The Beatles were good friends of Allen Ginsberg and Terry Southern and many others who were involved in the FREE SPEECH MOVEMENT in Berkeley in the 1960’s. The movement started off just being about FREE SPEECH, but then it turned quickly to the New Left and the Marxist-Leninist point of view. It was in this atmosphere in the mid-sixties that caused KARL MARX to be a logical choice to be on the cover of Sgt. Pepper’s.
Beatles 1966 Last interview
69 THE BEATLES TWO OF US
As a university student, Karl Marx (1818-1883) joined a movement known as the Young Hegelians, who strongly criticized the political and cultural establishments of the day. He became a journalist, and the radical nature of his writings would eventually get him expelled by the governments of Germany, France and Belgium. In 1848, Marx and fellow German thinker Friedrich Engels published “The Communist Manifesto,” which introduced their concept of socialism as a natural result of the conflicts inherent in the capitalist system. Marx later moved to London, where he would live for the rest of his life. In 1867, he published the first volume of “Capital” (Das Kapital), in which he laid out his vision of capitalism and its inevitable tendencies toward self-destruction, and took part in a growing international workers’ movement based on his revolutionary theories.
#02 How Should We Then Live? (Promo Clip) Dr. Francis Schaeffer
Karl Marx is seen next to Oliver Hardy on the cover of Stg. Pepper’s Lonely Hearts Club Band.
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| In these pics from alternate shots of the cover photo, you can still see Leo Gorcey, who was removed because he requested a fee, next to his fellow Bowery Boy pal Huntz Hal, and Ghandi, who was removed because EMI felt his inclusion might offend record buyers in India. http://www.beatlesagain.com/btsgtppr.html |
About BED PEACE
1969 was the year that John & Yoko intensified their long running campaign for World Peace.
They approached the task with the same entrepreneurial expertise as an advertising agency selling a brand of soap powder to the masses. John & Yoko’s product however was PEACE, not soft soap, and they were determined to use any slogan, event and gimmick in order to persuade the World to buy it.
BED PEACE (directed by Yoko & John and filmed by Nic Knowland) is a document of the Montreal events and features John & Yoko in conversation with, amongst others, The World Press, satirist Al Capp, activist Dick Gregory, comedian Tommy Smothers,
protesters at Berkeley’s People’s Park,
Rabbi Abraham L. Feinberg, quiltmaker Christine Kemp, psychologists Timothy Leary & Rosemary Leary, CFOX DJs Charles P. Rodney Chandler & Roger Scott, producer André Perry, journalist Ritchie Yorke, DJ & Promoter Murray The K, filmmaker Jonas Mekas, publicist Derek Taylor & personal assistantAnthony Fawcett.
Featured songs are Plastic Ono Band’s GIVE PEACE A CHANCE & INSTANT KARMA, Yoko’s REMEMBER LOVE & WHO HAS SEEN THE WIND & John’s acoustic version of BECAUSE.
“As we said before: WAR IS OVER! (If You Want It)“ – yoko
BED PEACE starring John Lennon & Yoko Ono
WHY WAS KARL MARX ON THE COVER? The answer is very simple. Back in Berkeley in 1964 there were the riots that broke out and the Free Speech Movement and this movement was encouraged later by John Lennon and Yoko as they spoke with the protesters by phone in the above video. Also Allen Ginsberg and Terry Southern were good friends with Paul McCartney and they were involved in the Free Speech Movement. The movement started off just being about FREE SPEECH, but then it turned quickly to the New Left and the Marxist-Leninist point of view. It was in this atmosphere in the mid-sixties that caused Karl Marx to be a logical choice to be on the cover.
Jean Genet, Allen Ginsberg, William Burroughs, Terry Southern
Chicago, 1968
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John Lennon with Allen Ginsberg below:
Paul and Linda McCartney with Allen Ginsberg below:
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Francis Schaeffer asserted:
In some places the Marxist-Leninist line or the Maoist line took over…But the Marxist-Leninism is another leap into the area of nonreason-as idealistic as drug-taking was in the early days. The young followed Marxism in spite of clear evidence that oppression was not an excess of Stalin, but was and is an integral part of the system of communism.
William Lane Craig’s book THE ABSURDITY OF LIFE WITHOUT GOD. Without God there is no meaning in life.
William Lane Craig notes:
First, the area of meaning. We saw that without God, life has no meaning. Yet philosophers continue to live as though life does have meaning. For example, Sartre argued that one may create meaning for his life by freely choosing to follow a certain course of action. Sartre himself chose Marxism.
Now this is utterly inconsistent. It is inconsistent to say that life is objectively absurd and then to say that one may create meaning for his life. If life is really absurd, then man is trapped in the lower story. To try to create meaning in life represents a leap to the upper story. But Sartre has no basis for this leap. Without God, there can be no objective meaning in life. Sartre’s program is actually an exercise in self-delusion. For the universe does not really acquire meaning just because I happen to give it one. This is easy to see: for suppose I give the universe one meaning, and you give it another. Who is right? The answer, of course, is neither one. For the universe without God remains objectively meaningless, no matter how we regard it. Sartre is really saying, “Let’s pretend the universe has meaning.” And this is just fooling ourselves.
The point is this: if God does not exist, then life is objectively meaningless; but man cannot live consistently and happily knowing that life is meaningless; so in order to be happy he pretends that life has meaning. But this is, of course, entirely inconsistent—for without God, man and the universe are without any real significance.
Sartre’s worldview is discussed in the film series “How should we then live?” by Francis Schaeffer below.
Transcript from “How Should we then live?”:
Humanist man beginning only from himself has concluded that he is only a machine. Humanist man has no place for a personal God, but there is also no place for man’s significance as man and no place for love, no place for freedom.
Man is only a machine, but the men who hold this position could not and can not live like machines. If they could then modern man would not have his tensions either in his intellectual position or in his life, but he can’t. So they leap away from reason to try to find something that gives meaning to their lives, to life itself, even though to do so they deny their reason.
Once this is done any type of thing could be put there. Because in the area of nonreason, reason gives no basis for a choice. This is the hallmark of modern man. How did it happen? It happened because proud humanist man, though he was finite, insisted in beginning only from himself and only from what he could learn and not from other knowledge, he did not succeed. Perhaps the best known of existentialist philosophers was Jean Paul Sartre. He used to spend much of his time here in Paris at the Les Deux Magots.
Sartre’s position is in the area of reason everything is absurd, but one can authenticate himself, that is give validity to his existence by an act of the will. In Sartre’s position one could equally help an old woman across the street or run her down.
Reason was not involved, and there was nothing to show the direction this authentication by an act of the will should take. But Sartre himself could live consistantly with his own position. At a certain point he signed the Algerian Manifesto which declared that the Algerian war was a dirty war. This action meant that man could use his reason to decide that some things were right and some things were wrong and so he destroyed his own system.
Berkeley’s Campus Free Speech Movement at 50
The Free Speech Movement: civil disobedience in Berkeley 1964
Mario Savio, leader of the Free Speech Movement at UC Berkeley (1964) – from THE EDUCATION ARCHIVE
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. It expressed the essence of their lives, thoughts and their feelings.”
Sergeant Pepper’s Lonely Hearts Club Band Album really did look at every potential answer to meaning in life and to as many people as the Beatles could imagine had the answers to life’s big questions. One of the persons on the cover did have access to those answers and I am saving that person for last in this series on the Beatles.
During this long series on the Beatles it has become quite evident that there were reasons why certain writers, artists, poets, painters, scientists, athletes, models, actors, religious leaders, musicians, comedians, and philosophers were put on the cover of Sergeant Pepper’s Lonely Hearts Club Band and that is the Beatles had made it to the top of the world but they were still searching for purpose and lasting meaning for their lives. They felt they were in the same boat as those pictured on the cover and so they called it appropriately Sergeant Pepper’s Lonely Hearts Club Band. In his article “Philosophy and its Effect on Society Robert A. Sungenis, notes that all these individuals “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.”
Schaeffer compares communism with French Revolution and Napoleon.
1. Lenin took charge in Russia much as Napoleon took charge in France – when people get desperate enough, they’ll take a dictator.
Other examples: Hitler, Julius Caesar. It could happen again.
2. Communism is very repressive, stifling political and artistic freedom. Even allies have to be coerced. (Poland).
Communists say repression is temporary until utopia can be reached – yet there is no evidence of progress in that direction. Dictatorship appears to be permanent.
3. No ultimate basis for morality (right and wrong) – materialist base of communism is just as humanistic as French. Only have “arbitrary absolutes” no final basis for right and wrong.
How is Christianity different from both French Revolution and Communism?
Contrast N.T. Christianity – very positive government reform and great strides against injustice. (especially under Wesleyan revival).
Bible gives absolutes – standards of right and wrong. It shows the problems and why they exist (man’s fall and rebellion against God).
WHY DOES THE IDEA OF COMMUNISM CATCH THE ATTENTION OF SO MANY IDEALISTIC YOUNG PEOPLE? The reason is very simple.
In HOW SHOULD WE THEN LIVE? The Rise and Decline of Western Thought and Culture, the late Francis A. Schaeffer wrote:
Materialism, the philosophic base for Marxist-Leninism, gives no basis for the dignity or rights of man. Where Marxist-Leninism is not in power it attracts and converts by talking much of dignity and rights, but its materialistic base gives no basis for the dignity or rights of man. Yet is attracts by its constant talk of idealism.
To understand this phenomenon we must understand that Marx reached over to that for which Christianity does give a base–the dignity of man–and took the words as words of his own. The only understanding of idealistic sounding Marxist-Leninism is that it is (in this sense) a Christian heresy. Not having the Christian base, until it comes to power it uses the words for which Christianity does give a base. But wherever Marxist-Leninism has had power, it has at no place in history shown where it has not brought forth oppression. As soon as they have had the power, the desire of the majority has become a concept without meaning.
Is Christianity at all like Communism?
Sometimes Communism sounds very “Christian” – desirable goals of equality, justice, etc but these terms are just borrowed from the New Testament. Schaeffer elsewhere explains by saying Marxism is a Christian heresy.
Below is a great article. Free-lance columnist Bradley R. Gitz, who lives and teaches in Batesville, received his Ph.D. in political science from the University of Illinois.
Francis Schaeffer notes:
At Berkeley the Free Speech Movement arose simultaneously with the hippie world of drugs. At first it was politically neither left nor right, but rather a call for the freedom to express any political views on Sproul Plaza. Then soon the Free Speech Movement became the Dirty Speech Movement, in which freedom was seen as shouting four-letter words into a mike. Soon after, it became the platform for the political New Left which followed the teaching of Herbert Marcuse. Marcuse was a German professor of philosophy related to the neo-Marxist teaching of the “Frankfurt School,” along with...Jurgen Habermas (1929-).
Herbert Marcuse, “Liberation from the Affluent Society” (1967)
Brannon Howse talks some about the Frankfurt School in some of his publications too.
During the 1960’s many young people were turning to the New Left fueled by Marcuse and Habermas but something happened to slow many young people’s enthusiasm for that movement.
1970 bombing took away righteous standing of Anti-War movement
Francis Schaeffer mentioned the 1970 bombing in his film series “How should we then live?” and I wanted to give some more history on it. Schaeffer asserted:
In the United States the New Left also slowly ground down,losing favor because of the excesses of the bombings, especially in the bombing of the University of Wisconsin lab in 1970, where a graduate student was killed. This was not the last bomb that was or will be planted in the United States. Hard-core groups of radicals still remain and are active, and could become more active, but the violence which the New Left produced as its natural heritage (as it also had in Europe) caused the majority of young people in the United States no longer to see it as a hope. So some young people began in 1964 to challenge the false values of personal peace and affluence, and we must admire them for this. Humanism, man beginning only from himself, had destroyed the old basis of values, and could find no way to generate with certainty any new values. In the resulting vacuum the impoverished values of personal peace and affluence had comes to stand supreme. And now, for the majority of the young people, after the passing of the false hopes of drugs as an ideology and the fading of the New Left, what remained? Only apathy was left. In the United States by the beginning of the seventies, apathy was almost complete. In contrast to the political activists of the sixties, not many of the young even went to the polls to vote, even though the national voting age was lowered to eighteen. Hope was gone.
After the turmoil of the sixties, many people thought that it was so much the better when the universities quieted down in the early seventies. I could have wept. The young people had been right in their analysis, though wrong in their solutions. How much worse when many gave up hope and simply accepted the same values as their parents–personal peace and affluence. (How Should We Then Live, pp. 209-210
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Aug. 24 marked the 41st anniversary of the Sterling Hall bombing on the University of Wisconsin-Madison campus.
Four men planned the bomb at the height of the student protests over the Vietnam War. Back then, current Madison Mayor Paul Soglin was one of the leaders of those student protests in the capitol city. This weekend, Soglin recalled the unrest felt by UW-Madison students.
“The anti-war movement adopted a lot of its tactics and strategies from the civil rights movement which was about ten years older,” said Soglin. “It was one of picketing, demonstration, and passive resistance.”
The four men who planned the bombing focused on the Army Mathematics Research Center housed in Sterling Hall because it was funded by the U.S. Department of Defense and therefore, worked on weapons technology. Karl Armstrong was one of the four men and he recently spoke with CBS News in his first television interview detailing the moments right before the bomb was set off.
“He asked me, he says, ‘Should we go ahead? Are we gonna do this?’ I think I made a comment to him about something like, ‘Now, I know what war is about,'” remembered Armstrong. “And I told him to light it.”
The bomb killed one researcher and father of three, 33-year-old Robert Fassnacht, although Armstrong maintains they planned the attack thinking no one would get hurt. The four men heard about the death as they were in their getaway car after the bomb went off.
“I felt good about doing the bombing, the bombing per se, but not taking someone’s life,” recalled Armstrong.
The researcher’s wife told CBS News that she harbors no ill will toward Armstrong and the other bombers. Three of the four men were captured and served time in prison. Armstrong served eight years of a 23-year sentence.
The fourth man, Leo Burt, was last seen in the fall of 1970 in Ontario and is to this day, still wanted by the FBI, with a $150,000 reward for his capture.
E P I S O D E 9
T h e Age of Personal Peace and Affluence
I. By the Early 1960s People Were Bombarded From Every Side by Modern Man’s Humanistic Thought
II. Modern Form of Humanistic Thought Leads to Pessimism
Regarding a Meaning for Life and for Fixed Values
A. General acceptance of selfish values (personal peace and affluence) accompanied rejection of Christian consensus.
1. Personal peace means: I want to be left alone, and I don’t care what happens to the man across the street or across the world. I want my own life-style to be undisturbed regardless of what it will mean — even to my own children and grandchildren.
2. Affluence means things, things, things, always more things — and success is seen as an abundance of things.
B. Students wish to escape meaninglessness of much of adult society.
1. Watershed was Berkeley in 1964.
2. Drug Taking as an ideology: “turning on” the world.
3. Free Speech Movement on Sproul Plaza.
a) At first neither Left nor Right.
b) Soon became the New Left.
(1) Followed Marcuse and Habermas.
(2) Paris riots.
4. Student analysis of problem was right, but solution wrong.
5. Woodstock, Altamont, and the end of innocence.
6. Drug taking survives the death of ideology but as an escape.
7. Demise of New Left: radical bombings.
8. Apathy supreme. The young accept values of the older generation: their own idea of personal peace and affluence, even though adopting a different life-style.
C. Marxism and Maoism as pseudo-ideals.
1. Vogue for idealistic communism which is another form of leap into the area of non-reason.
2. Solzhenitsyn: violence and expediency as norms of communism.
3. Communist repression in Hungary and Czechoslovakia.
4. Communism has neither philosophic nor historic base for freedom. There is no base for “Communism with a human face.”
5. Utopian Marxism steals its talk of human dignity from Christianity.
6. But when it comes to power, the desire of majority has no meaning.
7. Two streams of communism.
a) Those who hold it as an idealistic leap.
b) Old-line communists who hold orthodox communist ideology and bureaucratic structure as it exists in Russia.
8. Many in West might accept communism if it seemed to give peace and affluence.
III. Legal and Political Results of Attempted Human Autonomy
A. Relativistic law.
1. Base for nonarbitrary law gone; only inertia allows a few principles to survive.
2. Holmes and sociological (variable) law.
3. Sociological law comes from failure of natural law (see evolution of existential from rationalistic theology).
4. Courts are now generating law.
5. Medical, legal, and historical arbitrariness of Supreme Court ruling on abortion and current abortion practice.
B. Sociological law opens door to racism, abrogation of freedoms, euthanasia, and so on.
IV. Social Alternatives After Death of Christian Consensus
A. Hedonism? But might is right when pleasures conflict.
B. Without external absolute, majority vote is absolute. But this justifies a Hitler.
V. Conclusion
A. If there is no absolute by which to judge society, then society is absolute.
B. Humanist thinking—making the individual and mankind the center of all things (autonomous) — has led to death in our culture and in our political life.
Note: Social alternatives after the death of Christian consensus are continued in Episode Ten.
Questions
1. What was the basic cause of campus unrest in the sixties? What has happened to the campus scene since, and why?
2. What elements — in the life and thought of the communist and noncommunist world alike — suggest a possible base for world agreement?
3. “To prophesy doom about Western society is premature. We are, like all others who have lived in times of great change, too close to the details to see the broader picture. One thing we do know:
Society has always gone on, and the most wonderful epochs have followed the greatest depressions. To suggest that our day is the exception says more about our headache than it does about our head.” Debate.
4. As Dr. Schaeffer shows, many apparently isolated events and options gain new meaning when seen in the context of the whole. How far does your own involvement in business, law, financing, and so on reveal an acquiescence to current values?
Key Events and Persons
Oliver Wendell Holmes: 1841-1935
Herbert Marcuse: 1898-1979
Jurgen Habermas 1929-
Alexander Solzhenitsyn: 1917-
Hungarian Revolution: 1956
Free Speech Movement: 1964
Czechoslovakian repression: 1968
Woodstock and Altamont: 1969
Radical bombings: 1970
Supreme Court abortion ruling: 1973
Solzhenitsyn’s The Gulag Archipelago: 1973-74
Further Study
Keeping one’s eyes and ears open is the most useful study project: the prevalence of pornographic films and books, more and more suggestive advertising and TV shows, and signs of arbitrary absolutes.
The following books will repay careful reading, and Solzhenitsyn, though long and horrifying, should not be skipped.
Os Guinness, The Dust of Death (1973).
Alexander Solzhenitsyn, The Gulag Archipelago: Parts I-II (1973), Parts III-IV (1974).
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A Christian Manifesto Francis Schaeffer
A video important to today. The man was very wise in the ways of God. And of government. Hope you enjoy a good solis teaching from the past. The truth never gets old.
The Roots of the Emergent Church by Francis Schaeffer
#02 How Should We Then Live? (Promo Clip) Dr. Francis Schaeffer
Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR
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Karl Marx’s most important work was THE COMMUNIST MANIFESTO and ironically Francis Schaeffer’s most popular book was A CHRISTIAN MANIFESTO in 1981 and A.T.Coates in a review noted:
It’s more than a catchy title: A Christian Manifesto. On a flyleaf, Schaeffer names his book’s predecessors to mark his as a Christian political document: “The Communist Manifesto, 1848/ Humanist Manifesto I, 1933/ Humanist Manifesto II, 1973.” Keeping in mind that this book came out in 1981, it’s clear that this move serves two purposes: 1) it places Schaeffer’s book both in the tradition of and in opposition to these other manifestos, and 2) it posits a genealogical connection between communism and humanism—even in the capitalist world, Schaeffer implies, “humanism” springs from Marxism. For Schaeffer, Christianity and “humanism” are mutually incompatible “world views.” A “world view” describes “the overall way people think and view the world and life as a whole” (17). According to Schaeffer, humanism considers ultimate reality to be a random flux of energy and matter, our world to be nothing but the result of pure chance. In the period from 1933-1973, this world view took over American culture, which was founded on “Judeo-Christian” values (55).
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EARLIER IN THIS POST I NOTED THAT Francis Schaeffer asserted:
In some places the Marxist-Leninist line or the Maoist line took over…But the Marxist-Leninism is another leap into the area of nonreason-as idealistic as drug-taking was in the early days. The young followed Marxism in spite of clear evidence that oppression was not an excess of Stalin, but was and is an integral part of the system of communism….
The universe was created by an infinite personal God and He brought it into existence by spoken word and made man in His own image. When man tries to reduce [philosophically in a materialistic point of view] himself to less than this [less than being made in the image of God] he will always fail and he will always be willing to make these impossible leaps into the area of nonreason even though they don’t give an answer simply because that isn’t what he is. He himself testifies that this infinite personal God, the God of the Old and New Testament is there.
Instead of making a leap into the area of nonreason the better choice would be to investigate the claims that the Bible is a historically accurate book and that God created the universe and reached out to humankind with the Bible. Below is a piece of that evidence given by Francis Schaeffer concerning the accuracy of the Bible.
The Bible and Archaeology – Is the Bible from God? (Kyle Butt 42 min)
You want some evidence that indicates that the Bible is true? Here is a good place to start and that is taking a closer look at the archaeology of the Old Testament times. Is the Bible historically accurate? Here are some of the posts I have done in the past on the subject: 1. The Babylonian Chronicle, of Nebuchadnezzars Siege of Jerusalem, 2. Hezekiah’s Siloam Tunnel Inscription. 3. Taylor Prism (Sennacherib Hexagonal Prism), 4. Biblical Cities Attested Archaeologically. 5. The Discovery of the Hittites, 6.Shishak Smiting His Captives, 7. Moabite Stone, 8. Black Obelisk of Shalmaneser III, 9A Verification of places in Gospel of John and Book of Acts., 9B Discovery of Ebla Tablets. 10. Cyrus Cylinder, 11. Puru “The lot of Yahali” 9th Century B.C.E., 12. The Uzziah Tablet Inscription, 13. The Pilate Inscription, 14. Caiaphas Ossuary, 14 B Pontius Pilate Part 2, 14c. Three greatest American Archaeologists moved to accept Bible’s accuracy through archaeology.,
TRUTH AND HISTORY (chapter 5 of WHATEVER HAPPENED TO THE HUMAN RACE?, under footnote #94)
There is also a confirmation of what the Bible says concerning the Egyptian King Tirhakah who came up to oppose the Assyrians. Confirmation of his reality is typified by a sphinx-ram in the British Museum (British Museum Ref. B.B.1779). The small figure between the legs of the ram is a representation of King Tirhakah. The Bible says that when Sennacherib heard that Tirhakah, king of Eqypt, was coming to fight against him, he sent messengers to tell Hezekiah that help from Egypt would be of no use to him.
2 Kings 19:9, 10 9 Now the king heard concerning Tirhakah king of Cush, “Behold, he has set out to fight against you.” So he sent messengers again to Hezekiah, saying,10 “Thus shall you speak to Hezekiah king of Judah: ‘Do not let your God in whom you trust deceive you by promising that Jerusalem will not be given into the hand of the king of Assyria. (Isaiah 37:9-10 also says about the same thing.)
The date of Sennacherib’s campaign in Palestine is 701 B.C., and something which has often puzzled historians is the role of Tirhakah, who was not king of Egypt and Ethiopia until 690 B.C. But the solution to this problem is simple. In 701 B.C. Tirhakah was only a prince at the side of his military brother, the new Pharaoh Shebitku, who sent Tirhakah with an army to help Hezekiah fend off the Assyrian advance. But the story in Kings and Isaiah does not end in 701 B.C. It carries right through to the death of Sennacherib in 681 B.C., which is nine years after Tirhakah had become king of Egypt and Ethiopia. In other words, the biblical narrative, from the standpoint of 681 B.C., mentions Tirhakah by the title he bore at that time (that is, 681 B.C.), not as he was in 701 B.C. This is still done today, using a man’s title as he is known at the time of writing even it one is speaking of a previous time in his personal history.
Unaware of the the importance of these facts, and falling into wrong interpretations of some of Tirhakah’s inscriptions, some Old Testament scholars have stumbled over each in their eagerness to diagnose historical errors in the Books of the Kings and Isaiah. But as the archaeological confirmation shows, they were quite mistaken. What is striking about these archaeological finds is the way they often converge; there is often not just one line of evidence but several in which the biblical account is confirmed. We do not have confirmation of every single detail in the biblical account, by any means. Nor do we need such total confirmation in view of the amount of evidence there is. To insist on confirmation at every point would be to treat the Bible in a prejudiced way, simply because it is the Bible. The fact that is a religious book does not mean that it cannot also be true when it deals with history.
Not all archaeological finds have a convergence of many different interrelated lines like these around the life of Hezekiah, but they are no less striking. For example, take the “ration tablets” discovered in the ruins of Bablyon. The Bible tells us that after the Assyrians had destroyed the nothern kingdom of Samaria (around 721 B.C.), the southern kingdom, Judah, survived for almost another 150 years until approximately 586 B.C. By this time Assyria, one of the greatest military powers of the ancient world, had been defeated by Bablyon, a neighboring state to the east. That was in 609 B.C. Four years later the Babylonian general, Nebuchadnezzar–then the crown prince–came west and completely defeated Necho II, king of Egypt, at the battle of Carchemish. As a result of this victory he laid claim to Judah, which had previously been in the sphere of influence of Egypt. King Jehoiakim of Judah thus now paid tribute to the Babylonians. The Bible tells us that Jehoiakim rebelled three years later: “During Jehoiakim’s reign Nebuchadnezzar king of Bablyon invaded the land, and Jehoiakim became his vassal for three years. But then he changed his mind and rebelled against Nebuchnezzar” (II Kings 24:1).
The political background for this step can be understood from the Babylonian Chronicles (British Museum, Ref. 21946, records events from 597 B.C. down to 594). These were a compressed chronological summary of the principal events from the Babylonian court. There had been a crucial battle in 601 B.C. between the Egyptians and the Babylonians. This had left both sides weakened, and Jehoiakim took this opportunity to declare his independence of the Babylonian king. His independence, or rather Judah’s independence, did not last long, for Jehoiakim himself died in 598 B.C., leaving his throne and the crisis to his son, Jehoiachin. Second Kings (II Kings 24:10-12, 17) tells us what happened:
10 At that time the servants of Nebuchadnezzar king of Babylon came up to Jerusalem, and the city was besieged. 11 And Nebuchadnezzar king of Babylon came to the city while his servants were besieging it, 12 and Jehoiachin the king of Judah gave himself up to the king of Babylon, himself and his mother and his servants and his officials and his palace officials. The king of Babylon took him prisoner in the eighth year of his reign. 17 And the king of Babylon made Mattaniah, Jehoiachin’s uncle, king in his place, and changed his name to Zedekiah.
The story of Jehoiachin does not end there, however. The royal family were kept at the court of Nebuchadnezzar, and the Bible says that they , like other royal captives, were provided for by the king with rations of grain and oil (II Kings 25:27-30):
27 And in the thirty-seventh year of the exile of Jehoiachin king of Judah, in the twelfth month, on the twenty-seventh day of the month, Evil-merodach king of Babylon, in the year that he began to reign, graciously freed[a] Jehoiachin king of Judah from prison. 28 And he spoke kindly to him and gave him a seat above the seats of the kings who were with him in Babylon. 29 So Jehoiachin put off his prison garments. And every day of his life he dined regularly at the king’s table, 30 and for his allowance, a regular allowance was given him by the king, according to his daily needs, as long as he lived.
The records of these allowances referred to in the Bible were unearthed in excavations in Babylon in basement storerooms of the royal palace (in Staat-Liches Museum, East Berlin, Vorderas Abteilung; Babylon 28122 and 28126). These are known as the “ration tablets” and they record who received such “rations.” In these, Jehoiachin is mentioned by name.
We also have confirmation of the Babylonian advance towards Judah in Nebuchadezzar’s first campaign. Among the ruins of Lachish were discovered a number of ostraca. Ostraca are broken pieces of earthenware called postherds, which were used for writing on in ink. (The Lachish ostraca are in the Palestinian Archaeological Museum, Jerusalem.) These brief letters reveal the increasing tensions within the growing state of Judah and tie in well with the picture given in the Bible by the Book of Jeremiah the Prophet. In Ostracon VI, the princes are accused of “weakening our hands” (that is, discouraging the writers), which is the very phraseology used in the Bible by the Judean princes against Jeremiah. Also, the use of fire beacons for signaling is found in both Ostracon IV and Jeremiah 6:1, each using the same terminology.
These events took place around the year 600 B.C. Events we considered earlier in relation to the capture of Lachish by Sennacherib during the reign of Hezekiah were around the year 700 B.C.
Statue of Tirhakah discovered in Sudan
Owen Jarus reports in The Independent the discovery of a massive statue of Pharaoh Taharqa [English Bible: Tirhakah] deep in Sudan.
No statue of a pharaoh has ever been found further south of Egypt than this one. At the height of his reign, King Taharqa controlled an empire stretching from Sudan to the Levant.
A massive, one ton, statue of Taharqa that was found deep in Sudan. Taharqa was a pharaoh of the 25th dynasty of Egypt and came to power ca. 690 BC, controlling an empire stretching from Sudan to the Levant. The pharaohs of this dynasty were from Nubia – a territory located in modern day Sudan and southern Egypt.
The Nubian pharaohs tried to incorporate Egyptian culture into their own. They built pyramids in Sudan – even though pyramid building in Egypt hadn’t been practised in nearly 800 years. Taharqa’s rule was a high water mark for the 25th dynasty. By the end of his reign a conflict with the Assyrians had forced him to retreat south, back into Nubia – where he died in 664 BC. Egypt became an Assyrian vassal – eventually gaining independence during the 26th dynasty. Taharqa’s successors were never able to retake Egypt.
In addition to Taharqa’s statue, those of two of his successors – Senkamanisken and Aspelta – were found alongside. These two rulers controlled territory in Sudan, but not Egypt.
. . .
While this is the furthest south that a pharaoh’s statue has been found, it doesn’t necessarily mean that Dangeil is the southern border of Taharqa’s empire. It’s possible that he controlled territory further up the Nile.
The statue of Taharqa is truly monumental. “It’s a symbol of royal power,” said Dr. Anderson, an indicator that Dangeil was an “important royal city.”
It’s made of granite and weighs more than one ton. It stood about 2.6 meters (8.5 feet) when it had its head. In ancient times it was smashed into several pieces on purpose. This was also done to the two other statues. It’s not known who did this or why. It happened “a long time after Taharqa,” said Anderson.
. . .
The largest piece of Taharqa’s statue is the torso and base. This part of the statue is so heavy that the archaeological team had to use 18 men to move it onto a truck.
“We had trouble moving him a couple hundred meters,” said Anderson. The move was “extremely well planned,” with the team spending eight to nine days figuring out how to accomplish it without the statue (or the movers) getting damaged.
The full account from The Independent may be read here. A longer article by Jarus, with several photos, may be found in Heritage Key.
After the Assyrian king Sennacherib captured Lachish, he headed for Jerusalem. On the way he heard that King Tirhakah of Ethiopia (Cush) had come out to fight against him.
The king heard that King Tirhakah of Ethiopia was marching out to fight him. He again sent messengers to Hezekiah, ordering them: “Tell King Hezekiah of Judah this: ‘Don’t let your God in whom you trust mislead you when he says, “Jerusalem will not be handed over to the king of Assyria.” Certainly you have heard how the kings of Assyria have annihilated all lands. Do you really think you will be rescued? (2 Kings 19:9-11 NET; cf. Isaiah 37:9)
Hezekiah was king of Judah from 716/15 – 687/86 B.C. (Thiele). The events recorded in the Bible took place shortly before 700 B.C. Tirhakah evidently came to power before 690 B.C., was already a leading commander of the army, or there may be another solution to the problem.
HT: Biblical Paths.
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.
PAUL McCARTNEY & WINGS – LIVE 1976 – “Lady Madonna”
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‘Lady Madonna’
Main Writer: McCartney
Recorded: February 3 and 6, 1968
Released: March 18, 1968
11 weeks; No. 4
Like many of McCartney’s finest songs, “Lady Madonna” is a tribute to working-class womanhood, expressed through Irish-Catholic imagery. “‘Lady Madonna’ started off as the Virgin Mary, then it was a working-class woman, of which obviously there’s millions in Liverpool,” he later said. “There are a lot of Catholics in Liverpool because of the Irish connection.” The Madonna of the song is a long-suffering but indestructible matriarch, as tough as the title character of “Eleanor Rigby,” yet as comforting as Mother Mary from “Let It Be.”
Musically, “Lady Madonna” has an earthier inspiration: the New Orleans piano boogie of Fats Domino. McCartney called it “a Fats Domino impression,” composed while trying to play something bluesy on the piano. The recorded version is a full-on tribute to the New Orleans R&B sound, with tootling saxophones. Domino must have taken it as a compliment. A few months after the song came out, he released his own cover version, which became the last Top 100 hit of his career.
Appears On: Past Masters
Paul McCartney — Back In The USSR (Live in Kiev 2008)
Paul McCartney’s “Back In The USSR” in Kiev’s historic Independence Square
14.06.2008
This RIP was made from NOVY TV Channel (http://www.novy.tv/ )
The beatles – Back in the USSR
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‘Back in the USSR’
Main Writer: McCartney
Recorded: August 22 and 23, 1968
Released: November 25, 1968
Not released as a single
The witty opening track to the White Album got a helping hand from one of the American rock stars it parodied: In February 1968, McCartney played his variation on Chuck Berry’s “Back in the U.S.A.” for Beach Boys vocalist Mike Love while the two were visiting India. Love suggested that McCartney add a “California Girls”-style section about the women of the Soviet Union. McCartney then recorded a loose, jovial demo of the song in May.
By the time they started work on the album version on August 22nd, though, the Beatles were at each other’s throats. When McCartney criticized Starr’s drumming on “USSR,” Starr announced he was quitting the band, walked out and headed off for a Mediterranean vacation. The other three Beatles got back to work, recording the basic track with McCartney on drums and Lennon playing six-string bass. They finished it the next day with jet-airplane noise from a sound-effects collection. When Starr returned two weeks later, they covered his drum kit in flowers to welcome him back.
Appears On: The Beatles
Today’s featured artist is George Petty
Article on George Petty:
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| George Petty is most famous for his pin-up drawings that appeared in Esquire magazine in the 1930’s and the covers for many Ice Capades programs. There is an excellent 1997 book on him, Petty – The Classic Pin-Up Art of George Petty. It’s worth getting and I hereby credit it as my main source of information on Petty. |
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Petty was born in 1894 in Louisiana, the son of a photographer, also named George, who moved his family to the potentially more prosperous Chicago around 1900. George survived traditional schooling, though he thrived at evening classes at the Chicago Art Institute. He spent a great deal of time in his father’s photography studio where he mastered the airbrush, a tool invented around 1889 and used solely to retouch photographs (or their negatives). Petty would help change that. Prior to World War I, study in Europe was de rigueur for the aspiring artist. After his graduation from high school, Petty’s mother took George and his sister to Paris where he was enrolled at the Académie Julian. This art school was quite famous and had such illustrious alumni as John Singer Sargent, Alfonse Mucha, Matisse, and, most significant to Petty, J.C. Leyendecker. George studied in Paris until 1916, then returned to Chicago. At the age of 18, he should have been prime fodder for the War, but shortly after Petty’s return from Europe, his father died, leaving George the head of the family and so exempt from service. |
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Not wanting to be a photographer or a photo-retoucher, he closed his father’s studio and went to work for an ad agency, where his first published work was a stylish ice skater on the cover of the 1920 Marshall Field catalog (at right). Ice skaters were to figure prominently in his future. At the agencies, Petty excelled at retouching and his skill with the airbrush was prodigious. He did lots and lots of retouching, all the while focusing his efforts on breaking into the illustration market. There were plenty of advertisements, but his few covers and magazine assignments led nowhere. He began using the airbrush in his drawings, not a common medium at the time, but the results were stunning, like the poster at left that won Petty first prize in the 1933 Chicago World’s Fair poster contest. |  |
In the early Thirties, George opened his own studio and started to get more and more work that relied on pretty women. His daughter Marjorie Jule, born in 1919, was modeling for him and her body topped with an endless variety of faces would appear in many of these ads. In 1933, the depths of the depression, Esquire Magazine was started. At a time when The Saturday Evening Post was a nickel, The Ladies Home Journal a dime, and Good Housekeeping and Cosmopolitan a quarter, Esquiredebuted at 50 cents. Only Fortune, started in 1930, just three months after the stock market crash, was priced higher at $1. And just as Fortune had confounded the prophets by being successful, Esquire‘s first issue sold out – even with a print run of 100,000.
Petty’s work was in that first issue, a cartoon. He wasn’t a cartoonist, but that’s what the magazine needed and they were willing to supply him with situations and gags. The drawings he submitted were printed full page on good paper and the magazine’s 10″x14″ format was perfect for the slick, well-rendered images George was capable of. With his command of the airbrush, a strong foundation in drawing, plenty of practice drawing lissome women, and a willing model, Petty had assembled the components of a meteoric career. His cartoons appeared in seven of the first dozen issues and were thinly disguised excuses for rendering the female body. Even when they were fully clothed, his women looked like, if you’ll pardon the expression, their clothes were airbrushed on.Witness the “cartoon” at above right from a 1935 issue and also issued as part of a spiral-bound portfolio of Petty cartoons from 1937 titled aptly enough, Petty – A Portfolio. Click for larger image.
| The exposure brought Petty to the attention of national ad agencies and within two years George was doing monthly ads for Old Gold Cigarettes and Jantzen Swim Wear as well as others, many of which appeared in the same issues of Esquire as his cartoons.The cartoons were a huge success. Quickly dubbed The Petty Girl, the public clamored for more of her and Esquire was more than happy to oblige. With its high production values, the magazine was able to add fold-outs as a design feature. In the Christmas, 1939 issue, one (of four) of these was devoted to the largest Petty Girl yet seen. That’s about 1/2 of her at the right. Fully 30″ long, the modern pin-up was born and Esquire‘s circulation soared yet again. |
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It’s rather difficult to convey just how famous Petty became – and how fast! This rather obscure Chicago commercial artist was suddenly thrust upon the national stage, literally, overnight. His signature was prominently displayed in all of his advertising work. Jantzen created the “Petty Girl” swimsuit in 1940. Old Gold offered prints of the Petty Girls in their ads. His hands, a brush, and Petty Girl appeared in a watch ad. He was given highly publicized commissions to paint posters for films. The aforementioned portfolio was released. In 1942, when 3700 Chicago high school art students cast their votes for most important artist from their three years of art studies, Petty won first place – as a write-in. He did a cover for Time in 1942 as well as the first in a line of covers for the annual Ice Capades revue. And it would be incorrect to attribute all the fame to the Esquire pin-ups. If anything, it was his national advertising images that got him the most attention – and money.
It was money that finally severed the Esquire relationship. The money Esquire paid bought less and less of Petty’s time as his advertising career soared. Alberto Vargas had been brought in as a replacement during negotiations and in 1942, after a year of uneasy coexistence, the Petty Girl made way for the Varga Girl in Esquire, anyway. Petty continued his high-profile commercial art and spent the war years doing ads and posters (see “It’s for YOU…” below). In 1945, he began a three year alliance with little-known True Magazine and helped them double their circulation. While many of the images still retained his trademark telephone, he was beginning to branch out into more lively poses as the True page above left and “The Panther Girl” (at right) done for the 1946 Ziegfield Follies clearly show.
Petty had always been a sharp businessman and insisted on retaining all secondary rights to his images as well as the return of his original paintings. He licensed their use on playing cards, on drinking glasses, and elsewhere. At left is from an ad I just found in a 1943 issue of The American Weeklywherein for $2 sent directly to Petty, you’d get a set of four 12″x18″ posters printed in six colors!
And he never ceased working. He did a calendar for Ridge Tools in 1953. He returned to Esquire with a 1955 calendar, designed the hood ornaments for the 1954 and 1955 Nash automobiles and in the early Sixties was back doing paintings for The Ice Capades. Petty died in 1975 after witnessing a minor revival of his work, including a new pin-up for the 40th anniversary issue of Esquire.
George Petty
The Ballerina – 1965
George Brown Petty IV (April 27, 1894 – July 21, 1975) was an American pin-up artist. His pin-up art appeared primarily in Esquire and Fawcett Publications’s True but was also in calendars marketed by Esquire,True and Ridgid Tool Company. Petty’s Esquire gatefolds originated and popularized the magazine device of centerfold spreads. Reproductions of his work were widely rendered by military artists as nose artdecorating warplanes during the Second World War, including the Memphis Belle, known as “Petty Girls”.
Birth and early career[edit]
George Petty was born in Abbeville, the seat of Vermilion Parish in south Louisiana to George Brown Petty III and his wife, Sarah. George, IV, was the couple’s second child; his sister Elizabeth had been born in 1891. The Petty family moved to Chicago, Illinois, just before the turn of the century, where George, III, a photographer of some note, enjoyed considerable success with images of young women, madonnas, and nudes.
Petty was not a particularly good student in high school, spending a great deal of time on extracurricular activities instead of schoolwork. His artistic bent first became obvious in high school, where he was the staff artist for the school newspaper.
During his high school years, he enrolled in evening classes at Chicago Academy of Fine Arts under the tutoring of Ruth VanSickle Ford, where he taught his own art course, charging classmates $5.00 per session. He also worked in his father’s photo shop where he learned how to use an airbrush. Petty studied art at the Académie Julian with Jean-Paul Laurens and others until 1916, when World War I caused Joseph P. Herrick, ambassador at that time, to order all Americans to return home.
Petty returned to Chicago, and worked as an airbrush retoucher for a local printing company. He was able to establish himself as a freelance artist, painting calendar girls and magazine covers for The Household. By 1926, he was able to open his own studio.
Artistic influences[edit]
George Petty never discussed in detail those artists who influenced him, other than J. C. Leyendecker (an artist for The Saturday Evening Post during George’s high school days) for his interpretation of men, Coles Phillips for his technique, and Maxfield Parrish for his use of light. However, it can be inferred from his later work that other influences included artists who were extremely popular in Paris at the time, such as Alfons Mucha, George Barbier and, in particular, the watercolor technique of England’sWilliam Russell Flint.
“The Petty Girl”[edit]
Petty is especially known for “the Petty Girl”, a series of pin-up paintings of women done for Esquire from the autumn of 1933 until 1956. Petty frequently depicted these women with the relative lengths of their legs being longer—and the relative sizes of their heads being smaller—than those of his actual models.
Petty appeared as a guest on the popular TV program What’s My Line.
Petty died in San Pedro, California, on July 21, 1975.
Use in popular culture[edit]
Crew of the Memphis Belle with the Petty Girl nose art
- An image of a Petty Girl talking on a phone was used as the “nose art” on the famous WWII B-17 Flying Fortress, Memphis Belle.
- An image of a Petty Girl was used in The Beatles‘ Sgt. Pepper’s Lonely Hearts Club Band album.
- Robert Cummings portrayed George Petty in the imaginary musical comedy The Petty Girl (Columbia, 1950), directed by Henry Levin and featuring the film debut of Tippi Hedren as one of the Petty Girls. Nat Perrin‘s screenplay was based on a story by Mary McCarthy. The film is also notable for several lilting, lighthearted songs composed by Harold Arlen (music) and Johnny Mercer (lyrics), including “Fancy Free” and “I Loves Ya”. The large production number at the finale is “The Petty Girl” by Arlen and Mercer, performed by Joan Caulfield (dubbed by Carole Richards), the Petty Girls and a male quartet.
Sources[edit]
Reid Stewart Austin (The Best of Gil Elvgren) examined the life and art of George Petty in the 192-page Petty: The Classic Pin-Up Art of George Petty. Published by Gramercy in 1997, the lavish volume features a foreword by Hugh Hefner and an introductory essay by Petty’s daughter, Marjorie Petty, who was his main model. In The New York Times Book Review, famed designer George Lois praised this collection of Petty’s creations, commenting:
Just as the cool, unapproachable Gibson Girl was the feminine ideal of young men at the turn of the century, the voluptuous Petty Girl became the ideal of their wide-eyed sons. I’m going on the record to swear that George Brown Petty IV consistently created better-designed women than God, and now I’ve got a big beautiful book to prove it.
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