME SOMEONE SAID THEY DID NOT BELIEVE IN GOD, THE MACHINE SAID THEY WERE LYING.

It had been difficult to catch up to the Browns. I had heard about them from Dr. Rogers’ sermon but I did not have enough information to locate them. Dr. Rogers referred me to Dr. Nelson Price and Dr. Price’s office told me that Claude Brown lived in Atlanta. After writing letters to all 9 of the entries for Claude Brown in the Atlanta telephone book, I finally got in touch with the Browns.

Adrian Rogers also pointed out that the Bible does not recognize the theoretical atheist.  Psalms 14:1: The fool has said in his heart, “There is no God.”  Dr Rogers notes, “The fool is treating God like he would treat food he did not desire in a cafeteria line. ‘No broccoli for me!’ ” In other words, the fool just doesn’t want God in his life and is a practical atheist, but not a theoretical atheist. Charles Ryrie in the The Ryrie Study Bible came to the same conclusion on this verse.

Here are the conclusions of the experts I wrote in the secular world concerning the lie detector test and it’s ability to get at the truth:

Professor Frank Horvath of the School of Criminal Justice at Michigan State University has testified before Congress concerning the validity of the polygraph machine. He has stated on numerous occasions that “the evidence from those who have actually been affected by polygraph testing in the workplace is quite contrary to what has been expressed by critics. I give this evidence greater weight than I give to the most of the comments of critics” (letter to me dated October 6, 1994).

There was no better organization suited to investigate this claim concerning the lie detector test than the Committee for the Scientific Investigation of Claims of the Paranormal (CSICOP). This organization changed their name to the Committe for Skeptical Inquiry in 2006. This organization includes anyone who wants to help debunk the whole ever-expanding gamut of misleading, outlandish, and fraudulent claims made in the name of science.

I read The Skeptical Review(publication of CSICOP) for several years during the 90’s and I would write letters to these scientists about taking this project on and putting it to the test.  Below are some of  their responses (15 to 20 years old now):

1st Observation: Religious culture of USA could have influenced polygraph test results.
ANTONY FLEW  (formerly of Reading University in England, now deceased, in a letter to me dated 8-11-96) noted, “For all the evidence so far available seems to be of people from a culture in which people are either directly brought up to believe in the existence of God or at least are strongly even if only unconsciously influenced by those who do. Even if everyone from such a culture revealed unconscious belief, it would not really begin to show that — as Descartes maintained— the idea of God is so to speak the Creator’s trademark, stamped on human souls by their Creator at their creation.”

2nd Observation: Polygraph Machines do not work. JOHN R. COLE, anthropologist, editor, National Center for Science Education, Dr. WOLF RODER, professor of Geography, University of Cincinnati, Dr. SUSAN BLACKMORE,Dept of Psychology, University of the West of England, Dr. CHRISTOPHER C. FRENCH, Psychology Dept, Goldsmith’s College, University of London, Dr.WALTER F. ROWE, The George Washington University, Dept of Forensic Sciences, Graduate School of Arts and Sciences.

3rd Observation: The sample size probably was not large enough to apply statistical inference. (These gentlemen made the following assertion before I received the letter back from Claude Brown that revealed that the sample size was over 15,000.) JOHN GEOHEGAN, Chairman of New Mexicans for Science and Reason, Dr. WOLF RODER, and Dr WALTER F. ROWE (in a letter dated July 12, 1994) stated, “The polygraph operator for Brown Trucking Company has probably examined only a few hundred or a few thousand job applicants. I would surmise that only a very small number of these were actually atheists. It seems a statistically insignificant (and distinctly nonrandom) sampling of the 5 billion human beings currently inhabiting the earth. Dr. Nelson Price also seems to be impugning the integrity of anyone who claims to be an atheist in a rather underhanded fashion.”

4th Observation: The question (Do you believe in God?)  was out of place and it surprised the applicants. THOMAS GILOVICH, psychologist, Cornell Univ., Dr. ZEN FAULKES, professor of Biology, University of Victoria (Canada), ROBERT CRAIG, Head of Indiana Skeptics Organization, Dr. WALTER ROWE, 
 
5th Observation: Proof that everyone believes in God’s existence does not prove that God does in fact exist. PAUL QUINCEY, Nathional Physical Laboratory,(England), Dr. CLAUDIO BENSKI, Schneider Electric, CFEPP, (France),
6th Observation: Both the courts and Congress recognize that lie-detectors don’t work and that is why they were banned in 1988.  (Governments and the military still use them.)
Dr WALTER ROWE, KATHLEEN M. DILLION, professor of Psychology, Western New England College.
7th Observation:This information concerning Claude Brown’s claim has been passed on to us via a tv preacher and eveybody knows that they are untrustworthy– look at their history. WOLF RODER.
______________
Gene Emery, science writer for Providence Journal-Bulletin is a past winner of the CSICOP “Responsibility in Journalism Award” and he had the best suggestion of all when he suggested, “Actually, if you want to make a good case about whether Romans 1:19 is true, arrange to have a polygraph operator (preferably an atheist or agnostic) brought to the next CSICOP meeting. (I’m not a member of CSICOP, by the way, so I can’t give you an official invitation or anything.) If none of the folks at that meeting can convince the machine that they truly believe in God, maybe there is, in fact, an innate willingness to believe in God.”
_____________
____________
Let me share a story from a former atheist named Jamie Lash:

DOES GOD BELIEVE IN ATHEISTS?

I grew up as an atheist. I thought that the reason I didn’t believe was the lack of evidence that I could see or touch. I kept asking God to show me a sign if He was really there. He didn’t. Despite nine months of searching, I was just as alienated from God as I had ever been.

I remember the shock it was when God revealed to me that what I thought was the obstacle wasn’t the obstacle at all! The obstacle was pride and hardness of heart. It wasn’t a head problem; it was a heart problem. I had to come to the place where I was willing to let God be God over my life. Was I willing to confess (i.e. admit) that Jesus is Lord?

Years ago Adrian Rogers counseled with a NASA scientist and his severely depressed wife. The wife pointed to her husband and said, “My problem is him.” She went on to explain that her husband was a drinker, a liar, and an adulterer. Dr. Rogers asked the man if he were a Christian. “No!” the man laughed. “I’m an atheist.”

“Really?” Dr. Rogers replied. “That means you’re someone who knows that God does not exist.”

“That’s right,” said the man.

“Would it be fair to say that you don’t know all there is to know in the universe?”

“Of course.”

“Would it be generous to say you know half of all there is to know?”

“Yes.”

“Wouldn’t it be possible that God’s existence might be in the half you don’t know?”

“Okay, but I don’t think He exists.”

“Well then, you’re not an atheist; you’re an agnostic. You’re a doubter.”

“Yes, and I’m a big one.”

“It doesn’t matter what size you are. I want to know what kind you are.”

“What kinds are there?”

“There are honest doubters and dishonest doubters. An honest doubter is willing to search out the truth and live by the results; a dishonest doubter doesn’t want to know the truth. He can’t find God for the same reason a thief can’t find a policeman.”

“I want to know the truth.”

“Would you like to prove that God exists?”

“It can’t be done.”

“It can be done. You’ve just been in the wrong laboratory. Jesus said, ‘If any man’s will is to do His will, he will know whether my teaching is from God or whether I am speaking on my own authority’ (John 7:17). I suggest you read one chapter of the book of John each day, but before you do, pray something like this, ‘God, I don’t know if You’re there, I don’t know if the Bible is true, I don’t know if Jesus is Your Son. But if You show me that You are there, that the Bible is true, and that Jesus is Your Son, then I will follow You. My will is to do your will.”

The man agreed. About three weeks later he returned to Dr. Rogers’s office and invited Jesus Christ to be his Savior and Lord.

A man might be convinced that he’s being very sincere in his search for God, but until he humbles himself, he will never find Him.

                 

— Jamie Lash  

 Dr. Hoffmann strikes me as a brilliant man who just can’t bring himself to put faith in the scriptures. I understand that scientists like him want evidence for what they believe. My reaction is very simple: THERE IS GOOD AND SUFFICIENT EVIDENCE THAT SHOWS THE HISTORICAL ACCURACY OF THE BIBLE.  Then I look at the Old Testament prophecies and  I am amazed at the prophecies  that have been fulfilled in history, and also many of the historical details in the Bible have been confirmed by archaeology too. One of the most amazing is the prediction that the Jews would be brought back and settle in Jerusalem again. Another prophecy in Psalms 22 describes messiah dying on a cross  almost 1000 years before the Romans came up with this type of punishment.

I sent Dr. Hoffmann a letter  that included many scriptures from the Old Testament that showed that the prophets predicted  the Jews would be brought back from all over the world to rebirth the country of Israel again.

Is this good evidence to show there is a God behind it all?

 First, isn’t it worth noting that the Old Testament predicted that the Jews would regather from all over the world and form a new reborn nation of Israel. Second, it was also predicted that the nation of Israel would become a stumbling block to the whole world. Third, it was predicted that the Hebrew language would be used again as the Jews first language even though we know in 1948 that Hebrew at that time was a dead language!!!Fourth, it was predicted that the Jews would never again be removed from their land.

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.

Archaeology keeps on confirming the Bible’s accuracy over and over again!!!

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

Archaeology and the Bible

By: Eric Metaxas|Published: April 3, 2014 12:30 AM

Speaking of facts, in the LATEST ISSUE of BIBLICAL ARCHAEOLOGY REVIEW, Lawrence Mykytiuk of Purduedaily_commentary_04_03_14 asks and answers the question “HOW MANY PEOPLE IN THE HEBREW BIBLE HAVE BEEN CONFIRMED ARCHAEOLOGICALLY?’

The conservative answer is AT LEAST FIFTY.
The most famous of these is KING DAVID who, until relatively recently was believed by many scholars to either be a “shadowy, perhaps mythical ancestor” or a “literary creation of later biblical authors and editors.”

All of this changed, however, in 1993 when archaeologists found a stele dating from the ninth century B.C., commissioned by the king of Damascus with the inscription “House of David.” The issue of David’s historicity was laid to rest.

In addition to David, archeologists have been able to independently corroborate the existence of kings such as Hezekiah. The water tunnel he used during the Assyrian siege, described in both 2 Kings and 2 Chronicles, has been discovered in Jerusalem.
Confirmation isn’t limited to those described as doing what was right in the sight of the Lord. Eight of the northern kingdom’s kings—including the notorious Ahab and Jeroboam II, whose reign was denounced by Hosea and Amos—have been verified archaeologically.
Nor is independent corroboration limited to the kings of Judah and Israel. The existence of numerous pagan kings mentioned in the Bible has been verified by archeologists. Some of them, such as Nebuchadnezzar of Babylon and Cyrus the Great of Persia, are prominent figures in world history.
Others are not. Second Kings and Isaiah both mention Adrammelech, the son and murderer of Sennacherib, the king of Assyria. The Bible tells us he then fled and never took over as king. Cuneiform inscriptions confirm the biblical tale.
Even the Iron Age equivalents of middle-level bureaucrats mentioned in Scripture have been independently verified.
Make no bones about it: The Bible is easily the most verified book of antiquity—and not just its historical figures, but the copies of the manuscripts themselves. It’s not even close. For instance, the oldest surviving copies of works we have by Herodotus, Plato and even Homer only date back to the early middle ages—some 800 and 1,300 hundred years after they were written.
In contrast, as Frederick Kenyon of the British Museum put it, “the interval … between the dates of the original composition [of the New Testament] and the earliest extant evidence [is] so small as to be in fact negligible.”

The Bible and Science – Is the Bible from God? (Kyle Butt)

Volitional Resistance to Christianity Often Masquerades as Rational Opposition

265In a recent blog post I offered three reasons why people typically reject a truth claim. Sometimes folks simply have rational doubts based on the evidence, some people have doubts that are purely emotional, and others deny the truth for volitional reasons. Until the age of thirty-five, I rejected the claims of Christianity (and theism in general). As an atheist, I adamantly identified myself in the first category of skeptics: I was a rational objector. When asked about my resistance, I repeatedly told people it was based on the lack of convincing evidence for Christianity and an abundance of evidence supporting naturalistic processes (like evolution). After examining the evidence and changing my mind, I revisited my prior opposition and realized much of my resistance was simply a matter of volition. At some point I had to ask myself, “Am I rejecting this because there isn’t enough evidence, or because I don’t want there to be enough evidence?”

After writing the post related to rational, emotional and volitional objections, I received the following note from an atheist who comments occasionally:

“I would place myself firmly in your first category, Jim: I’m not convinced by Christianity because I don’t see evidence for it. But I would not say it’s because I lack information – it’s rather that I have too much information, especially information about how the real world works. Your placing yourself in the third category, that of volitionally rejecting God, is telling. Almost all the Christians I know who were once atheists place themselves either here or in the second category, rejecting God because they hate Him. And almost all the atheists I know fit into the first, rational category. I would almost be tempted to say that you were never a ‘true’ atheist. It seems also to be a widespread belief among Christians that most of us atheist are god-haters or self-lovers. I guess that fits in with numerous Scriptural verses, but it doesn’t reflect reality on the ground in my experience.”

I immediately recognized the words of this atheist reader. They are my words, spoken many years before I became a Christian. All the atheists I knew (virtually all my friends at the time) identified themselves in the first category as rational objectors. I’ll bet Antony Flew, the famous British philosopher and atheist, would also have identified himself in this camp prior to becoming a theist. I don’t knowanyone who was once an atheist who would ever have identified themselves as anything other than a rational objector. This really shouldn’t surprise us.

Looking back at my own life as a young man who spent nine years in the university (prior to returning for seven more), I now recognize a simple truth: The more I thought I knew, the less teachable I became. My educational self-confidence led to a form of self-reliance in many aspects of my life, including the foundational worldview I constructed along the way. My “rational” resistance to theism was deeply tainted by my desire to be the author of my own worldview (rather than the acceptor of someone else’s). I don’t think this is all that uncommon for people who think they know something. That’s why virtually every skeptic identifies himself as a rational resistor, and I think this is also why those who consider themselves educated often reject any theistic worldview that requires them to submit their authority.

Theistic claims are unlike virtually any other claim we might consider. Every day we weigh the evidence related to all kinds of important decisions. Which car would be the best for my family? What school should I attend? Which career path is best suited to my skill set? We evaluate the evidence and options without thinking much about the role volition and emotion are playing. But make no mistake about it, our wills and emotions are always at work, even when we would deny this is the case. Our decisions related to theistic claims are far more critical than other decisions we might make. As C.S. Lewis wrote in God in the Dock, “Christianity is a statement which, if false, is of no importance, and, if true, is of infinite importance. The one thing it cannot be is moderately important.” Even before we begin to examine the evidence related to Christianity, we understand the implications of any future decision. If we reject Christianity (or theism broadly), we get to continue living as the ruling authority of our own lives. If we accept, we must submit to a much greater authority. Our decision related to God’s existence has a deep impact on every other decision we make going forward. This decision related to theism is foundational in a way unlike any other. It’s foolish to think this plays no part in how we might consider the question in the first place.

Our wills and desires are often deeply connected to the rational resistance we offer prior to submitting to the truth of theism. I would never have admitted to any volitional resistance as an atheist, and it shouldn’t surprise us when other atheists also deny this to be the case. Volitional resistance to Christianity often masquerades as rational opposition.

J. Warner Wallace is a Cold-Case Detective, a Christian Case Maker, and the author of Cold-Case Christianity

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 14 David Friedrich Strauss (Feature on artist Roni Horn )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 13 Jacob Bronowski and Materialistic Humanism: The World-View of Our Era (Feature on artist Ellen Gallagher )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 12 H.J.Blackham and Materialistic Humanism: The World-View of Our Era (Feature on artist Arturo Herrera)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 11 Thomas Aquinas and his Effect on Art and HOW SHOULD WE THEN LIVE? Episode 2: THE MIDDLES AGES (Feature on artist Tony Oursler )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 10 David Douglas Duncan (Feature on artist Georges Rouault )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 9 Jasper Johns (Feature on artist Cai Guo-Qiang )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 8 “The Last Year at Marienbad” by Alain Resnais (Feature on artist Richard Tuttle and his return to the faith of his youth)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 7 Jean Paul Sartre (Feature on artist David Hooker )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 6 The Adoration of the Lamb by Jan Van Eyck which was saved by MONUMENT MEN IN WW2 (Feature on artist Makoto Fujimura)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 5 John Cage (Feature on artist Gerhard Richter)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 4 ( Schaeffer and H.R. Rookmaaker worked together well!!! (Feature on artist Mike Kelley Part B )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 3 PAUL GAUGUIN’S 3 QUESTIONS: “Where do we come from? What art we? Where are we going? and his conclusion was a suicide attempt” (Feature on artist Mike Kelley Part A)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 2 “A look at how modern art was born by discussing Monet, Renoir, Pissaro, Sisley, Degas,Cezanne, Van Gogh, Gauguin, Seurat, and Picasso” (Feature on artist Peter Howson)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 1 HOW SHOULD WE THEN LIVE? “The Roman Age” (Feature on artist Tracey Emin)

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Woody Allen: The Stand-Up Years 1964-1968 (Part 6)

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Woody Allen Stand Up Comic 1964 1968 11 Oral Contraception

 

Woody Allen – The Stand-Up Years 1964-1968

ON JANUARY 08, 2015, 11:00PM
woodyallen-thestandupyearsB+
RELEASE DATE
JANUARY 13, 2015
LABEL
RAZOR & TIE
FORMATS
DIGITAL, VINYL, CD
Woody Allen is 79 now, and he’s still working, still making movies of decent to marvelous quality every year, yet, one has to start wondering what he’ll be remembered most for when his time is done. It’s probably an obnoxious side effect of old age: existential evaluation. Amidst all the hype, legacy, and scandal surrounding Woody Allen as a brand-name writer, director, actor, neurotic, and potentially dubious family man, Allen above all has been a consummate joke maker. He’s just always been an incredibly funny guy.Listening to The Stand-Up Years 1964-1968 is a delightful timepiece and a fabulously constructed best-of portrait of Woody Allen.Stand-Up Years culls materials from Allen’s three albums in the ‘60s, along with previously unheard bits. The compilation’s a funny thing not just because of Allen’s sense of humor, but because Allen resisted doing stand-up for the longest time. Allen was only secondarily interested in stand-up; he’s admitted to always thinking of himself as a pure playwright. Yet, when he met with the likes of Jack Rollins and Charles Joffe, “the Rolls Royce of management,” as Allen brags in the album, he was provoked into being a comedian. Of course, Allen resisted at first and then went to work making the jokes with his typical nebbish fervor. Allen drops anecdotes about how Jack Rollins saw him as nothing but pure potential, the makings of a major star, and was incredibly supportive and willing to tap the comic’s unrealized gifts. Nice one, Rollins.Admittedly, much of The Stand-Up Years was already heard in the perfect 1999 collectionStandup. The last five tracks are just excerpts from Robert B. Weide’s phenomenal Woody Allen: A Documentary from 2012. Still, that doesn’t make Allen’s jokes any less funny or this package less intriguing. Everyone’s fully aware of his distinctly East Coast nasally aura, and it doesn’t jive with everyone. If you want shouty observations and Aziz Ansari-style parodies, there are hundreds of aggressive comedy podcasts out there right now ripe for the picking. If you want a shrewd, witty, and articulate misanthrope at the top of his game, then get in on this. Allen was not into the art of forbearance — he rushed through jokes with anxiously snide mastery.In a way, Stand-Up Years feels like the loving end of an era for certain comics: the Henny Youngman-style Catskill cats. The Borscht Belt punchliners. Woody Allen, while infatuated with the likes of Mort Sahl and Shelley Berman, brought his own take on comedy. He gave humor a new mode of personality-driven style. In Allen’s case, it was pure self-depreciation. Stand-Up Years gives us Allen talking about failed marriages (“Second Marriage”), his bumbling career (“The Vodka Ad”), his weird family (“My Grandfather”), and some of the finest awkward sexual encounters you’ll ever hear (“Vegas” tears down the house).  But that’s not to say Allen doesn’t indulge in out-there scenarios about hypnosis or a sci-fi film about aliens in need of slacks. It’s like listening to and understanding the classical arts of telling a joke and having a voice. Woody’s presence was unmistakable. Still is. It becomes so amazingly clear while listening to this. The album takes on a complicated quality in how it plays the jokes, then ends with Allen’s self-evaluation of his live audience heyday. Still, and most importantly, the jokes play the rooms.Allen’s punchline summing up his artistic integrity losing out in the presence of money in his bit “The Vodka Ad” kills every time. “Down South” is still a blisteringly tense tale of Southern-fried phobias regarding the KKK and hangings, told tellingly by a Jewish, left-wing New Yorker, about a great, big mix-up when Allen dresses as a white ghost for a Halloween party and ends up at a Klan rally (“I must’a said ‘grits’ 50 times”). There’s even the “Lost Generation” bit here, which inspired Midnight in Paris many years later.Perhaps one of the funniest finds is over five minutes of mixed questions and answers he would do at the end of his sets. It’s the funniest and most telling part of the album. Allen talks about his “pro-Catholic pornographic musical” and his political status as a “registered pervert.” That last thing is an “independent party,” Allen nonplusses. During a show, a woman mortifyingly asks Allen if he’s ever “been picked up by a homosexual.” Allen coyly repeats the question, for clarity, then plainly replies, “No, sir.” Quintessential Allen: peerless, depraved, and self-conscious while getting the last, and best, laugh.Essential Tracks: “The Vodka Ad”, “Down South”, and “Vegas”____________

Woody Allen Stand Up Comic 1964 1968 19 My Marriage

I have spent alot of time talking about Woody Allen films on this blog and looking at his worldview. He has a hopelessmeaningless, nihilistic worldview that believes we are going to turn to dust and there is no afterlife. Even though he has this view he has taken the opportunity to look at the weaknesses of his own secular view. I salute him for doing that. That is why I have returned to his work over and over and presented my own Christian worldview as an alternative.

My interest in Woody Allen is so great that I have a “Woody Wednesday” on my blog www.thedailyhatch.org every week. Also I have done over 30 posts on the historical characters mentioned in his film “Midnight in Paris.” (Salvador DaliErnest Hemingway,T.S.Elliot,  Cole Porter,Paul Gauguin,  Luis Bunuel, and Pablo Picassowere just a few of the characters.)

Woody Allen – “The New Comic” from The Stand-Up Years

Published on Dec 4, 2014

Woody Allen – “The Stand-Up Years” Available January 13, 2015. Pre-order on Amazon: http://www.amazon.com/The-Stand-Up-Ye…

-INCLUDES ALL THREE LIVE STAND-UP ALBUMS RECORDED BETWEEN 1964-1968
-REMASTERED AND AVAILABLE ON CD AND DIGITALLY
-BONUS MATERIAL INCLUDES: AUDIENCE Q&A AND OVER 20 MINUTES OF AUDIO EXCERPTS FROM WOODY ALLEN: A DOCUMENTARY

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Related posts:

WOODY WEDNESDAY Woody Allen’s past movies and the subject of the Meaning of Life examined by Kyle Turner

____ Woody Allen’s past movies and the subject of the Meaning of Life examined!!! Out of the Past: Woody Allen, Nostalgia, the Meaning of Life, and Radio Days Kyle Turner Jul 25, 2014 Film, Twilight Time 1 Comment “I firmly believe, and I don’t say this as a criticism, that life is meaningless.” – Woody […]

WOODY WEDNESDAY Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments

Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight”   I am no Roger Ebert and don’t watch that many movies, but in my opinion, for what it’s worth, Woody Allen’s 2014 film “Magic in […]

WOODY WEDNESDAY My letter to Woody Allen’s Sister!!!!

______________ If anyone has read my blog for any length of time they know that I am the biggest Woody Allen fan of all time. No one except maybe Bergman has attacked the big questions in life as well as Woody Allen. Furthermore, Francis Schaeffer is my favorite Christian Philosopher and he spent a lot […]

Woody Allen to make first TV series for Amazon Prime

  ___________ Woody Allen to make first TV series for Amazon Prime ‘I’m not sure where to begin,’ says 79-year-old Oscar-winner about his small screen debut, as streaming TV service seeks to gain march on rivals with exclusive content Comment: in signing Woody Allen, Amazon Prime has delivered a nuclear blast to the competition Woody […]

Woody Allen: “the whole thing is tragic” July 20, 2012

______________________ Woody Allen: “the whole thing is tragic” July 20, 2012 Mr. Allen, do you truly believe that happiness in life is impossible? This is my perspective and has always been my perspective on life. I have a very grim, pessimistic view of it. I always have since I was a little boy; it hasn’t […]

WOODY WEDNESDAY Dr. Jack Graham Challenges Agnostic Woody Allen’s ‘Hopeless State of Mind’ BY NICOLA MENZIE , CHRISTIAN POST REPORTER August 23, 2013|4:51 pm

______________ Dr. Jack Graham Challenges Agnostic Woody Allen’s ‘Hopeless State of Mind’ BY NICOLA MENZIE , CHRISTIAN POST REPORTER August 23, 2013|4:51 pm Prolific Hollywood filmmaker and religious skeptic Woody Allen maintains in a recent interview that human life on earth is “just an accident” filled with “silly little moments,” and the “best you can […]

WOODY WEDNESDAY Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments

________ Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight” January 7, 2015 by Roger E. Olson 9 Comments Woody Allen Should Have Quoted Pascal: “Magic in the Moonlight”   I am no Roger Ebert and don’t watch that many movies, but in my opinion, for what it’s worth, Woody Allen’s 2014 film “Magic […]

WOODY WEDNESDAY Woody Allen to make first TV series for Amazon Prime

___________ Woody Allen to make first TV series for Amazon Prime ‘I’m not sure where to begin,’ says 79-year-old Oscar-winner about his small screen debut, as streaming TV service seeks to gain march on rivals with exclusive content Comment: in signing Woody Allen, Amazon Prime has delivered a nuclear blast to the competition Woody Allen […]

My letter to Woody Allen’s Sister!!!

If anyone has read my blog for any length of time they know that I am the biggest Woody Allen fan of all time. No one except maybe Bergman has attacked the big questions in life as well as Woody Allen. Furthermore, Francis Schaeffer is my favorite Christian Philosopher and he spent a lot of […]

WOODY WEDNESDAY Woody Allen‘s latest film finally has a release date and a studio. Irrational Man will be distributed by Sony Pictures Classics,

_______ Woody Allen’s New Film Is Called ‘Irrational Man’ Posted on Friday, January 30th, 2015 by Angie Han 85 SHARES TwitterFacebook Woody Allen‘s latest film finally has a release date and a studio. Irrational Man will be distributed by Sony Pictures Classics, as were Allen’s last six films.Emma Stone, Joaquin Phoenix, Parker Posey, and Jamie […]

 

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THE ARTISTS, POETS and PROFESSORS of BLACK MOUNTAIN COLLEGE (the college featured in the film THE LONGEST RIDE) Part 2 SUSAN WEIL and ROBERT RAUSCHENBERG

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Both Susan Weil and Robert Rauschenberg who are featured in this post below were good friends of the composer John Cage who was featured in my first post in this series. Check out the article, “When John Cage met Robert Rauschenberg.”

Legend of Black Mountain

Uploaded on Apr 20, 2008

Black Mountain College was a phenomenal circumstance. The fact that so many artists of that level in their respective fields could organize and develop such an institution is unparalleled. Who would’ve thought that a small mountain town of western North Carolina would be their home, albeit for a short while.

SUSAN WEIL and ROBERT RAUSCHENBERG at Black Mountain College

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Susan Weil and Rauschenberg on their wedding day with members of their wedding party, Outer Island, Connecticut, June 1950

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Black Mountain College Work Camp Publication 1941

Black Mountain College Museum + Arts Center
Alt. Creator D.H. Ramsey Library, Special Collections
Subject Keyword Black Mountain College; Black Mountain College Museum + Arts Center ; colleges ; experimental community ;  Progressive education ; Progressives ; Bauhaus ; German immigration ; immigrants ; Marcel Breuer ; Walter Gropius ; John Andrew Rice ; Josef Albers ; Anni Albers ; Hazel Larsen Archer ; Buckminster Fuller ; Ruth Asawa ; Charles Olson ; Robert Rauschenberg ; Merce Cunningham ; John Cage ; Robert Creeley ; Jonathan Williams ; Franz Kline ; photography ; Appalachia ;  education ; National Historical Register ; architecture ; farms ; farming ; craft ; art ; textiles ; weaving ; ceramics ;  music ;  social services ; social work ; schools ; sociology ;
Subject LCSH Black Mountain College (Black Mountain, N.C.)
Arts — Study and teaching (Higher) — North Carolina — Black Mountain
Albers, Josef
Albers, Anni
Archer, Hazel Larsen
Asawa, Ruth
Cage, John
Creeley, Robert
Cunningham, Merce
Fuller, Buckminster
Kline, Franz
Olson, Charles
Rauschenberg, Robert
Rice, John Andrew
Williams, Jonathan
Education — Appalachian Region Rural schools — Appalachian Region,  Southern
Schools — Appalachian Region

The Longest Ride Official Trailer #1 (2015) – Britt Robertson Movie HD

Black Mountain College: A Thumbnail Sketch

Published on Aug 14, 2014

A 13 minute documentary about the legendary arts school in the mountains of North Carolina

It has been my practice on this blog to cover some of the top artists of the past and today and that is why I am starting in this current series on Black Mountain College (1933-1955). Here are some links to some to some of the past posts I have done on other artists: Marina AbramovicIda Applebroog,  Matthew Barney,  Allora & Calzadilla,   Christo and Jeanne-Claude Olafur EliassonTracey EminJan Fabre, Makoto Fujimura, Hamish Fulton, Ellen GallaugherRyan Gander, John Giorno,  Cai Guo-QiangArturo HerreraOliver HerringDavid Hockney, David HookerRoni HornPeter HowsonRobert Indiana, Jasper Johns, Martin KarplusMargaret KeaneMike KelleyJeff KoonsSally MannKerry James MarshallTrey McCarley,   Paul McCarthyJosiah McElhenyBarry McGeeTony OurslerWilliam Pope L.Gerhard RichterJames RosenquistSusan RothenbergGeorges Rouault, Richard SerraShahzia SikanderHiroshi SugimotoRichard TuttleLuc TuymansBanks ViolettFred WilsonKrzysztof WodiczkoAndrea Zittel,

ROBERT RAUSCHENBERG SYNOPSIS

Considered by many to be one of the most influential American artists due to his radical blending of materials and methods, Robert Rauschenberg was a crucial figure in the transition from Abstract Expressionism to later modern movements. One of the key Neo-Dada movement artists, his experimental approach expanded the traditional boundaries of art, opening up avenues of exploration for future artists. Although Rauschenberg was the enfant terrible of the art world in the 1950s, he was deeply respected and admired by his predecessors. Despite this admiration, he disagreed with many of their convictions and literally erased their precedent to move forward into new aesthetic territory that reiterated the earlier Dada inquiry into the definition of art.

ROBERT RAUSCHENBERG KEY IDEAS

Engaged in questioning the definition of a work of art and the role of the artist, Rauschenberg shifted from a conceptual outlook where the authentic mark of the brushstroke described the artist’s inner world towards a reflection on the contemporary world, where an interaction with popular media and mass-produced goods reflected a unique artistic vision.
Rauschenberg merged the realms of kitsch and fine art, employing both traditional media and found objects within his “combines” by inserting appropriated photographs and urban detritus amidst standard wall paintings.
Rauschenberg believed that painting related to “both art and life. Neither can be made.” Following from this belief, he created artworks that move between these realms in constant dialogue with the viewers and the surrounding world, as well as with art history.
Preferring to leave the interpretation of the works to his viewers, Rauschenberg allowed chance to determine the placement and combination of the different found images and objects in his artwork such that there were no predetermined arrangements or meanings embedded within the works.

INTO THE GAP: ROBERT RAUSCHENBERG

Today is the birthday of Robert Rauschenberg, an artist who played a pivotal role in the development of American art after WWII.

This blog post, written by Museum President Don Bacigalupi, is excerpted from Crystal Bridges’ permanent collection catalog, Celebrating the American Spirit: Masterworks from Crystal Bridges Museum of American Art. 

Robert Rauschenberg (1925-2008) Untitled 1963 Oil, graphite and silkscreen ink on canvas

The art world of the late 1940s and early 1950s had been dominated by the grand gestures and larger-than-life personas of the abstract expressionists. Artists such as Jackson Pollock and Willem de Kooning created images in which their bold, expressive marks were understood to be records of their inner lives—painting as revelation. Younger artists like Rauschenberg and Jasper Johns attacked the cult of personality promulgated by the New York School. Juxtaposing the highly lauded gestural brushstroke with modes of representation drawn from mass culture, they challenged viewers to assess which manner of image making more effectively conveyed meaning. Rauschenberg and Johns are credited with both reviving an interest in dada and surrealism and with paving the way for the development of pop art in the 1960s.

Rauschenberg spent the 1950s experimenting with novel ways to narrow the gap between art and life, bringing commonplace images and materials into his work through methods including collage, assemblage, and transfer drawing. In 1962, he began to silkscreen photographic images into his compositions. The following year he produced Untitled, a painting dominated by an anonymous photograph of a contemporary urban street scene. Unlike Rauschenberg’s earlier assemblages and “combines,” in which the artist assembled multiple small images and objects into larger, fragmentary wholes, here a single black-and-white candid shot occupies the entire canvas. In contrast to Rauschenberg’s earlier picture-making techniques, silkscreen allowed the artist to render any given image in any given scale.

In Untitled, the enlarged, silkscreened snapshot serves as the ground onto which Rauschenberg applied additional layers of signification, including discrete passages of dripping paint, scumbled washes, stenciled letters of various sizes, and some apparent rubbings or erasures. Photographic and hand-drawn images become nearly indistinguishable. A “one way” street sign that is part of the photograph points at and is balanced by an upside-down cruciform shape drawn in graphite across the painted surface. A rectangular Coca-Cola sign in the upper right of the photograph is mirrored at left by an array of applied uppercase letters that suggest words (“Strange” or “X-change” or even “Sex Change”).

Confronted with the large, sign-filled photograph and hints of readable language, the viewer cannot help but search for narrative meaning. Yet the sheer number and diversity of marks and signs in the picture frustrate this enterprise, leading the viewer down a series of interpretive dead ends. A restless and prolific image maker, Rauschenberg created pleasingly composed and visually enticing works that rarely cohere into a traditional meaning or story. Ultimately, Rauschenberg succeeded in focusing his viewers’ attention on the complex interplay between art and life, opening up myriad possibilities for future generations of artists.

Studio Tour with Susan Weil

Published on Jan 13, 2015

Studio Tour with artist Susan Weil, recorded on videotape in 1997–part of the Black Mountain College Museum + Arts Center Oral History Project. Edited for the 2015 exhibition, poemumbles: 30 years of Susan Weil’s poem/images (Jan. 30 – May 23). http://www.blackmountaincollege.org/e…

Interview with Susan Weil

Published on Jan 29, 2015

Interview with artist Susan Weil, recorded in 2002 as part of the Black Mountain College Museum + Arts Center Oral History Project. Edited as part of the 2015 exhibition, poemumbles: 20 years of Susan Weil’s poem/images (Jan. 30 – May 23). http://www.blackmountaincollege.org/e…

Artist Interview: Susan Weil

Published on Apr 17, 2013

Susan Weil discusses her artistic process, including examples of her own work, and reflects on her childhood and influences in this Artist Interview.

Susan Weil

From Wikipedia, the free encyclopedia
Susan Weil
Born 1930
New York
Nationality American
Education Académie Julian
Black Mountain College
Art Students League of New York
Known for 3D Painting
Awards Guggenheim Fellowship,National Endowment for the Arts

Susan Weil (born 1930) is an American artist best known for her experimental three-dimensional paintings, which combine figurative illustration with explorations of movement and space.

Weil was born in New York. In the late 1940s she was involved in a relationship with Robert Rauschenberg. The two met while attending the Académie Julian in Paris, and in 1948 both decided to attend Black Mountain College in North Carolina to study under Josef Albers. At the Art Students League of New York Susan Weil studied with Vaclav Vytlacil and Morris Kantor.[1] Robert Rauschenberg and Susan Weil were married in the summer of 1950. Their son, Christopher was born on July 16, 1951. The two separated in June 1952 and divorced in 1953.

In addition to creating painting and mixed media work, Weil has experimented with bookmaking and has produced artist’s books with Vincent Fitzgerald and Company since 1985. During a period of eleven years Weil experimented with etchings and handmade paper while also keeping a daily notebook of drawings inspired by the writings of James Joyce. Her exhibition, Ear’s Eye for James Joyce, was presented at Sundaram Tagore gallery in New York in 2003.

Weil has been the recipient of the prestigious Guggenheim Fellowship and awards from the National Endowment for the Arts. Her work has been shown in major solo exhibitions in the United States and Europe, notably at Black Mountain College Museum + Arts Center in Asheville, North Carolina, and the Museo Reina Sofia in Madrid, though museums in her home state of New York have yet to organize a comprehensive retrospective of her work. Her work is in many major museum collections, including the Metropolitan Museum of Art, Museum of Modern Art, the Victoria and Albert Museum, and the J. Paul Getty Museum.
She continues to live and work in New York City.

References[edit]

  1. Jump up^ NY Arts Magazine, Erik La Prade Interviews Susan Weil, 2006

External links[edit]

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Robert Rauschenberg later left his wife and started living with Jasper Johns. Wikipedia noted:

Johns studied a total of three semesters at the University of South Carolina, from 1947 to 1948.[2] He then moved to New York City and studied briefly at the Parsons School of Design in 1949.[2] In 1952 and 1953 he was stationed in Sendai, Japan, during the Korean War.[2]

In 1954, after returning to New York, Johns met Robert Rauschenberg and they became long-term lovers. For a time they lived in the same building as Rachel Rosenthal.[3][4][5] In the same period he was strongly influenced by the gay couple Merce Cunningham (a choreographer) and John Cage (a composer).[6][7] Working together they explored the contemporary art scene, and began developing their ideas on art. In 1958, gallery owner Leo Castelli discovered Johns while visiting Rauschenberg‘s studio.[2] Castelli gave him his first solo show. It was here that Alfred Barr, the founding director of New York’s Museum of Modern Art, purchased four works from this show.[8] In 1963, Johns and Cage founded Foundation for Contemporary Performance Arts, now known as Foundation for Contemporary Arts in New York City.

Johns currently lives in Sharon, Connecticut, and on the Island of Saint Martin.[9] Until 2012, he lived in a rustic 1930s farmhouse with a glass-walled studio in Stony Point, New York. He first began visiting St. Martin in the late 1960s and bought the property there in 1972. The architect Philip Johnson is the principal designer of his home, a long, white, rectangular structure divided into three distinct sections.[10]

Left to right: John Cage, Merce Cunningham
and Robert Rauschenberg. London. 1964

THE FLIGHT OF PIGEONS FROM THE PALACE

Mostly stories, plus other odds and ends

Robert Rauschenberg & Jasper Johns – A relationship in three photographs

by ob

Image

Robert Rauschenberg & Jasper Johns

Jasper Johns and Robert Rauschenberg shortly before their breakup.

“Most critics agree that Johns and Rauschenberg’s finest work grew out of the period between 1954 and 1961, a time of intense emotional involvement during which they searched together for an alternative to Abstract Expressionist picturemaking. Rauschenberg once remarked of this moment “We gave each other permission…”

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Flag, Encaustic, oil and collage on fabric mounted on plywood,1954-55 by Jasper Johns:

Below you will see commentary by Schaeffer on the art of Jasper Johns and the modern artists like him. 

Why am I doing this series on BLACK MOUNTAIN COLLEGE and their modern art specialists like Susan Weil and her ex-husband Robert Rauschenberg? John Fischer probably expressed it best when he noted:

Schaeffer was the closest thing to a “man of sorrows” I have seen. He could not allow himself to be happy when most of the world was desperately lost and he knew why. He was the first Christian I found who could embrace faith and the despair of a lost humanity all at the same time. Though he had been found, he still knew what it was to be lost.

Schaeffer was the first Christian leader who taught me to weep over the world instead of judging it. Schaeffer modeled a caring and thoughtful engagement in the history of philosophy and its influence through movies, novels, plays, music, and art. Here was Schaeffer, teaching at Wheaton College about the existential dilemma expressed in Michelangelo Antonioni’s 1966 film, Blowup, when movies were still forbidden to students. He didn’t bat an eye. He ignored our legalism and went on teaching because he had been personally gripped by the desperation of such cultural statements.

Schaeffer taught his followers not to sneer at or dismiss the dissonance in modern art. He showed how these artists were merely expressing the outcome of the presuppositions of the modern era that did away with God and put all conclusions on a strictly human, rational level. Instead of shaking our heads at a depressing, dark, abstract work of art, the true Christian reaction should be to weep for the lost person who created it. Schaeffer was a rare Christian leader who advocated understanding and empathizing with non-Christians instead of taking issue with them.

In ART AND THE BIBLE  Francis Schaeffer observed, “Modern art often flattens man out and speaks in great abstractions; But as Christians, we see things otherwise. Because God has created individual man in His own image and because God knows and is interested in the individual, individual man is worthy of our painting and of our writing!!”

Francis Schaeffer in his book ART AND THE BIBLE noted:

I am convinced that one of the reasons men spend millions making art museums is not just so that there will be something “aesthetic,” but because the art works in them are an expression of the mannishness of man himself. When I look at the pre-Colombian silver of African masks or ancient Chinese bronzes, not only do I see them as works of art, but I see them as expressions of the nature and character of humanity. As a man, in a certain way they are myself, and I see there the outworking of the creativity that is inherent in the nature of man.

Many modern artists, it seems to me, have forgotten the value that art has in itself. Much modern art is far too intellectual to be great art. I am thinking, for example, of such an artist as Jasper Johns. Many modern artists do not see the distinction between man and non-man, and it is a part of the lostness of modern man that they no longer see value in the work of art. 

Charles Darwin’s view that man is no more than a product of chance of time is the major reason many people have come to believe that there is no real “distinction between man and non-man.” Darwin himself felt this tension. Recently I read the  book Charles Darwin: his life told in an autobiographical chapter, and in a selected series of his published letters  and I noticed that Darwin himself blamed his views of science for making him lose his aesthetic tastes and his enjoyment of the beauty of nature. Below are some quotes from Darwin and some comments on them from the Christian Philosopher Francis Schaeffer.

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

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

Francis Schaeffer commented:

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

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.”

Francis Schaeffer observed:

So he sees here exactly the same that I would labor and what Paul gives in Romans chapter one, and that is first this tremendous universe [and it’s form] and the second thing, the mannishness of man and the concept of this arising from chance is very difficult for him to come to accept and he is forced to leap into this, his own kind of Kierkegaardian leap, but he is forced to leap into this because of his presuppositions but when in reality the real world troubles him. He sees there is no third alternative. If you do not have the existence of God then you only have chance. In my own lectures I am constantly pointing out there are only two possibilities, either a personal God or this concept of the impersonal plus time plus chance and Darwin understood this . You will notice that he divides it into the same exact two points that Paul does in Romans chapter one into…

Here below is the Romans passage that Schaeffer is referring to and verse 19 refers to what Schaeffer calls “the mannishness of man” and verse 20 refers to Schaeffer’s other point which is  “the universe and it’s form.”Romans 1:18-22Amplified Bible (AMP) 18 For God’s [holy] wrath and indignation are revealed from heaven against all ungodliness and unrighteousness of men, who in their wickedness repress and hinder the truth and make it inoperative. 19 For that which is known about God is evident to them and made plain in their inner consciousness, because God [Himself] has shown it to them. 20 For ever since the creation of the world His invisible nature and attributes, that is, His eternal power and divinity, have been made intelligible and clearly discernible in and through the things that have been made (His handiworks). So [men] are without excuse [altogether without any defense or justification], 21 Because when they knew and recognized Him as God, they did not honor andglorify Him as God or give Him thanks. But instead they became futile and godless in their thinking [with vain imaginings, foolish reasoning, and stupid speculations] and their senseless minds were darkened. 22 Claiming to be wise, they became fools [professing to be smart, they made simpletons of themselves].

Francis Schaeffer noted that in Darwin’s 1876 Autobiography that Darwin  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.

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“I DON’T GET IT” : GETTING COMFORTABLE WITH SOME OF CRYSTAL BRIDGES’ MOST CHALLENGING WORKS: JASPER JOHNS

in galleryMuseum guests are sometimes surprised when they draw close to Jasper Johns’s monochromatic paintingAlphabets. From a distance it looks like a grid of rectangles painted in shades of gray.  It’s not until the viewer draws close that the letter forms become visible in each block.

They might just as well all be question marks for some visitors.

What on earth was Johns trying to say with this work? 

A close look reveals that the alphabet is repeated, over and over in sequence, from left to right, top to bottom, one letter per square. The letters are styled after those in common stencil patterns, but it’s clear they are painted by hand: some sharp, some almost dissolving into the background, but each letter lined up in regimented rows. In many boxes the paint is thick, the letters seeming almost pressed into the soft surface of the ground. In others the edges of the box are smeared, imprecise.  And yet the overall effect is of a carefully drawn grid of meaningless type. Like old-fashioned rows of dull lead typesetters type: The painting seems full of the potential for meaning, but….what does it mean?

In the middle of the twentieth century, and led by the American Abstract Expressionists, art became increasingly removed from the practice of representation. While the Ab Ex painters eschewed making paintings that looked like something else in favor of large gestures, drips, and splatters intended be spontaneous: to represent the interior emotional life of the artist; other painters sought to strip away all illusion in their work, insisting that a painting be a painting—color, shape, and line in paint on a flat canvas, independent of meaning. The critic Clement Greenberg wrote that “Content is to be dissolved so completely into form that the work of art…cannot be reduced in whole or in part to anything not itself.”

Artists like Johns began to question this approach, and to experiment with ways to create or imply meaning in their work. Johns is best known for his early FLAG PAINTINGS, which also provide a basis for understanding some of the ideas he was working with in Alphabets.  Johns’ representations of the American flag were, indeed, flat paintings; yet they were also fraught with all the many levels and nuances of meaning that a symbol as powerful as a national flag can carry. The paintings were representations of a flag, yes, but also, like actual flags, the works were simply color on cloth: not just the symbol of the thing, but perhaps in a way the thing itself.

Alphabet detail very close

The alphabet painting works in a similar fashion. It is, without a doubt, a painting. The letters and the boxes that contain them are rendered in a highly “painterly” way, emphasizing the fact of the painting as a work of art—hand-crafted using daubs of thick paint on a flat surface. Yet the artist’s exclusive use of gray in the painting is a nod to the black-and-white of print—an oblique reference to the letters as type, not paint, as is the placement of each letter in a box like the lead type once used in printing.

Alphabet detail medium

Johns deliberately selected the alphabet as his subject because it is the basis for all our written language, the building blocks of print (there are those boxes again). And yet the shapes of the letters bear no meaning on their own. Without an understanding of the written code, the letters are just shapes (consider how lost English-language readers feel when faced with a line of Chinese characters, for example). The lines of letters make no words, and yet they are aligned in the familiar order we are taught as children, from a to z, left to right, top to bottom.  It is possible to “read” the painting this way and make sense of it:  Aha! It’s the alphabet!  (Meaning!) This particular sequence of letters, like the stars and stripes of our flag, is heavily loaded with all the potential meanings the alphabet represents, from the simple phrases of Dick and Jane to Man’s Search for Meaning.  And yet, each of the letters is just a letter, devoid of literal meaning.

So:   Is Alphabets just a painting? A representation of a thing?  Or a thing itself?  In a way the painting really IS a big question mark:  How do we glean meaning from a work of art?

Adrian Rogers on Darwinism and Time and Chance:

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

#02 How Should We Then Live? (Promo Clip) Dr. Francis Schaeffer

10 Worldview and Truth

Two Minute Warning: How Then Should We Live?: Francis Schaeffer at 100

Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR

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Jack Huston Interview – The Longest Ride

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The Experimenters

CHANCE AND DESIGN AT BLACK MOUNTAIN COLLEGE

EVA DÍAZ

256 pages | 20 color plates, 58 halftones | 7 x 10 | © 2015

In the years immediately following World War II, Black Mountain College, an unaccredited school in rural Appalachia, became a vital hub of cultural innovation. Practically every major artistic figure of the mid-twentieth century spent some time there: Merce Cunningham, Ray Johnson, Franz Kline, Willem and Elaine de Kooning, Robert Motherwell, Robert Rauschenberg, Dorothea Rockburne, Aaron Siskind, Cy Twombly—the list goes on and on. Yet scholars have tended to view these artists’ time at the College as little more than prologue, a step on their way to greatness. With The Experimenters, Eva Díaz reveals the importance of Black Mountain College—and especially of three key teachers, Josef Albers, John Cage, and R. Buckminster Fuller—to be much greater than that.

Díaz’s focus is on experimentation. Albers, Cage, and Fuller, she shows, taught new models of art making that favored testing procedures rather than personal expression. These methodologies represented incipient directions for postwar art practice, elements of which would be sampled, and often wholly adopted, by Black Mountain students and subsequent practitioners. The resulting works, which interrelate art and life in a way that imbues these projects with crucial relevance, not only reconfigured the relationships among chance, order, and design—they helped redefine what artistic practice was, and could be, for future generations.

Offering a bold, compelling new angle on some of the most widely studied creative figures of modern times, The Experimenters does nothing less than rewrite the story of art in the mid-twentieth century.

Nature
“What links systems theorist and architect R. Buckminster Fuller with artistic innovators such as Josef Albers and John Cage? The answer is Black Mountain College, North Carolina. . . . As art historian Eva Díaz reveals in this engrossing study, their explorations in materials, form, chance, and indeterminacy were never less than electrifying. Her sympathetic portrait of Fuller as a utopian saving the world through geodesic geometry is particularly assured.”
Judith Rodenbeck, Sarah Lawrence College
“Terrific. Black Mountain College has long been a lodestone for those interested in alternative educational models and in artistic innovation. Nevertheless, the major historical literature on the College still rests on largely anecdotal histories, with a tendency to jaunty optimism in lieu of criticality. There is nothing quite like The Experimenters out there—not on Black Mountain College, not on art making, and not on pedagogy.”
Helen Molesworth, Museum of Contemporary Art, Los Angeles
“By parsing three different versions of experimentation—performed by Josef Albers, John Cage, and Buckminster Fuller—Díaz shows us how their individual efforts were part of a shared commitment to art’s capacity to reinvent the world, to alter how we see, experience, and shape it in our own image. In the name of experimentation each of the artists suspended, if only for a moment, the metrics of failure and success, and replaced them instead with the values of intellectual pleasure, expanded sensory experiences, and aesthetic innovation. While the book is undoubtedly a historical account of a particular time and place, it is also a road map for many paths that, while not taken, still remain open.”
Alexander Alberro, author of Conceptual Art and the Politics of Publicity
“In this highly evocative and well-executed study, Díaz explores the innovative pedagogical practices that were developed at Black Mountain College in its heyday. Respectful of the distinct teaching methods of the College’s most notable faculty, Diaz nonetheless finds a common experimental basis to the artworks and inventions produced by their students in the late 1940s and early 1950s. The Experimenters is nuanced, erudite, and intellectually wide-ranging. It will be essential reading for anyone interested in the development of mid-twentieth-century art in the United States.”

Nicholas Sparks pictured below:

Film Review

By Frederic and Mary Ann Brussat

The Longest Ride
Directed by George Tillman, Jr.
20th Century Fox 4/15 Feature Film
PG-13 some sexuality, partial nudity, some war and sports action

Sophia Danko (Britt Robertson) is an art history major at Wake Forest University in North Carolina who goes to a rodeo with a sorority sister. There they thrill to the agility and strength of the bull riders, especially Luke Collins (Scott Eastwood), who is just back in the game after a year off due to injury. After a successful ride, he gives his hat to Sophia. Although she is attracted to him, she feels there is no point in meeting him again since she is graduating soon and has an internship in a Manhattan art gallery.

It’s not long, though, before Sophia follows the instincts of her heart and goes out on a date with Luke. He charms her with flowers and a moonlight lakeside picnic. He is a simple man who wants to keep the family ranch going while she yearns for the allure of the art world in New York City.

Not only is Luke a gentleman but he proves himself to be a hero when he rescues Ira Levinson (Alan Alda) from death in a crashed car. Sophia retrieves a box from the seat of the automobile. Delivering it to the old man at the hospital, she discovers it contains the letters he wrote to Ruth (Oona Chaplin), the love of his life.

Curious about their relationship and how they dealt with setbacks and obstacles, Sophia reads random letters aloud to Ira in hopes they will be healing and lift his spirits. Through flashbacks, we see the shy Ira (Jack Huston), the son of a Jewish tailor in 1940, swept away when first setting eyes on Ruth. He goes to war and returns home with a wound that prevents them from having children. Although he wants to break off the engagement since all she has ever wanted was a large family, they marry anyway. They draw closer together by making a decision to collect art. They take regular trips to Black Mountain College to purchase paintings by many different artists.

George Tillman, Jr. (Soul Food) directs this romantic melodrama about two parallel love stories by the prolific novelist Nicholas Sparks. As has been the case with other movies based on his bestselling books, we expect that many film critics will dismiss this one as trite, weepy, mawkish, escapist, overwrought, a tearjerker, and sentimental slop. But we liked it. We don’t recoil from either predictability or sentiment, and we’re not embarrassed to cry our way through a film’s ending.

Those who enjoy getting an emotional bath at the movies will understand and respect this one’s spiritual message that sacrifices are required to keep love alive in a long marriage. Husbands and wives have to do an elaborate dance of stepping aside to give their loved one what he or she wants. This often involves letting go of ideas, ideals, habits, and dreams we have clung to for years.

Is The Longest Ride formulaic? Yes. Does it contain many romantic cliches? Yes. But hidden away inside the melodrama is a message worth pondering: Give all you have to keep love alive.

APRIL 9, 2015 5:10 PM

Modern, Romance: Touring MoMA with Nicholas Sparks, King of the Tearjerker


By Terry Wyatt/Getty Images.
The best-selling romance author designed his own crash course in Abstract Expressionism to research The Longest Ride.

Before his debut novel The Notebook, the ur-chick-lit text, sold for $1 million in 1995, Nicholas Sparks got by selling dental equipment and pharmaceuticals. Seventeen novels, 90 million copies, and 10 movies later, all in the grab-the-tissues category, Sparks can afford to follow his heart’s desires. In 2006, he founded a private school, the Epiphany School of Global Studies, whose graduates are “health-cognizant, emotionally intelligent, openly generous, deeply humble, visibly trustworthy, and profoundly honest.” Recently, he has taken to collecting art, with an eye toward what complements the decor of his palatial house and its private bowling alley in New Bern, North Carolina.

“That would match my home,” Sparks said recently, looking up at a Gerhard Richter pastoral at the Museum of Modern Art. Andy Warhol wouldn’t make the cut, neither would Edward Ruscha.

“I’m not a massive fan of minimalism,” Sparks said walking past a black-and-white Frank Stella canvas. “It doesn’t move me.”

In his 20 years as a writer, Sparks, 49, has tried many permutations of the “love is the greatest gift of all” chestnut. He studied business in college, and wrote at night. He chose romance as his genre because he noticed, with a salesman’s eye, that there was room in the market. His novels, which promise “extraordinary journeys” and “extraordinary truths,” tend toward maximalism. Lovers, young and old, are pulled apart by doubt, secrecy, and illness, but once they let love in, they can receive “the greatest happiness—and pain” they’ll ever know.

And yet, each book needs new material. In The Longest Ride, Sparks’s 2013 flirtation with art-history fiction, which opens as a film on Friday, a couple in the 1940s begin buying paintings from a group of young artists from Black Mountain College in North Carolina. Decades later those artists are household names—de Kooning, Twombly, Rauschenberg—and the collection is worth more than Sparks’s own real-life fortune many times over. I had invited Sparks to MoMA for a morning tour with Eva Diaz, a professor of art history at Pratt, who recently published The Experimenters: Chance and Design at Black Mountain College, which describes the school as “a vital hub of cultural innovation.”

Amid the crush of school groups, Sparks, dressed in Levi’s and a red Burberry polo shirt, found Diaz, who reminded us that the college’s success sprang from tragedy: Bauhaus artists persecuted by the Nazis had fled to the States, helped establish the unaccredited school, and brought new energy to painting, design, and architecture in America.

To write the story of Ira and Ruth, the collectors in the book, Sparks designed his own crash course in Abstract Expressionism. “I’m certainly nowhere near as knowledgeable,” Sparks said, bowing his head toward Diaz. “I’m a kindergartner compared to a grad student.”

“Hey, I’m a professor,” said Diaz, who wore fading orange lipstick and wild curly hair. On the museum’s third floor, she pointed out four album covers that had circles and squares arranged in whimsical patterns, the work of Black Mountain instructor Josef Albers.

“So much of this is playing with repetition,” she said.

“You can say the same things about my novels,” Sparks said, echoing his critics. “It’s always a love story, it’s North Carolina, it’s a small town, a couple of likeable people.”

And, yet, he insists variations keep the books from feeling formulaic. “There are a few threads of familiarity, but you don’t know the period, you don’t know the age of the characters, you don’t know the dilemma, you don’t know whether it’s first person, third person, limited third person omniscient, some combination, you don’t know whether its going to be happy, sad, or bittersweet.”

Sparks spotted a Jackson Pollock and asked Diaz about the artist’s education. She said Pollock didn’t get an art degree before he established his studio in a barn on Long Island.

“I’m Jackson Pollock in the shed,” said Sparks, who majored in finance, his voice booming in the quiet gallery.

Diaz led Sparks to Willem de Kooning’s “Woman,” the first of a six-part series, which he painted after studying with Albers. Diaz explained that though the gestures on the canvas seem improvised and random, de Kooning spent months making the work. Sparks’s imagery—“in the distance, the banks of a small lake were dotted with cattle, smoky, blue-tipped mountains near the horizon framing the landscape like a postcard”—hews closer to Thomas Kinkade’s than de Kooning’s, but he saw similarities in their processes.

“When I’m creating something, I often know that a section is wrong,” Sparks said. He typically works at a brisk pace, six months per a novel, but a recent paragraph had taken 22 hours. “I sometimes wonder if de Kooning never got it quite right. That’s what I sense in the ‘Woman’ series: he looked at it, and says, ‘So much is right, but it’s not right.’”

In the lobby, Sparks paused to call his driver to take him the seven blocks to the Sherry-Netherland where he was staying. In addition to art, The Longest Ride involves a subplot about a handsome bull rider, played in the film by Scott Eastwood. Sparks had heard there was a bar equipped with a mechanical bull nearby, but declared a limit to his willingness to research his subject.

“I ain’t riding that bull,” he said.

Katia Bachko is the executive editor of The Atavist magazine, and a writer based in New York.

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March 24, 2015 – 12:57 am

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Woody Allen: The Stand-Up Years 1964-1968 (Part 5)

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Fifty Years Ago, Woody Allen PlottedMidnight in Paris in This Stand-up Routine

By

When Woody Allen won the Best Original Screenplay Oscar this year for writing Midnight in Paris, he set a record at age 76 as the oldest person to ever triumph in that category. Turns out, though, the inspiration for the movie came well before Allen’s twilight years: Jake Kroeger at The Nerdistdiscovered a stand-up routine Allen did as a young man where he basically describes much of the plot of Midnight in Paris, nearly 50 years before he actually made the movie. Comic time travel, Ernest Hemingway, Gertrude Stein, Scott and Zelda Fitzgerald … it’s all there, and it’s uncanny! Anybody know if the Woodman ever did any jokes about Copenhagen?

[13] Lost Generation — Woody Allen, Standup Comic: 1964-1968

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I have spent alot of time talking about Woody Allen films on this blog and looking at his worldview. He has a hopelessmeaningless, nihilistic worldview that believes we are going to turn to dust and there is no afterlife. Even though he has this view he has taken the opportunity to look at the weaknesses of his own secular view. I salute him for doing that. That is why I have returned to his work over and over and presented my own Christian worldview as an alternative.

My interest in Woody Allen is so great that I have a “Woody Wednesday” on my blog www.thedailyhatch.org every week. Also I have done over 30 posts on the historical characters mentioned in his film “Midnight in Paris.” (Salvador DaliErnest Hemingway,T.S.Elliot,  Cole Porter,Paul Gauguin,  Luis Bunuel, and Pablo Picassowere just a few of the characters.)

Woody Allen – “The New Comic” from The Stand-Up Years

Published on Dec 4, 2014

Woody Allen – “The Stand-Up Years” Available January 13, 2015. Pre-order on Amazon: http://www.amazon.com/The-Stand-Up-Ye…

-INCLUDES ALL THREE LIVE STAND-UP ALBUMS RECORDED BETWEEN 1964-1968
-REMASTERED AND AVAILABLE ON CD AND DIGITALLY
-BONUS MATERIAL INCLUDES: AUDIENCE Q&A AND OVER 20 MINUTES OF AUDIO EXCERPTS FROM WOODY ALLEN: A DOCUMENTARY

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MUSIC MONDAY The great songs of Arkansan E. M. Bartlett (1885–1941)!!!!

 

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Everybody Will Be Happy Over There (Live)

Published on Nov 22, 2012

Music video by Bill & Gloria Gaither performing Everybody Will Be Happy Over There (Live). (P) (C) 2012 Spring House Music Group. All rights reserved. Unauthorized reproduction is a violation of applicable laws. Manufactured by EMI Christian Music Group,

Camping in Canaan’s Land [Live]

Published on Jun 22, 2012

Music video by Dailey & Vincent performing Camping in Canaan’s Land (feat. Bill & Gloria Gaither) [Live]. (P) (C) 2012 Spring House Music Group. All rights reserved. Unauthorized reproduction is a violation of applicable laws. Manufactured by EMI Christian Music Group,

Just a Little While [Live]

Published on Dec 21, 2012

Music video by Bill & Gloria Gaither performing Just a Little While (feat. Guy Penrod, Rex Nelon, J.D. Sumner and Brock Speer) [Live]. (P) (C) 2012 Spring House Music Group. All rights reserved. Unauthorized reproduction is a violation of applicable laws. Manufactured by EMI Christian Music Group,

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Victory in Jesus [Live]

Published on Aug 2, 2012

Music video by Bill & Gloria Gaither performing Victory in Jesus (feat. Cynthia Clawson, Reggie Smith, Joy Gardner and Mike Allen) [Live]. (P) (C) 2012 Spring House Music Group. All rights reserved. Unauthorized reproduction is a violation of applicable laws. Manufactured by EMI Christian Music Group,

 

aka: Eugene Monroe Bartlett Sr.

With the exception of his protégé, Albert E. Brumley, no other Arkansas figure contributed more to the development of the Southern gospel music genre than singer, songwriter, and publisher Eugene Monroe Bartlett Sr.

E. M. Bartlett was born on December 24, 1885, in the small community of Waynesville, Missouri, but he and his parents eventually relocated to Sebastian County, Arkansas. Educated at the Hall-Moody Institute in Martin, Tennessee, and William Jewell College in Liberty, Missouri, Bartlett received training as a music teacher.

In 1917, Bartlett married Joan Tatum; they had two children.

As an aspiring songwriter, Bartlett became an employee of the Central Music Company, a publisher of shape-note singing convention books based in Hartford (Sebastian County), which was owned by shape-note singing school instructor David Moore and songwriter Will M. Ramsey. Following Ramsey’s move to Little Rock (Pulaski County), Bartlett persuaded Moore and John A. McClung to partner with him in 1918 to establish the Hartford Music Company, one of Southern gospel’s first significant publishing companies. The company published some of Bartlett’s first compositions as well as other early Southern gospel songs, including McClung’s popular “Just a Rose Will Do.” From Hartford Music’s inception to 1935, Bartlett served as the company’s president, facilitating its expansion to include branch offices in other cities and states.

In addition to the Hartford Music Company’s music publishing interests, Bartlett established the Hartford Music Institute, a shape-note school, in 1921, and began publishing The Herald of Song, a monthly magazine covering the quartets Hartford sponsored to promote its products. Albert E. Brumley, the best-known Southern gospel songwriter of all time, attended the Hartford school in 1926 courtesy of Bartlett’s financial generosity. Bartlett mentored Brumley, published his first songs, and eventually employed him at Hartford Music.

A diverse songwriter, Bartlett penned singing convention favorites such as “Everybody Will Be Happy Over There” and “Just a Little While,” songs that were popularized by the leading gospel music quartets of the day, including Hovie Lister & the Statesmen, the Stamps Quartet, the Blackwood Brothers, and the Blue Ridge Quartet. In an era in which the exchange of music between white and black recording artists and writers generally benefitted white artists and black writers the most, Bartlett’s song “He Will Remember Me” was recorded by at least two important African-American gospel groups, the Sensational Nightingales and the Staple Singers, as well as black gospel legend Albertina Walker. Revealing his sense of humor, Bartlett also produced light-hearted fare such as “You Can’t Keep a Good Man Down” and “Take an Old Cold Tater and Wait,” a country music hit for Grand Ole Opry star Little Jimmy Dickens.

In 1939, a stroke rendered Bartlett partially paralyzed and unable to perform or travel. Amid such bleak circumstances, he wrote his final and most beloved song, “Victory in Jesus,” an optimistic number that has been sung by millions in worship services and recorded by gospel’s biggest names.

Bartlett died on January 25, 1941. He is buried at the Oak Hill Cemetery in Siloam Springs (Benton County). Posthumously, Bartlett was inducted into the Gospel Music Association’s Gospel Music Hall of Fame in Nashville, Tennessee, in 1973.

For additional information:
Collins, Ace. Turn Your Radio On: The Stories Behind Gospel Music’s All-time Greatest Songs. Grand Rapids, MI: Zondervan, 1999.

Deller, David. “The Songbook Gospel Movement in Arkansas: E. M. Bartlett and the Hartford Music Company.” Arkansas Historical Quarterly 60 (Autumn 2001): 284–300.

Goff, James R., Jr. Close Harmony: A History of Southern Gospel. Chapel Hill: University of North Carolina Press, 2002.

Greg Freeman
Southern Edition

Last Updated 7/25/2013

About this Entry: Contact the Encyclopedia / Submit a Comment / Submit a Narrative

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“Schaeffer Sunday” Ark Times Blogger argues that her abortion is her business because it is her body (includes film ABORTION OF THE HUMAN RACE)

 

Ark Times Blogger argues that her abortion is her business because it is her body (includes film ABORTION OF THE HUMAN RACE)

Many liberals actually truly do argue for abortion rights over human rights. Prochoice advocate Elizabeth Williams came out and said that on 1-23-13 in her article on Salon. We hear reasons for abortion such as poverty,and  child abuse,  but why not consider adoption? Instead, the political left will stop at nothing to push the pro-abortion agenda. Why not stop and take an honest look at when life begins for the unborn child and when she begins to feel pain?

 

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Dr. Francis Schaeffer: Whatever Happened to the Human Race Episode 1 ABORTION

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Great  quotes from “Whatever happened to the human race?”  by Francis Schaeffer and Dr. C. Everett Koop (from the shelter website):.

Summary


Francis Schaeffer and, former Surgeon General, C. Everette Koop deal directly with the devaluing of human life and its results in our society. It did not take place in a vacuum. It is a direct result of a worldview that has rejected the doctrine of man being created in the image of God. Man as a product of the impersonal, plus time and chance has no sufficient basis for worth.

If man is not made in the image of God, nothing then stands in the way of inhumanity. There is no good reason why mankind should be perceived as special. Human life is cheapened. We can see this in many of the major issues being debated in our society today: abortion, infanticide, euthanasia, the increase of child abuse and violence of all kinds, pornography (and its particular kinds of violence as evidenced in sadomasochism), the routine torture of political prisoners in many parts of the world, the crime explosion, and the random violence which surrounds us.
(Francis A. Schaeffer and C. Everette Koop, Whatever Happened to the Human Race?, Ch. 1)

Max Brantley of the Arkansas Times Blog reprinted a story of a 38 year old later telling his story. She got an abortion when she was 23 for just selfish reasons. The lady identified herself as a Christian.

This prompted the lady using the username “BluesYouCanUse” to write:

Some 25 years ago, I found out I was pregnant with our third child. My husband was much older than me; I was 34 at the time. I had a third-grader and a toddler. I worked in a demanding job, and was the primary breadwinner for the family. We contemplated abortion. My husband told me he’d support my decision, whatever it was. I chose to have my baby, and I’m grateful I did (though I damn surely had my tubes tied afterward).

That said — the important thing was that it was MY decision. Not my husband’s. Not my legislator’s. Not my doctor’s. Not my pastor’s. Not my neighbors nor my friends nor my employers. I did, in fact, feel like it was not the right thing for me to do. I would never presume to decide for another woman if it were or were not the right thing for HER to do.

I’ve also lost a child to miscarriage at 11 weeks. I cannot testify as to when “life begins,” but I can tell you that that fetus did not, to me, feel like a person. A potential person, perhaps, but not a person. Not a life. Not an individual. Yes, I know the scriptures that pro-life advocates quote in support of their position. I might feel a bit more inclined toward their position if they were as prone to, at the same time, obey scriptures just a few pages away which admonish them to feed the hungry, clothe the naked, care for the sick and the widowed and the orphans, and give to the poor. I’m also cognizant that the main pro-life argument comes from Paul, who was decidedly on the misogynistic side.

We have a lot more problems in our state than the tiny percentage of women who terminate unwanted pregnancies. Up to and including the problems that lead to a lot of those pregnancies. I wish our legislature were as interested in those issues.

I replied:

Bluesyoucanuse, you obviously think that it was your decision and not your husband’s since a “34 year old woman” has a right to her own body. I AGREE WITH YOU THAT A 34 YEAR OLD WOMAN HAS A RIGHT TO HER OWN BODY!!!! By the way a 20 year old woman has a right to her own body and a 15 year old woman has a right to her own body and a 10 year old woman has a right to her own body and a 2 year old woman has a right to her own body and a 1 day old woman has a right to her own body and an unborn woman that has been in the womb for 8 months has a right to her own body and an unborn woman that has been in the womb for 5 months has a right to her own body and an unborn woman that has been in the womb for 1 month has a right to her own body and so on.
Therefore, when you choose abortion then you are killing your child which by the way you say you were glad that you had. Isn’t it great that your child has brought you so much joy in your life and how could imagine life without him or her?

T. Elliot Gaiser

January 25, 2013 at 7:00 am

“The battle to feed all of humanity is over. In the 1970s hundreds of millions of people will starve to death.”

That was Paul Ehrlich’s prediction in 1968. He was wrong then, and he’s still wrong now, as he touts his new paper warning that a cocktail of population growth, global warming, and starvation will lead to worldwide collapse of civilization unless severe measures are taken to reduce population around the globe. Ehrlich is a Stanford professor and the author of the 1968 book The Population Bomb.

Only the dates have changed in his predictions from his original book. The new paper, published by London’s Royal Society on January 9, warns of imminent mass death from calamities such as “sea-level rise, crop failures and violent storms”—yet the author says reducing the population is the key to preventing this population reduction.

Needless to say, his earlier predictions did not come true. But now he is back in the news for his latest doomsday prophecy, and more importantly, his proposed cure: We must “reduce the human population size” through providing “all sexually active human beings with modern contraception and backup abortion”— at taxpayer expense.

Much like his original predictions, the media are taking Ehrlich seriously. The Huffington Post frames his proposal for worldwide birth control and abortion as “timely”:

Wondering how to save the world? A Stanford University husband and wife team of population biologists has a suggestion: Empower women everywhere. Pretty revolutionary stuff, eh? According to Anne Ehrlich, senior research scientist, and Paul Ehrlich, Bing Professor of Population Studies and senior fellow at the Woods Institute for the Environment, giving women more power means lower population growth, which means less stress on resources. In light of the fact that we’re approaching a global population of 9 billion, their recommendations seem quite timely.

Now NBC and even Forbes have been giving Ehrlich coverage.

“Nobody, in my view, has the right to have 12 children or even three unless the second pregnancy is twins,” Ehrlich said in an interview with The Raw Story, a left-leaning website.

This is the same Paul Ehrlich who, with his colleagues (including John Holdren, who now works as President Obama’s science and technology advisor), lost a widely publicized bet with the late free-market economist and author Julian Simon.

Simon was skeptical of The Population Bomb’s predictions that world starvation and resource shortages would doom mankind in the ’70s and ’80s. Confident that market-driven technological advances would increase the number of resources available through efficiency and new finds faster than humans could consume them, he challenged Ehrlich to a wager: Pick any five resources over any period of time longer than a year, and they will be cheaper at the end of the period than at the beginning.

In 1980, Ehrlich picked chromium, copper, nickel, tin, and tungsten and bet they would cost more at the end of the decade. According to Wired magazine, “Between 1980 and 1990, the world’s population grew by more than 800 million, the largest increase in one decade in all of history. But by September 1990, without a single exception, the price of each of Ehrlich’s selected metals had fallen, and in some cases had dropped through the floor.”

But that does not matter to Ehrlich, who now contends, “[I]t’s crystal clear if we keep the populations of the rich growing, then the poor aren’t going to have a chance, and eventually, the descendants of the rich aren’t going to have a chance.”

As hundreds of thousands of pro-life activists remember the anniversary of Roe v. Wade and the 55 million babies aborted in the United States, it is unbelievably sad that people are joining Ehrlich’s chorus. Earlier this week, the famed British documentarian Sir David Attenborough launched into the following tirade:

We are a plague on the Earth. It’s coming home to roost over the next 50 years or so. It’s not just climate change; it’s sheer space, places to grow food for this enormous horde. Either we limit our population growth or the natural world will do it for us…

Little does it matter to people like Ehrlich and Attenborough that population control has usually been deeply rooted in eugenics, a science attempting to reduce “undesirable” populations, as Daniel Patrick Moloney has documented.

Nor does it seem to matter that attempts at population control have only resulted in outcomes such as China’s oppressive and coercive one-child policy, which, coupled with a cultural preference for boys, is not only decimating the country’s demographics, but causing the sex-selective abortion of millions of baby girls.

Fortunately, pro-life advocates succeeded yesterday in halting the Obama Administration’s attempt to include abortion in the list of rights protected by the United Nations. This week, we can hope they will continue to make progress toward protecting lives in the United States.

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