Monthly Archives: September 2015

Woody Allen: The Honest Atheist by MIKE DURAN

 

 

This post by Mike Duran on his blog was very insightful and it reminded me of Woody Allen’s best movie of all time which is  CRIMES AND MISDEMEANORS!!!!

Crimes and Misdemeanors 1989 Woody Allen

Woody Allen Crimes and Misdemeanors Nihilism Nietzsche’s Death of God

There’s probably no more dishonest atheists than there are dishonest Christians. Or dishonest dentists. Or dishonest cattle ranchers. Atheists don’thave a corner on the market of dishonesty.

However, pretending there is a good reason to live while denying the existence of anything eternal is just… unrealistic. Or blatantly dishonest.

Which is probably why I’ve always liked Woody Allen.

The Wall Street Journal’s recent interview with the director, Older, Mellower, But Still Woody, is a great example of Allen’s unflinching appraisal of his own atheistic assumptions. Here’s the portion of the interview where we get down and dirty:

WSJ: Some say your view is that life is pointless, and others say you’re a romantic realist who believes in being true to yourself. Which is it?

Allen: I think that’s the best you can do, but the true situation is a hopeless one because nothing does last. If we reduce it absurdly for a moment, you know the sun will burn out. You know the universe is falling apart at a fantastically accelerating rate and that at some point there won’t be anything at all. So whether you are Shakespeare or Beethoven or Michelangelo, your stuff’s not going to last. So, given that, even if you were immortal, that time is going to come. Of course, you have to deal with a much more critical problem, which is that you’re not going to last microscopically close to that. So, nothing does last. You do your things. One day some guy wakes up and gets the Times and says, “Hey, Woody Allen died. He keeled over in the shower singing. So, where do you want to have lunch today?”

WSJ: So, what do you do to distract yourself from these depressing thoughts? Knicks games? Or is that depressing, too?

Allen: The Knicks are one kind of distraction. For the two hours you’re at the Garden you’re only focused on that… I am a big sports fan, baseball and basketball, everything. People will say to me, “Does it really matter if the Knicks beat the Celtics?” And I think to myself, “Well, it’s just as important as human existence.”

WSJ: Really?

Allen: Really. It may not seem so, but if you step back and look they are equivalent. (emphasis mine)

In the atheist’s worldview, the Knicks beating the Celtics is equivalent to… “human existence.” Translation: Nothing is better or worse, more significant or less significant, than anything else. Mein Kampf and the Bible share the same fate.  The Holocaust, the Black Plague, and the Knicks 1969-70 World Championship (in which they beat the L.A. Lakers) are “equivalent.” Because “nothing does last” Allen rightly concludes “the true situation is a hopeless one.”

Thank you very much.

Which is probably why most attempts by atheists to frame their existence as something other than “a hopeless one” usually come up sounding… dishonest. At least silly. Likethis one from About.com’s Agnosticism / Atheism site. Site moderator Austin Cline, in answering the “myth” that “Atheism leads to hopelessness and despair,” writes:

What do I have to look forward to? Life — an enjoyable life doing the things I love and being with the people I love. Why do I live? Because of the people I love and the things I love — basically, because I enjoy life. Does it matter that, eventually, I am going to die and the life I enjoy will end? I admit that that will be unfortunate, but it doesn’t mean that doing what I enjoy now is therefore worthless. After all, every individual action I am doing will end — every good meal end, every trip to an amusement park ends, every good book ends.

Mr. Cline, let me introduce you to Woody Allen, the honest atheist: “…the true situation is a hopeless one because nothing does last.”

“[U]nfortunate” is an understatement.

Of course, atheists can lead “an enjoyable life.” Atheists can be good, kind, and exceedingly happy. The problem is… they have no reason to be. Like the band playing on the sinking Titanic, what does it matter if they’re in key and enjoying it? The icy waters of Oblivion await.

Which could be why there’s so few “honest atheists.”

The honest atheist is one who admits the hopelessness demanded by their worldview. There is no way around it. To allege to live “an enjoyable life” under the shadow of some smoldering cosmic Vesuvius is rather laughable. To pretend that your life — much less your films or art or music — is something more than just a diversion, is simply… dishonest.

Which is why I applaud Woody Allen.

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MUSIC MONDAY Paul McCartney – Silly Love Songs

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Paul McCartney – Silly Love Songs

Silly Love Songs

From Wikipedia, the free encyclopedia
For the Glee episode, see Silly Love Songs (Glee).
“Silly Love Songs”

German single sleeve
Single by Wings
from the album Wings at the Speed of Sound
B-side Cook of the House
Released 1 April 1976 (US)
30 April 1976 (UK)
Format 7″ single
Recorded 16 January 1976
Genre Disco, funk
Length 5:53 (commercial 7″ version)
3:22 (DJ copy edit)
Label MPL Communications (UK)
MPL Communications/Capitol(US)
Writer(s) Paul & Linda McCartney
Producer(s) Paul McCartney
Certification BPI (UK) Silver 1 June 1976[1]
RIAA (US) Gold 11 June 1976[2]
Wings singles chronology
Venus and Mars/Rock Show
(1975)
Silly Love Songs
(1976)
Let ‘Em In
(1976)
Wings at the Speed of Sound track listing
Alternative covers

Dutch single sleeve

Silly Love Songs” is a song written by Paul McCartney and performed by Wings. The song appears on the 1976 album Wings at the Speed of Sound. It was also released as a single in 1976, backed with “Cook of the House”. The song, written in response to music critics accusing him of writing only “silly love songs”, also features disco overtones.

Background[edit]

“Silly Love Songs” was written as a rebuttal to music critics, as well as former Beatle and friend, John Lennon, accusing Paul McCartney of writing lightweight love songs.[3] Author Tim Riley suggests that in the song, McCartney is inviting “his audience to have a laugh on him,” as Elvis Presley had sometimes done.[4]

But over the years people have said, “Aw, he sings love songs, he writes love songs, he’s so soppy at times.” I thought, Well, I know what they mean, but, people have been doing love songs forever. I like ’em, other people like ’em, and there’s a lot of people I love — I’m lucky enough to have that in my life. So the idea was that “you” may call them silly, but what’s wrong with that?

The song was, in a way, to answer people who just accuse me of being soppy. The nice payoff now is that a lot of the people I meet who are at the age where they’ve just got a couple of kids and have grown up a bit, settling down, they’ll say to me, “I thought you were really soppy for years, but I get it now! I see what you were doing!”

By the way, “Silly Love Songs” also had a good bassline and worked well live.

—Paul McCartney, Billboard[5]

McCartney allowed the horn section to create their own parts for the song.[6]

Release[edit]

The US single was released on 1 April 1976[7] and spent five non-consecutive weeks at number 1 on the Billboard Hot 100.[8][9] “Silly Love Songs” was the number 1 pop song in Billboard’s Year-End Charts of 1976. It was also the group’s second of three number ones on the Easy Listening chart.[10] In 2013, Billboard Magazine determined the song is McCartney’s biggest US chart hit of his post-Beatles career, ranking at No. 36 on the “all-time” charts.[11] The UK single was released on 30 April 1976[7] and reached number 2 on the UK Singles Chart.[12][13] The single was certified Gold by theRecording Industry Association of America for sales of over one million copies.[14]

The song was McCartney’s 27th number one as a songwriter, the all-time record for most number one hits by a songwriter. (see List of Billboard Hot 100 chart achievements and milestones) With this song, McCartney became the first person to have a year-end No. 1 song as a member of two distinct acts. He previously hit No. 1 in the year-end Billboard chart with “I Want to Hold Your Hand” in 1964 and “Hey Jude” in 1968.[15][16] In 2008, the song was listed at No. 31 on Billboard’s Greatest Songs of All Time, commemorating the 50th anniversary of the Billboard Hot 100 chart.[3]

“Silly Love Songs” has since appeared on multiple of McCartney’s greatest hits compilations, including Wings Greatest and All the Best!. It also appeared on the “Hits” half of the compilation Wingspan: Hits and History.

Other recordings[edit]

In 1976, Wings recorded “Silly Love Songs” live for their triple live album Wings Over America. In 1984, three years after the dissolution of Wings, Paul McCartney re-recorded “Silly Love Songs” for thesoundtrack to the critically panned motion picture Give My Regards to Broad Street.

Critical reception[edit]

“Silly Love Songs” has generally received positive reviews from critics, despite the common criticism of the song lacking substance. AllMusics Stephen Thomas Erlewine described the song, as well as its follow-up single, “Let ‘Em In“, as “so lightweight that their lack of substance seems nearly defiant.”[17] Music critic Robert Christgau called the two tracks “charming if lightweight singles”, while Rolling Stone critic Stephen Holden said “Silly Love Songs” was “a clever retort whose point is well taken.”[18][19] John Bergstrom of PopMatters called the song “an exemplary piece of mid-‘70s pop production and a pure pleasure.”[20]

Charts[edit]

Chart (1976) Peak
position
Australia Kent Music Report 20
Canada RPM 100 Singles 1
Germany Media Control Chart 14
Ireland Singles Chart 1
Japan Oricon Chart 66
New Zealand RIANZ Charts 8
Netherlands MegaCharts 11
Norway VG-lista 9
UK Singles Chart 2
US Billboard Hot 100 1
US Billboard Hot Adult Contemporary 1

Year-end charts[edit]

Chart (1976) Position
Canada RPM 100 Singles 10
US Billboard Hot 100 1

All-time charts[edit]

Chart Position
US Billboard Hot 100[11] 36

Personnel[edit]

Wings[edit]

Other musicians[edit]

  • Tony Dorsey – horns
  • Thaddeus Richard – horns
  • Steve Howard – horns
  • Howie Casey – horns

Covers[edit]

Uses in popular culture[edit]

  • This song was used in the pilot episode of The Fresh Prince of Bel Air when Carlton Banks is heard singing the first verse while taking a shower.
  • In 2005, the song was sampled in Jenn Cuneta’s Come Rain, Come Shine.

See also[edit]

Notes[edit]

  1. Jump up^ “Certified Awards Search”. BPI. Retrieved 12 October2012.
  2. Jump up^ “RIAA Gold and Platinum”. RIAA. Retrieved 12 October2012.
  3. ^ Jump up to:a b Billboard 2009.
  4. Jump up^ Riley, T. (2002). Tell Me Why: The Beatles: Album By Album, Song By Song, The Sixties And After. Da Capo. p. 359. ISBN 9780306811203.
  5. Jump up^ “Paul McCartney On His Not-So-Silly Love Songs”.Billboard.
  6. Jump up^ Benitez, Vincent Perez. The Words and Music of Paul McCartney: The Solo Years.
  7. ^ Jump up to:a b McGee 2003, p. 210.
  8. Jump up^ McGee 2003, p. 232.
  9. Jump up^ “Paul McCartney Charts and Awards”. allmusic. Retrieved 13 October 2011.
  10. Jump up^ Whitburn, Joel (2002). Top Adult Contemporary: 1961-2001. Record Research. p. 163.
  11. ^ Jump up to:a b Bronson, Fred (2 August 2012). “Hot 100 55th Anniversary: The All-Time Top 100 Songs”. Billboard. Retrieved 9 August 2013.
  12. Jump up^ McGee 2003, p. 240.
  13. Jump up^ “Official Charts: Paul McCartney”. The Official UK Charts Company. Retrieved 13 October 2011.
  14. Jump up^ “Gold & Platinum Searchable Database – June 06, 2014”. RIAA. Retrieved 2014-06-06.
  15. Jump up^ Billboard Year-End Hot 100 singles of 1964
  16. Jump up^ Billboard Year-End Hot 100 singles of 1968
  17. Jump up^ Erlewine, Stephen Thomas. “Wings at the Speed of Sound”. AllMusic.
  18. Jump up^ Christgau, Robert. “Paul McCartney discography”.
  19. Jump up^ Holden, Stephen. “Wings at the Speed of Sound”.Rolling Stone.
  20. Jump up^ Bergstrom, John. “Paul McCartney and Wings: Wings at the Speed of Sound”. PopMatters.
  21. ^ Jump up to:a b “Original versions of Silly Love Songs by Shirley Bassey”. SecondHandSongs. 1976-03-25. Retrieved2014-06-06.
  22. Jump up^ [1]
  23. Jump up^ “Performs the Hits of Wings”. Allmusic. Retrieved28 December 2011.
  24. Jump up^ “Glee Season 2 Episode 12: Silly Love Songs | The Official Music for Glee Site”. Gleethemusic.com. Retrieved 2014-06-06.
  25. Jump up^ Erica Futterman (2011-02-09). “‘Glee’ Recap: ‘Silly Love Songs’ Hits the Right Note | Culture News”. Rolling Stone. Retrieved 2014-06-06.

References[edit]

Preceded by
Boogie Fever” by The Sylvers
Love Hangover” by Diana Ross
Billboard Hot 100 number one single
May 22, 1976
June 12, 1976 – July 3, 1976 (4 weeks)
Succeeded by
Love Hangover” by Diana Ross
Afternoon Delight” by Starland Vocal Band
Preceded by
Welcome Back” by John Sebastian
Billboard Adult Contemporary number one single
May 29, 1976
Succeeded by
Shop Around” by Captain & Tennille
Preceded by
Shannon” by Henry Gross
Canadian “RPM” Singles Chart number-one single
June 5, 1976 – June 12, 1976 (2 weeks)
Succeeded by
Get Up and Boogie” by Silver Convention

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SCHAEFFER SUNDAY Francis Schaeffer quotes Tom Lambie of the great missionaries of the past!!!

 

_______________

Dr. Tom Lambie, one of the great missionaries to Africa, concluded that the height of a civilization can be measured by the amount of contamination in its drinking water. Think of the modern pollution of our water supplies! I would say to you in the name of Jesus Christ that the degree of the infidelity of an individual Christian or a Christian group to the Word of God in doctrine and life is shown by the amount of contamination in the water which flows forth.

Lambie, Thomas A.
1885 to 1954
United Presbyterian Mission/Sudan Interior Mission
Ethiopia

The most famous loose cannon on the deck of the American Mission ship in Africa [around the turn of the century] was Thomas A. Lambie, M.D. Born in 1885, Lambie earned his medical degree from the University of Pittsburgh in 1907. Later that year, he was at Doleib Hill among the Shullas, and then he and the Reverend Elbert McCreery opened the mission at Nasir among the Nuers. The first Nuer Christian was named Pok Jok. In 1918, on the wave of a devastating influenza epidemic, the governor of Wollego province asked Dr. Lambie to come over to Ethiopia.

Accompanied by Dr. and Mrs. Giffen, Lambie, with his wife, Charlotte, and their children, Betty (age eight) and Wallace (age nine), traveled seventeen days from Nasir to Gambela on an empty Nile steamer that would be loaded with Ethiopian coffee for the return journey. From Gambela to Dembi Dollo, Lambie traveled by horse. Because of the tsetse fly, a horse never survived more than one trip, although a mule or a donkey might make that journey nine or ten times before it died. When Lambie entered Ethiopia, there was only one foreign Christian missionary–the Rev. Dr. Karl Cedarquist, a Swede, who operated a school in Addis Ababa. At Dembi Dollo, Lambie worked with Gidada Solon. On one of his trips to America, Lambie spoke to a Junior Missionary League meeting attended by a young Lyda Boyd [Don McClure’s future wife].

While in the Dembi Dollo area, Dr. Lambie removed a small beetle that had crawled into Governor Ras Nado’s ear and was causing great pain. Ras Nado’s followers identified this insect as a wood-boring beetle and were convinced, in spite of Lambie’s assurances to the contrary, that it would have drilled right through the governor’s head and killed him. Ras Nado’s gratitude for saving his life resulted in a letter of commendation for Dr. Lambie and an introduction to the prince regent, Ras Tafari Makonnen (later Haile Selassie I).

After meeting Ras Tafari Makonnen and with the money he had raised in America, Lambie built George Memorial Hospital in Addis Ababa (see Lambie, A Doctor’s Great Commission, pp. 150-61), receiving Ethiopian citizenship in 1934 so that he could hold title to the property. Early in the Italian war Lambie became the executive secretary of the Ethiopian Red Cross. During this time he met a young aviator, Count Carl Gustav von Rosen, who, like Don McClure, was killed at Gode (13 July 1977) by Somali raiders.

Born near Stockholm (19 August 1909), von Rosen received his pilot’s license in 1929. In 1939 he attended a lecture by Gunnar Agge, a missionary doctor in Ethiopia, who attempted to mobilize Swedish public opinion against the Italian invasion of that African nation. In response, von Rosen placed himself and his plane, a Heinkel, at the disposal of the Red Cross in Ethiopia. After World War II von Rosen was asked to build the Ethiopian air force and served as principal instructor with the rank of colonel from 1945 to 1956. In 1974 he returned to Ethiopia to aid in airlifting relief supplies to famine and drought victims in villages inaccessible to surface transport. Survived by his wife and six children, two of whom were born in Ethiopia, Count Carl Gustav von Rosen asked in his will that his body be buried in Ethiopia–request that was honored by that grateful nation. For more information, see Ralph Herrmann’s Carl Gustave von Rosen (Stockholm, 1975).

According to John H. Spencer in Ethiopia at Bay: A Personal Account of the Haile Selassie Years(Algonac, Michigan, 1984), p. 85, in order to continue his missionary work, Lambie willingly submitted to the Italian conquest of Ethiopia and made widely publicized retractions of his earlier reports of Italian attacks on Red Cross ambulances and the Italian use of poison gas. Yet, see Lambie’s account of the Italian bombing of the defenseless Doro Mission station in A Doctor Carries On, pp. 58-72. In any case, Lambie, who had transferred from the American Mission to the Sudan Interior Mission, lost the confidence of Haile Selassie and consequently his Ethiopian citizenship. He became stateless until a special act of the 76th Congress (11 July 1940) restored his American citzenship.

In Khartoum, April 1941, the McClures were with the Ried Shieldses, but visited the Lambies alone, since the Lambies and the Shieldses (Shield’s book is mentioned in note 7) were not on speaking terms. Of that situation Lyda wrote,

Imagine two missionary families in the heart of Africa acting like that! Anyway, we had a wonderful time. When we left, the Lambies asked us to take their small puppy, a delightful fox terrier about two months old. Our youngsters are crazy about him. For a while we called him “Typhoon” (as the Lambies did), but that was too difficult for the kids to say, so Marghi suggested “Calico Pup.” The name stuck for a few days until Donnie began calling him “Tim.”

After the death of his first wife (buried in the British cemetery in Port Said), Lambie founded and served as director of the Berachah Tuberculosis Sanatorium in Bethlehem (Hashemite Kingdom of Jordan). While there, Dr. Lambie was invited to bring the message at the sunrise service under the brow of Calvary’s hill. A few days before Easter he went with friends to make preparations for this service, and as he was stating the substance of the address he planned to give, his voice faltered and he died. Thomas A. Lambie, M.D., died on 14 April 1954 and is buried in Allegheny Cemetery, Pittsburgh.[1] Lambie tells his own story in A Doctor Without a Country (New York, 1939); A Doctor Carries On (New York, 1942); Boot and Saddle in Africa (New York, 1943); and A Doctor’s Great Commission (Wheaton, Illinois, 1954).Charles Partee


Editor’s note:

1. According to Rev. Keith H. Coleman, Lambie was not buried in Pittsburgh but in Bethlehem on the Baraka Bible Presbyterian Church property. Rev. Coleman is the Executive director of the IBPFM (1000 Germantown Pike B6 / Plymouth Meeting, PA 19462 USA / Phone: 610.279.0952). Email messages to M. Sigg dated 5/2/2012 and 7/31/2012. In a message dated 7/31/2012, Rev. Coleman wrote: “I have visited the grave site of Dr. Lambie myself and have a photograph of it. Also, here is the email of Pastor George Awad (info@barakachurch.com), who ministers at the Baraka Bible Presbyterian Church in Bethlehem. He can confirm that Dr. Lambie is buried at the end of their property. Last of all, our own missions publication, Biblical Missions, states in the July-August 1954 issue, in an article entitled ‘Dr. Lambie Called Home’ (p.6), ‘After a brief service in our chapel at Bethlehem, Dr. Lambie was laid to rest in the churchyard on the hillside facing west, under the shade of two olive trees.'”

Bibliography:

Thomas A. Lambie, A Doctor Without a Country (New York, 1939).
——–, A Doctor Carries On (New York, 1942).
——–, Boot and Saddle in Africa (New York, 1943).
——–, A Doctor’s Great Commission (Wheaton, Illinois, 1954).


This article is reproduced, with permission, from The Story of Don McClure: Adventure in Africa, copyright © 2000 by Charles Partee, Lanham, Maryland. All rights reserved.

Thomas Lambie

From Wikipedia, the free encyclopedia

Dr. Thomas Alexander Lambie (1885- 14 April 1954) was a missionary medical doctor noteworthy for becoming an Ethiopian citizen, being responsible for several early medical efforts in Ethiopia (including the founding of two hospitals). He also worked as a medical doctor in Sudan, Nigeria and Palestine, where he died.

Life[edit]

Dr. Lambie was born in Pittsburgh, United States. He worked as a missionary with his family in Sudan among the Nuer and Anuak people, and then sailed up the Baro River into Ethiopia in 1918, becoming the first American missionaries in Ethiopia. He began work in Sayo, Welega, and Gore in Illubabor Province.

Dr. Lambie removed a small beetle that had crawled into Governor Ras Tessema Nadew‘s ear that was causing great pain. Ras Nadew’s gratitude led him to write a letter of commendation and an introduction to the prince regent, Ras Tafari (later EmperorHaile Selassie).[1] When the Lambie family traveled to Addis Ababa, Ras Tafari requested that Dr. Lambie build a hospital there, offering him a tract 12 acres in size at Gullele outside the city. Upon his return to the United States, Dr. Lambie approached his board for help with this endeavor; although they recognized the need for a hospital the board was unable to provide him with the necessary funds, which led Lambie to embark on a fund-raising tour of his country. It was while visiting a small town in Ohio that he encountered W.S. George,a successful businessman who provided him with US$ 70,000 to found the hospital.[2] Construction on the hospital began in 1922, which became the biggest building in Ethiopia at the time.

In 1928, having initially launched the Abyssinian Frontiers Mission in 1927, then merged it with SIM (at that time “Sudan Interior Mission“) in Ethiopia, Dr. Lambie negotiated permission to begin mission work south of Addis Ababa, as far as Sidamo. This was a delicate procedure because Ras Tafari was subject to strong pressures from some in the Ethiopian Orthodox Church.[1]

In 1932, Dr. Lambie built a leprosy hospital on the edge of Addis Ababa, now part of ALERT. At the urging of Ras Kassa, Dr. Lambie investigated building a hospital in Lalibela in 1934, but the outbreak of the war prevented this. Emperor Haile Selassie I appointed Dr. Lambie secretary-general of the new Ethiopian Red Cross to oversee the efforts of Ethiopian and foreign medical teams.[1]

After Italy occupied Addis Ababa in 1935, Lambie at first submitted to the Italian regime in order to continue his work, going as far as to retract his reports about Italian use of mustard gas in the Second Italo-Abyssinian War. Upon the restoration of Emperor Haile Selassie to the throne, Dr. Lambie left Ethiopia; because he had acquired Ethiopian citizenship in order to own the property his hospital was built on, he was forced to apply for naturalization.[3] He later worked in Nigeria, Sudan, and in Palestine where he built the Berachah Tuberculosis Sanitarium in Bethlehem. He died at Christ’s tomb, on April 14, 1954.[1]

Writings[edit]

  • Lambie, Thomas. 1935. Abayte! or Ethiopia’s Plea for Help.
  • Lambie, Thomas. 1939. Doctor Without a Country (later reprinted as A Doctor’s Great Commission). New York.
  • Lambie, Thomas. 1942. A Doctor Carries On. New York.
  • Lambie, Thomas. 1943. Boot and Saddle in Africa. New York.
  • Lambie, Thomas. 1954. A Doctor’s Great Commission. Wheaton, Illinois.

References[edit]

  1. ^ Jump up to:a b c d Coote, Robert. 1998. “Lambie, Thomas”, in Biographical Dictionary of Christian Missions, ed. by Gerald Anderson, p. 381-382. New York: Simon & Macmillan. 0-02-864604-5
  2. Jump up^ Richard Pankhurst, An Introduction to the Medical History of Ethiopia (Trenton: Red Sea, 1990), p. 207
  3. Jump up^ John Spencer, Ethiopia at Bay: A personal account of the Haile Selassie years (Algonac: Reference Publications, 1984), p. 85 note to p. 80

External links[edit]

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5 myths that conceal reality by Milton Friedman

A great speech below:

Here are the myths:Robber Baron Myth, The Cause of Great Depression Myth, The Demand for Government Service Myth, The Free Lunch Smith, and The Robin Hood Myth.

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Sunday Reader: Milton Friedman’s “Five Myths That Conceal Reality”

 

Milton Friedman is one of the most influential thinkers of the last 100 years.  He stood in opposition to The Loud Left, but then a lot of people did.  His opinions alone are not what made him great.  What made him potent and unique is that he was a great teacher.  He spoke with a clarity and substance than exposed the rhetoric of The Left for the shallow, muddled logic it truly is.

I had the pleasure of hearing Milton speak at a university where I was lecturing.  He took on all comers after his talk, and the braver (or more suicidal) of the faculty challenged him.  In his gentle way he eviscerated every one of them; reduced them to silence, lost in the clutter and tangle of their socialist contradictions.

This YouTube below is long; almost an hour.  In the age of Twitter and IM and the hieroglyphs of text messages, of short attention spans and shorter tempers and bumper sticker politics, perhaps long, thoughtful statements of philosophy have no place anymore.  OTOH, if you’ve never heard Milton speak at length, you have been deprived of exposure to one of the great thinkers and teachers, a deprivation this YouTube will correct.

Spend a few minutes here, with Milton.  Especially if you get your daily news and political wisdom from those deep economic thinkers John Stewart and Stephen Colbert on Comedy Central, you literally need Milton more than you know.  Obama’s rhetorical nonsense and Joe Biden’s mental lapses, the entirety of Keynesian dogma, will never sound the same to you again.

Milton begins:  “As you are all aware, there has been a drastic shift in public attitudes public opinion in the past fifty years or so, with respect to the role of the individual on the one hand and the role of government and collective institutions on the other.”

“There has been a shift in the philosophy and attitudes of the public from a belief in individual responsibility, from a belief in a society in which the role of government was as an umpire, to a belief in a society in which the emphasis is on social responsibility and the role of government as Big Brother and protector of the individual. As always when such shifts arise in public opinion, they are largely produced and reinforced by the development of myths about prior experience.”

“Somebody wrote that a myth is like an air mattress: there’s nothing in it, but it’s wonderfully comfortable, and deflation causes an uncomfortable jolt. My purpose today is to give you that jolt.”

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Book Review: How Should We Then Live? by Megan Strange June 18, 2013
I love the works of Francis Schaeffer and I have been on the internet reading several blogs that talk about Schaeffer’s work and the work below was really helpful. Schaeffer’s film series “How should we then live?  Wikipedia notes, “According to Schaeffer, How Should We Then Live traces Western history from Ancient Rome until the time of writing (1976) along three lines: the philosophic, scientific, and religious.[3] He also makes extensive references to art and architecture as a means of showing how these movements reflected changing patterns of thought through time. Schaeffer’s central premise is: when we base society on the Bible, on the infinite-personal God who is there and has spoken,[4] this provides an absolute by which we can conduct our lives and by which we can judge society.  Here are some posts I have done on this series: Francis Schaeffer’s “How should we then live?” Video and outline of episode 10 “Final Choices” , episode 9 “The Age of Personal Peace and Affluence”, episode 8 “The Age of Fragmentation”, episode 7 “The Age of Non-Reason” , episode 6 “The Scientific Age”  episode 5 “The Revolutionary Age” , episode 4 “The Reformation” episode 3 “The Renaissance”, episode 2 “The Middle Ages,”, and  episode 1 “The Roman Age,” .

In the film series “WHATEVER HAPPENED TO THE HUMAN RACE?” the arguments are presented  against abortion (Episode 1), infanticide (Episode 2),euthanasia (Episode 3), and then there is a discussion of the Christian versus Humanist worldview concerning the issue of “the basis for human dignity” in Episode 4 and then in the last episode a close look at the truth claims of the Bible.

_________________
Francis Schaeffer

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I truly believe that many of the problems we have today in the USA are due to the advancement of humanism in the last few decades in our society. Ronald Reagan appointed the evangelical Dr. C. Everett Koop to the position of Surgeon General in his administration. He partnered with Dr. Francis Schaeffer in making the video below. It is very valuable information for Christians to have.  Actually I have included a video below that includes comments from him on this subject.

Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR

Book Review: How Should We Then Live?

With a weakened certainty about objectivity, people find it easier to come to whatever conclusions they desire for the sociological ends they wish to see attained.” Dr. Francis Schaeffer, How Should We Then Live?

I had to reach How Should We Then Live?, by Dr. Francis Schaeffer, for a class that I am taking this week on Law and Ethics.  This is a pivotal read for Christians…especially those that are in leadership positions.  The title of the book comes from Ezekiel 33:1-20 and asks the question…How should we then live in light of a biblical worldview and all that we know about history, philosophy, and culture?  Schaeffer’s book is an overview of the last 3,000 years of history with a particular eye towards the role of Scripture, biblical authority, and the rise of humanism.  I’m glad that this was a book that I was required to read, it is a question that I certainly need to ask myself and my team on a regular basis to be sure that I am always doing things with the ultimate goal of honoring the Lord.

I highlighted several things while reading and have posted many of those items below…

  • Schaeffer’s thesis: If we are to understand “how we should live” today, then we must understand the cultural and intellectual forces that brought us to this day.  Schaeffer thus begins his penetrating analysis with the fall of Rome, followed by the Middle Ages, the Renaissance, the Reformation, and the Englightenment, while focusing in the twentieth century primarily on the influence of art, music, literature, and film.
  • What they are in their thought world determines how they act.
  • The results of their thought world flow through their fingers or from their tongues into the external world.
  • To understand where we are in today’s world–in our intellectual ideas and in our cultural and political lives–we must trace three lines in history, namely, the philosophic, the scientific, and the religious.
  • Rome did not fall because of external forces such as the invasion by the barbarians.  Rome had no sufficient inward base; the barbarians only completed the breakdown–and Rome gradually became a ruin.
  • In the Middle Ages, a humanistic element was added which caused the authority of the church to take precedence over the teaching of the Bible.
  • If a robust Christian faith could handle non-Christian learning without compromising, it was all too easy for Greek and Roman thought forms to creep into the cracks and chinks of a faith which was less and less founded on the Bible and more and more resting on the authority of church pronouncements.
  • Without some ultimate meaning for a person (for me, an individual), what is the use of living and what will be the basis for morals, values, and law?  If one starts from individual acts rather than with an absolute, what gives any real certainty concerning what is right and what is wrong about an individual action?
  • An important step came when an Oxford professor named John Wycliffe (c.1320-1384) taught that the Bible was the supreme authority and produced his English translation of the Bible, raising a voice which had influence throughout Europe.
  • While the men of the Renaissance wrestled with the problem of what could give unity to life and specifically what universal could give meaning to life and to morals, another great movement, the Reformation, was emerging in the north of Europe.  This was the reaction we mentioned at the end of our study of the Middle Ages–the reaction against the distortions which had gradually appeared in both a religious and a secular form. The High Renaissance in the south and the Reformation in the north must always be considered side by side.  They dealt with the same basic problems, but they gave completely opposite answers and brought forth completely opposite results.
  • One must understand that these two things were happening almost simultaneously: First, in the south, much of the High Renaissance was based on a humanistic ideal of man’s being the center of all things, of man’s being autonomous; second, in the north of Europe, the Reformation was giving an opposite answer.  In other words, the Reformation was exploding with Luther just as the High Renaissance was coming to its close.  As we have said, Luther nailed his Theses to the door in Wittenberg in 1517.
  • While the Reformation and the Renaissance overlapped historically and while they dealt with the same basic questions, they gave completely different answers.
  • At its core, therefore, the Reformation was the removing of the humanistic distortions which had entered the church.
  • Luther said in the preface to the Wittenberg Gesangbuch, “I wish that the young men might have something to rid them of their love ditties and wanton songs and might instead of these learn wholesome things and thus yield willingly to the good; also, because I am not of the opinion that all the arts shall be crushed to earth and perish through the Gospel, as some bigoted persons pretend, but would willingly see them all, and especially music, servants of Him who gave and created them.”
  • To whatever degree a society allows the teaching of the Bible to bring forth its natural conclusions, it is able to have form and freedom in society and government.
  • If industrialization had been accompanied by a strong emphasis on the compassionate use of accumulated wealth and on the dignity of each individual, the Industrial Revolution would have indeed been a revolution for good.  But all too often in England and other countries the church was silent about the Old and New Testament’s emphasis on a compassionate use of wealth.
  • The utopian dream of the Enlightenment can be summed up by five words: reason, nature, happiness, progress, and liberty.  It was thoroughly secular in its thinking.  The humanistic elements which had risen during the Renaissance came to flood tide in the Enlightenment.  Here was man starting from himself absolutely.  And if the humanistic elements of the Renaissance stand in sharp contrast to the Reformation, the Enlightenment was in total antithesis to it.  The two stood for and were based upon absolutely different things in an absolute way, and they produced absolutely different results.
  • The rise of modern science did not conflict with what the Bible teaches; indeed, at a crucial point the Scientific Revolution rested upon what the Bible teaches.
  • Isaac Newton, like other early scientists, had no problem with the why because he began with the existence of a personal God who had created the universe.
  • Michael Faraday was a Christian.  He belonged to a group whose position was: “Where the Scriptures speak, we speak; where the Scriptures are silent, we are silent.”
  • The Christian world view gives us a real world which is there to study objectively.  Another result of the Christian base was that the world was worth finding out about, for in doing so one was investigating God’s creation.  All things were created by God and are open for people’s investigation.
  • Francis Bacon “To conclude, therefore, let no man out of weak conceit of sobriety, or in ill applied moderation, think or maintain, that a man can search too far or be too well studied in the book of God’s word, or in the book of God’s works.” “The book of God’s word” is the Bible and the “Book of God’s works” is the world which God has made.  For Bacon and other scientists working on the Christian base, there was no separation or final conflict between what the Bible teaches and science.
  • Humanism had set out to make man autonomous; but its results have not been what the advocates of humanism idealistically visualized.
  • With a weakened certainty about objectivity, people find it easier to come to whatever conclusions they desire for the sociological ends they wish to see attained.
  • After the turmoil of the sixties, many people thought that it was so much 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.
  • Consider two hedonists meeting on a narrow bridge crossing a rushing stream: Each cannot do his own thing.
  • Society cannot stand chaos.  Some group or person will fill the vacuum.  An elite will offer us arbitrary absolutes, and who will stand in its way?
  • Edward Gibbon in his Decline and Fall of the Roman Empire (1776-1778) said that the following five attributes marked Rome at its end: first, a mounting love of show and luxury (that is, affluence); second, a widening gap between the very rich and the very poor (this could be among countries in the family of nationals as well as in a single nation); third, an obsession with sex; fourth, freakishness in the arts, masquerading as originality, and enthusiasm pretending to be creativity; fifth, an increased desire to live off the state.  It all sounds so familiar.  We have come a long road since our first chapter, and we are back in Rome.
  • Without the absolute line which Christianity gives for the distinctiveness of people, even things which can be good in themselves lead to humanness being increasingly lost.
  • Modern man has no real boundary condition for what he should do; he is left only with what he can do.  Moral “oughts” are only what is sociologically accepted at the moment.  In this setting will today’s unthinkable still be unthinkable in ten years?
  • The central message of biblical Christianity is the possibility of men and women approaching God through the work of Christ.  But the message also has secondary results, among them the unusual and wide freedoms which biblical Christianity gave to countries where it supplied the consensus.  When these freedoms are separated from the Christian base, however, they become a force of destruction leading to chaos.  When this happens, as it has today, then, to quote Eric Hoffer, “When freedom destroys order, the yearning for order will destroy freedom.”
  • As Christians we are not only to know the right world view, the world view that tells us the truth of what is, but consciously to act upon that world view so as to influence society in all its parts and facets across the whole spectrum of life, as much as we can to the extent of our individual and collective ability.
  • To make no decision in regard to the growth of authoritarian government is already a decision for it.

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

Dr. Francis schaeffer – The flow of Materialism(from Part 4 of Whatever happened to human race?)

Dr. Francis Schaeffer – The Biblical flow of Truth & History (intro)

Francis Schaeffer – The Biblical Flow of History & Truth (1)

Dr. Francis Schaeffer – The Biblical Flow of Truth & History (part 2)

__________

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

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

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The best pro-life film I have ever seen below by Francis Schaeffer and Dr. C. Everett Koop “Whatever happened to the human race?” On 1-24-13 I took on the child abuse argument put forth by Ark Times Blogger “Deathbyinches,” and the day before I pointed out that because the unborn baby has all the genetic code […]

Taking on Ark Times bloggers about abortion on the 40th anniversary date of Roe v. Wade (Part 2) “The pro-abortion child abuse argument destroyed here”

PHOTO BY STATON BREIDENTHAL from Pro-life march in Little Rock on 1-20-13. Tim Tebow on pro-life super bowl commercial. Over the years I have taken on the Ark Times liberal bloggers over and over and over concerning the issue of abortion. Here is another encounter below. On January 22, 2013 (on the 40th anniversary of the […]

Taking on Ark Times bloggers about abortion on the 40th anniversary date of Roe v. Wade (Part 1)

Dr Richard Land discusses abortion and slavery – 10/14/2004 – part 3 The best pro-life film I have ever seen below by Francis Schaeffer and Dr. C. Everett Koop “Whatever happened to the human race?” Over the years I have taken on the Ark Times liberal bloggers over and over and over concerning the issue […]

Deena Burnett Bailey of Little Rock tells her husband’s story about 9/11

Star Spangled Banner played at Buckingham Palace- Sept 13, 2001

Entrevista Deena Burnett 9/11

The Memphis Commercial Appeal reported on Sept 10:

When Deena Burnett Bailey spoke of the last time she heard her late husband’s voice, the rattle of silverware against china, the whispers and the general noise of a luncheon ceased.

Bailey is the widow of Tom E. Burnett, who led resistance efforts on United Flight 93 on Sept. 11, 2001.

Deena Burnett Bailey, widow of Tom Burnett who orchestrated the resistance against the terrorists aboard Flight 93, talks during the Salvation Army Women's Auxiliary's God Bless America Luncheon on Wednesday at the University of Memphis Holiday Inn.PHOTO BY JIM WEBER
BUY THIS PHOTO »Deena Burnett Bailey, widow of Tom Burnett who orchestrated the resistance against the terrorists aboard Flight 93, talks during the Salvation Army Women’s Auxiliary’s God Bless America Luncheon on Wednesday at the University of Memphis Holiday Inn.

The story of Burnett’s heroism is still a difficult one to tell, Bailey said, especially so close to the anniversary. But she wants to share it to inspire others, she said.

Bailey is the co-author of “Fighting Back: Living Life Beyond Ourselves,” a book about her husband and the others who took action against the terrorists who held the passengers hostage on Flight 93.

Bailey and former New York City police officer Jim Shepherd spoke Wednesday at a Salvation Army Women’s Auxiliary luncheon.

Bailey, now remarried and living in Little Rock, was living in California on Sept. 11. She was waiting with their three daughters for her husband to return from a business trip.

As Bailey watched the two terrorist-controlled planes collide with the World Trade Center in New York, Burnett called and told her he was on a third plane that had been hijacked, and that the hijackers had “already knifed a guy.” He told her to call the authorities.

Bailey called 911 and was eventually connected with the FBI.

Her husband called again, asking questions about the World Trade Center, and then a third time to tell her passengers were hatching a plan to overtake the plane.

He called one last time to say the passengers were waiting until the plane was over a rural area before moving in on the hijackers. While everyone on the airplane was ultimately killed, no one on the ground was injured when Flight 93 went down.

Now, Burnett is honored as an American hero. Bailey says it’s a word her husband felt was overused. She says he believed in making good choices and making a difference in the lives of others.

“Tom’s last words to me were ‘Do something.’ They ring true for each of us to stand up, fight back, do something,” she said.

For Shepherd, who now lives in Memphis, the fateful day began as he drank coffee at the gym. He saw the first airplane circle but assumed it was out of its flight pattern and looking for an airport.

“At the last moment I thought, ‘Oh my God I hope he misses the buildings,'” Shepherd said.

By the time he reached his precinct, the second plane had hit the South Tower.

Later, rescuers found three stories of the building compacted into a pile only 12 feet high, with easily distinguishable layers of concrete floor, carpet and debris, he said.

Shepherd thanked the Salvation Army, which marched quietly into New York and got to work.

“You really felt like you weren’t alone,” he said. “You had another army behind you to help.”

FRIEDMAN FRIDAY SEPTEMBER 4, 2006 An Interview with Milton Friedman

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An Interview with Milton Friedman

I recently sat down with Milton Friedman, a few days before his 94th birthday, to discuss the impact of two of his most important contributions to economics and liberty: A Monetary History of the United States, 1870-1960 [co-written] with Anna Schwartz, and Capitalism and Freedom. The ideas in both books had tremendous influence on the economic and intellectual landscape.

You can listen to our two-part podcast conversation on EconTalk:

For help with listening to podcasts, go to the EconTalk FAQ.

The following transcript consists of excerpts from that conversation.

Russell Roberts
Features Editor

Russ Roberts: Welcome to EconTalk, part of the Library of Economics and Liberty. I’m your host, Russ Roberts, of George Mason University. My guest today is Milton Friedman. Milton is a senior research fellow at Stanford University’s Hoover Institution, the 1976 Nobel Laureate in Economics and a hero to millions in the United States and around the world for his insights and actions on behalf of economics and liberty.

Russ Roberts: Milton, I’d like our conversation to focus on the ideas contained in two of your books, A Monetary History of the United States, 1867–1960, a massive scholarly work, and Capitalism and Freedom, a slim monograph on the principles of a free society.

Let’s begin with the Monetary History of the United States. Written with Anna Schwartz. Published in 1963, it was an extraordinarily detailed and careful study of the role of money in the economy. And among many important insights, it made the case that inflation is everywhere and always a monetary phenomenon. When that book was published, what was the reaction of the profession to its scholarship?

Milton Friedman: The profession on the whole appreciated its scholarship. As I remember as best I can, there were three different reviews in three different professional journals, all of which were highly favorable even though—I think—two out of the three [reviews] were written by strong Keynesians.

Russ Roberts: And what was its impact in affecting the way the profession, at least in the short run, looked at the role of money?

Milton Friedman: I find that a very hard question to answer. Obviously, many things were going on in the world. Bretton Woods was on. The 1960s were a period of pretty good prosperity. On the whole, during the ’50s and the ’60s, it looked as if the Keynesian interpretation was right. After all, during that period, we had relatively prosperous countries, relatively stable prices, and relatively low interest rates.

It was a golden era, as it were, and everybody was said to be operating on Keynesian lines. What really changed the public perception and also the professional perception was the experience of the 1970s. During the 1970s, you had a combination that under Keynesian analysis could not exist. You had high inflation and high unemployment at the same time—named stagflation—and that combination was really ruled out by the simple kind of Keynesian analysis that was in vogue. But it was that experience which more than anything else led to a basic change in public and intellectual attitudes toward money.

Russ Roberts: So the scholars and the public had to try to puzzle out why this seeming impossibility was definitely occurring.

Milton Friedman: Yes and no. Because of our book, because of Bob Lucas’ work, we had predicted that this would happen and, therefore, it was like an experiment. You wait and see what happens and the predicted results happened.

Russ Roberts: There was a lens to look through to explain what was going on.

Milton Friedman: Sure, because this lens had predicted that you could have both high unemployment and high inflation at the same time.

Russ Roberts: I was an undergraduate and a graduate in the 1970s and my textbooks at the undergraduate level—not the graduate level, because I attended a small university in the Midwest I think you used to have an affiliation with, the University of Chicago—but as an undergraduate, my textbooks talked about all the different theories of inflation—cost push, cost pull, the role of unions, the role of industrial concentration and, of course, the possibility that Milton Friedman, this maverick thinker was right, that money had something to do with it.

It’s my impression that’s not true anymore; that the intellectual environment understands today that inflation is caused by a rapid growth in the money supply.

Milton Friedman: I think it does. I think that’s clear and the last 30 years, last 20 years I should say, has done a great deal to rub that in because every central bank has come to accept the view that it’s responsible for inflation.

Russ Roberts: Let’s talk about those central banks. What role do you think the Monetary History had—and the related work around it, of course—in influencing central bankers in focusing on the money supply in its role of affecting inflation?

Milton Friedman: I think it had a great deal of effect. I think what was most important was a chapter in the Monetary History that dealt with the Great Depression. The difficulty of having people understand monetary theory is very simple—the central banks are good at press relations. The central banks hire people and the central banks employ a large fraction of all economists so there is a bias to tell the case—the story—in a way that is favorable to the central banks.

But the Great Depression was such a major event and such a disaster that there was no way in which you could talk it away, although they tried to do so. If you read the annual reports of the Federal Reserve Board or its testimony before Congress, you will find that as late as 1933, at the very depths of the depression, it’s talking about how much worse things would have been if the Fed hadn’t behaved so well.

But the evidence was so clear. You had a decline in the quantity of money by a third from 1929 to 1933 and that coincided with the decline in the economy by half or so. When you have 25 percent of the working force unemployed, you can’t just talk it away.

Russ Roberts: But at the time, the main lesson that people drew from that was that capitalism is broken.

Milton Friedman: Absolutely. The lesson people drew was that it was a fault of business. It was a market failure. But I think the reason they drew that lesson was because of the way in which the self interest of the monetary authorities led them to promote it.

Russ Roberts: And you could toss in the self-interest of FDR in painting himself as a savior despite the severe recession of 1938.

Milton Friedman: But that would have been the same for them even if they had recognized the cause, only they would have concentrated more on doing—on abolishing the Fed or on reformulating the Fed. But the reason why the public and the intellectuals at large held to that perception was because that was what they were being told by the authorities.

Russ Roberts: And so it justified a great deal of government intervention in the economy at the time, obviously.

Milton Friedman: Oh, it certainly did.

Russ Roberts: And you’re suggesting that the Monetary History was the beginning of a revision toward a different perspective.

Milton Friedman: Well, I don’t know. On the ideological side, there were other things at work. Hayek’sRoad to Serfdom, which was published in 1945 made the ideological case. I don’t know what role the Monetary History played in the public at large but in terms of the monetary authorities, in terms of money, there’s no doubt that it played a considerable role.

Russ Roberts: And that chapter on the Great Depression must have alarmed them greatly about their potential for doing harm.

Milton Friedman: Exactly, exactly.

Russ Roberts: And at that time, in the 1960s, there was a lot of debate about what the role of the central bank should be and because inflation was relatively low, there was much less attention paid to that role.

Milton Friedman: Here and there, there were things like the Federal Reserve Bank of St. Louis, which was arguing against the Federal Reserve policy and which was arguing that they should pay more attention to the quantity of money, but they were mavericks. But so far as the bulk of the population, the bulk of the profession, the bulk of the people hired by the monetary authorities, they all were Keynesians.

Russ Roberts: Focusing on the central bank role, going back again to the ’70s when I was in school and shortly after your book came out, the focus was on the money supply—the quantity of money, counting it, controlling it through open market operations.

Something changed in the last 25 or 30 years. That’s not what Alan Greenspan or Ben Bernanke talk about. They talk about other things and they play with that short-term interest rate, not the so-called stock of money that you focused on so intensely in the book.

Milton Friedman: That’s what the talk about but that’s not what they do.

Russ Roberts: What do they do?

Milton Friedman: They use the short-term interest rate as a way of controlling the quantity of money. If you look at the statistics, the rate of change of the quantity of money from month to month, quarter to quarter, year to year, it has never been so low as it has been over the last 20 years.

I don’t believe there’s another 20-year period in the history of the country in which you can find so steady a rate of growth in the quantity of money and that can’t all be an accident. That’s because they use the short-term interest rate. Look at it in the simplest possible way.

The Fed says the short-term interest rate should be 4.5 percent. How do they keep it there? By buying and selling securities on the open market. Now you’re Mr. Bernanke; you’re Mr. Greenspan. You’re watching that. And with the current short-term interest rate, you find that the quantity of money is starting to creep up more rapidly than you really want. Well, then you will tend to be favorable to raising to a higher rate of interest.

At that higher rate of interest, the demand for money is less and so the supply of money under that phenomenon, instead of having to sell government bonds to keep it there, they have to buy government bonds to keep it there or vice versa. Maybe I’m getting it mixed up. But in any event, the short-term interest rate is a tool with which you can control the quantity of money.

Russ Roberts: But they don’t talk about it that way.

Milton Friedman: No, they don’t talk about it that way.

Russ Roberts: Why do you think that is? Do you have any idea?

Milton Friedman: I don’t know. I’ve always been puzzled by why they insist on using the interest rate rather than the quantity of money.

If you really carried out the logic concerning the quantity of money, you deprive the Federal Reserve of anything to do. Suppose the Federal Reserve said it was going to increase the quantity of money by 4 percent a year, year after year, week after week, month after month. That would be a purely mechanical project. You could program a computer to do that.

Russ Roberts: Like an indexed mutual fund takes away the fun of being a fund manager.

Milton Friedman: Right. That’s part of the reason. But the main reason, I think, is different. It’s that the central bank associates with banks. It regards itself as sort of a mentor of the banking system and, to the individual bank, it doesn’t believe it creates a quantity of money. That doesn’t make any sense to them.

What they deal with are interest rates and therefore, it’s natural and so many of the central bankers are themselves from the banking industry. They’re bankers. And so it’s natural for them to think in terms of interest rates and, moreover, when they think in terms of interest rates, they’ve got all kinds of interest rates—short-term interest rates, long-term interest rates—all kinds of excuses for exercising power or thinking they’re exercising power.

Russ Roberts: Taking credit for exercising power.

Milton Friedman: I’ve always been in favor of abolishing the Federal Reserve and substituting a machine program that would keep the quantity of money going up at a steady rate.

Russ Roberts: And over the last 20 years or so, they’ve approximated that.

Milton Friedman: Come closer to approximating it. Absolutely.

Russ Roberts: And I would argue, and I assume you would as well, that the relative stability of the U.S. economy over the last 20 years is a reflection of that steady growth in the money supply.

Milton Friedman: I think there’s no doubt at all.

Russ Roberts: The non-erratic path.

Milton Friedman: It’s a golden period. It’s a period in which you had declining inflation but a fairly steady rate, a steady level. You had only three recessions, all of them brief, all of them mild. I don’t believe you can find another 20-year period in American history. But it’s interesting to note that so far as the international acceptance of monetary control is concerned, it was started by the Bank of New Zealand, not by the Federal Reserve Bank.

It was some time in the 1980s when New Zealand essentially came close to privatizing its central bank. It set up a situation in which the governor of the Central Bank of New Zealand had a contract with the government in which he agreed to keep the price level—inflation—within a certain bound; 0 to 3 percent or 0 to 2 percent. And if he did not do so, he could be fired.

Russ Roberts: Not decapitated, merely fired.

Milton Friedman: Merely fired.

Russ Roberts: But it still concentrated his mind sufficiently.

Milton Friedman: Oh, yes. And Don Brash was appointed as the first governor of the Central Bank of New Zealand. He’s now the leader of the opposition in the New Zealand Parliament. But at the time, he came from business. He was a businessman and he is an extraordinarily able and effective fellow and he took this job on at the time when New Zealand had a very high inflation rate and he succeeded in living up to his contract.

And that really set the pattern. It was the New Zealand experience, I’m sure, that had more to do with other central banks around the world adopting inflation targeting than the United States experience.

Russ Roberts: Because it was so dramatically effective in New Zealand?

Milton Friedman: It was the first time that anybody had explicitly adopted an inflation target. So that was something that everybody observed. And, secondly, it was so dramatically effective.

Russ Roberts: So are you optimistic about the role the central bank will continue to play in that inflation and price level story? You said we’ve had a golden era of 20, 25 years of stable prices, steady growth with only minor—by historical standards—minor recessions. Are you optimistic about the next 25 years?

Milton Friedman: I have great difficulty not being optimistic about it. All the evidence would seem to be optimistic. On the other hand, I can’t hold back a doubt. Governments want to spend money and sooner or later, governments are going to want to spend money without taxing it and the only way to do that is to print money—to create inflation.

Inflation is a form of taxation. How long will governments be able to resist the temptation? And particularly as people become adjusted to being in a world of stable inflation. They will be bigger suckers as it were. It will be easier to get a lot out of it. If everybody anticipated inflation, you couldn’t get anywhere by inflating.

Russ Roberts: But once you get people lulled into the expectation of a lack of it, there’s the potential to exploit it. Let me ask the question in a different way. A lot of people credit Alan Greenspan with the expansion and success. They give Paul Volcker some credit as well at the early part of this period that we’re talking about.

But they make it sound like the key to success in monetary policy is you just got to get the right person in the job. When Ben Bernanke or whoever is following him comes in, there’s this absurd microscopic examination of the aura and vapors around such a person. And you’re suggesting it really has nothing to do with it.

Milton Friedman: Well, how is it that New Zealand can do it. How is it that Australia can do it. How is it that Great Britain can do it. These are all countries which followed New Zealand. New Zealand started it. But then Australia and Great Britain also adopted inflation targeting.

Russ Roberts: Well, they just happened to find the right guy in each of those places.

Milton Friedman: Oh, they were all lucky. Absolutely. (Laughter.) I’ve always felt that the big defect politically of the Federal Reserve is precisely that so much depends on unelected representatives. The central bank is treated as if it were the Supreme Court. That’s why during the Depression, there was no effective controls on the central bank. There were members of Congress who knew what to do and who trying to get the Fed to do it but they had no way to do so.

Russ Roberts: There was no incentive directly. There was an indirect incentive, of course, which was humiliation and the stigma which has endured. They had no idea at the time of how bad that would turn out—how those decisions would look in retrospect. But you’re suggesting that the disadvantage of the current system is a lack of accountability.

Milton Friedman: Right.

Russ Roberts: But the alternative, the elected system, has the problem that you mentioned earlier of the temptation to exploit the ability to create money to increase revenue.

Milton Friedman: But that’s why what you want—if possible—is a mechanical system. If there was any virtue to the gold standard, it was that virtue. Maybe you could create the same thing now. My favorite proposal really is a little bit more sophisticated—or less sophisticated if you want to look at it that way—than a straight increase in the quantity of money. I would—if I had my choice—freeze the amount of high-powered money. Not increase it.

Russ Roberts: High-powered money being bills and cash.

Milton Friedman: High-powered money is the currency plus bank reserves.

Russ Roberts: Okay.

Milton Friedman: I would freeze that and hold it constant and have it as sort of a natural constant like gravity or something. Now, you would think that that’s a bad idea because there would be no provision for expansion; however, high-powered money is a small fraction of total money and the ratio of total money to high-powered money has been going up over time. So the economy would create more money and on average, you would have a pretty stable money growth and a pretty stable monetary system.

Russ Roberts: What do you think the odds are of that happening?

Milton Friedman: Zero.

Russ Roberts: Zero? Well, that’s a small number, zero. I wish you were a little more optimistic.

Milton Friedman: No, I don’t think it’ll happen unless there is another catastrophe like the Great Depression. But other than that, it’s not going to happen. I think the real danger of this [the current monetary system] breaking down is there’s no danger of it breaking down into a Great Depression. The real danger is it’ll break up into an inflation.

When I see in the Federal Reserve reports that the inflation anticipation for 10, 20 years is on the order of 2 percent a year, I find it very hard to believe it. Sooner or later, the government’s going to get out of hand.

Russ Roberts: But this current run is a lovely illustration of your ideal— a non-discretionary, mechanistic rule. The average person finds it very unappealing. Discretion always seems to be better than rules.

Milton Friedman: That’s right.

Russ Roberts: What you’re saying is that with that discretion—which is not ideal in your world—yet with that discretion, they have followed the rule.

Milton Friedman: Yes.

Russ Roberts: So far. They’ve given the impression to the world that they are wise and careful engineers at the helm of the monetary system and yet they have acted as robots.

Milton Friedman: That’s right.

Russ Roberts: What a wonderful example of a lack of damage done by that discretion. So far. But I understand your pessimism.

Russ Roberts: Milton, let’s turn to Capitalism and Freedom. In the book, you lay out the principles of what you call liberalism. Sometimes you call it liberalism, sometimes 19th Century liberalism. Sometimes you’ve called it classical liberalism. And you advocate there a limited role for government in the legal and monetary system and maximal freedom and responsibility for the individual. And in that book, which was published in 1962, but based on lectures, I think, that you gave in the late 1950s—

Milton Friedman: 1956.

Russ Roberts: So the ideas in that book are 50 years old this year. And in 1956 and thereafter in the book in 1962, you argued for a volunteer army, flexible exchange rates, a monetary rule for stable prices, educational vouchers, privatizing Social Security and a negative income tax. At the time, those ideas were not conservative at all—

Milton Friedman: They were very radical.

Russ Roberts: Some people might call them conservative but you called them liberal because they were about freedom. They were considered either conservative or whacky. What was the reaction to the book when it came out?

Milton Friedman: I don’t know. I really don’t know how to answer that question because when it came out, it did not receive a great deal of attention to begin with. It was reviewed in no major newspaper. The New York Times didn’t review it. The only reviews were in professional magazines. It was reviewed in the American Economic Review, in theEconomic Journal and other major professional journals but it got very little public attention.

Russ Roberts: And I’m surprised it was actually reviewed there. A book like that today would be much less likely to be reviewed in theAmerican Economic Review or Economic Journal. It was a polemic of sorts. That’s a little strong.

Milton Friedman: It was a polemic.

Russ Roberts: It was a treatise. It was a manifesto.

Milton Friedman: But by that time, I had acquired a considerable reputation as an economist in professional economics. There was a good deal in this book, however, which was of professional economics importance. What you’ve mentioned—floating exchange rates—and the monetary stuff. It was polemic but it wasn’t primarily polemic.

Russ Roberts: And it’s not written in a polemical style.

Milton Friedman: No, it tried to be a rational argument and it tried to consider the evidence for the points that are made. But you’re stressing how much has since been achieved from it.

Russ Roberts: Correct.

Milton Friedman: But I’ve always stressed the opposite. If you look at the list in Chapter 1 or 2—I have a long list of things government ought not to be doing.

Russ Roberts: And it’s not exhaustive. You say at the end of it this is just the beginnings of a list.

Milton Friedman: The only one of those that has really been achieved is a volunteer army.

Russ Roberts: Right. We’ve made some inroads potentially on agricultural price supports which is, I think, the first thing you list on that page. There was actually somewhat serious talk about changing them. But you’re right. You could argue the glass is half empty. But as, again, someone who came of intellectual age in the 1970s and who was sympathetic to the ideas in the book, to put it mildly, advocating those ideas at the time, any of the ones we’ve talked about on the positive side that actually happened or are close to happening, was a recipe for being treated as a buffoon or a fool or a heartless person. I think it’s an extraordinary intellectual and policy experiment over the last 50 years that so many of those things have come to pass.

Milton Friedman: And what’s happened is that the public attitude has changed tremendously. In 1945, 1950, at the end of the war, intellectual opinion was almost wholly collectivist. Everybody was a socialist. They may not have used the term but that’s what they were. However, practice was not socialist. Practice was free enterprise.

The role of government at that time was such smaller than it has since become and from 1945 on to 1980, what you had was galloping socialism. Government took over more and more control. Government spending went from about 20 percent of national income—government federal, state and local—to about 40 percent of national income until Reagan came along.

But Reagan was able to do what he did because in that 20-year period, intellectual opinion had changed. What had before been a hypothesis was now fact. You now could see what the government did and people didn’t particularly like what the government did. So public attitudes about government had changed very much over that period and I think maybe Capitalism and Freedom added a little of that but I think experience was much more responsible.

Russ Roberts: At the time, the other side of the intellectual argument, the socialist or communist side, was doing quite poorly. But we were not aware of it. The Soviet Union was doing much, much worse than it appeared to be doing.

Milton Friedman: Sure.

Russ Roberts: And so if we had had the facts about the Soviet Union, the experiential case for capitalism and markets might have been even stronger. But it really is rather remarkable that given the intellectual apologists for the Soviet Union of the day, how much the tide changed in public opinion despite the lack of direct evidence that we had.

Milton Friedman: We had very little direct evidence outside the United States and I think it was the evidence of the government in the United States that was playing a role. But I really have never done any serious work on trying to trace the course of general public opinion except as it worked for the politics of it. Reagan could never have gotten elected if there had not been a big change in public opinion. He could not have been elected in 1950.

Russ Roberts: And Goldwater was not electable in 1964 who in many ways was the most free market candidate of the 20th Century. Yet George W. Bush, who is not much of a classical liberal, did at least talk about what he described as privatizing Social Security, a topic that Reagan might think was a good idea but I don’t think ever talked about it publicly, advocated it, never made it a campaign issue. I think probably afraid of it, perhaps correctly so.

I remember in my youth, again going back to the ’70s, talking about eliminating Social Security was an invitation to be described as a person who wanted to see old people die in the streets “as they did before the 1930s” as if somehow Social Security had prevented this from happening, which is bizarre given the level of Social Security in the 30s.

Milton Friedman: Of course.

Russ Roberts: —and all the private mechanisms we have for taking care of ourselves. And so, obviously, Capitalism and Freedom played a role. You mentioned earlier The Road to Serfdom by Hayek in affecting public opinion. There was definitely an intellectual foundation laid for these public opinion changes that gave people something to hold onto.

Milton Friedman: Well, we know that, for example—we happen to know—that Reagan read Capitalism and Freedom before I ever met him and, clearly, that’s a way in which a book has influence.

Russ Roberts: But it also has influence through affecting the electorate who—

Milton Friedman: Oh, sure.

Russ Roberts: And Free to Choose, a book we haven’t mentioned yet, which was a documentary on public television at first and then I think the book followed the documentary or was it the other way around?

Milton Friedman: The book was based on the documentary but appeared in print before the documentary. What happened was we finished all the work on the documentary in the spring of ’79 and we spent the summer of ’79 using the transcripts of the program as a basis for Free to Choose book and Harcourt Brace did a remarkable job of publishing the book. We went to the printers in September and it was in the bookstores in December. Jovanovich—at the time, it was Harcourt Brace Jovanovich—Bill Jovanovich was very much of a fellow thinker and he contributed to our program.

Russ Roberts: In what way?

Milton Friedman: Oh, to begin with, the first step in creating the program was that I gave a series of lectures all over the country on the subjects that were going to be in the program to provide material for the producer and directors to weave into film. And he gave us a contract for publishing the transcripts of those lectures.

Russ Roberts: So that helped finance the trip. The book and the TV series, which reached millions, obviously, helped as well with the ideas of Capitalism and Freedom which probably didn’t sell quite as well —marketed by the University of Chicago Press—but with similar ideas.

Milton Friedman: No, no. The University of Chicago Press did a good job in marketing considering the absence of book reviews. After all,Capitalism and Freedom has sold something like 600,000 copies. Free to Choose has sold over a million copies. And we found it very fascinating to observe the way sales of Capitalism and Freedom went. To begin with, they were relatively few. And then they gradually started to increase and it was entirely person to person—word of mouth.

Russ Roberts: And it is a book that’s still quite topical.

Milton Friedman: The basic principles that we believe in are going to stay the same for the next thousand years. That aspect of it will never go out of date. What goes out of date are the particular applications. We still find Adam Smith’s book, Wealth of Nations well worth reading even though it’s published in 1776.

Russ Roberts: Yes, it is surprisingly informative.

Milton Friedman: It certainly is and it’s so well written.

Russ Roberts: I think a huge part of your success—obviously not the logic but the success of the ideas—is your ability to communicate clearly and effectively to a non-technical audience.

Milton Friedman: Well, I’m not a stylist the way Smith was. The modern economist who really I think matches that is George Stigler.

Russ Roberts: Absolutely. He had a graceful pen. And it was a pen probably, not a keyboard, if I had to guess.

Milton Friedman: Oh, there’s no doubt that it was a pen.

Russ Roberts: I know you can give us the empirical evidence. Let me ask you about another idea in Capitalism and Freedom that you later elaborated on in a Sunday New York Times magazine story in the early 1970’s. You wrote there: “There is one and only one social responsibility of business, to use its resources and engage in activities designed to increase its profits, so long as it stays within the rules of the game which is to say engages in open and free competition without deception or fraud.”

I feel that that view of business, the one that says it should maximize its profits, is increasingly under attack and there’s a strong activism afoot in the land to turn corporations and businesses into social organizations, welfare agencies, charitable organizations. One, do you agree with me? Do you think that’s true? And two, what can we do about it? Any ideas?

Milton Friedman: I think it’s absolutely true. There’s no doubt that that’s—the view that there are many stakeholders and not only the shareholders has spread. And business itself propagates the idea because it’s good public relations. They spend money entirely with a view to the bottom line but label it social responsibility spending.

And that sentence, I think, is still just as true as it ever was and I’ve never seen an occasion to change my view about that. Suppose a business wants to do charity. What is it that gives it any special ability to do charity properly? The XYZ Company, in addition to producing XYZ trucks, also wants to be socially responsible and so it does what it thinks is charity. What is its special capacity for that?

It may know how to make trucks but does it know the right way to spend charitable money? And whose money is it spending? It’s spending somebody else’s money. It’s a very bad practice. Business has had such a big incentive to label itself socially responsible—it’s primarily responsible for that conception.

Russ Roberts: Yeah, I worry about that slippery slope as they brag about how well they’ve done in those different dimensions. I’d like them to brag about how profitable they are. That means they’ve produced something that people enjoy, are willing to pay for and have found a way to produce it at a lower cost.

Milton Friedman: The truth of the matter is that the only way anybody can make money is by producing something that people want to buy, but it can give away money without meeting that restriction.

Russ Roberts: That reminds me of one explanation for why people, I think, lean on businesses to indulge other activities besides producing products well. It’s the Willie Sutton theory of why you rob banks—that’s where the money is.

The Chicago City Council recently passed an ordinance requiring large retailers—mainly Wal-Mart and Target—to pay at least $10.00 an hour in wages and $3.00 an hour in benefits.

If you ask the proponents why should Wal-Mart finance a higher standard of living for their workers, why should the investors of Wal-Mart, the stockholders, and Target, be the ones that finance that, I think the answer would be “Well, they have the money.”

That ignores, of course, the incentive effects that then result. They’re the last people that you’d want to have finance this because it discourages them from creating jobs for low skill people. But I think that first order effect of “Well, they’ve got the money, they write the checks so therefore they’ve got the responsibility” has a huge appeal to the average person.

Milton Friedman: But it’s always been true that business is not a friend of a free market. I have given a lecture from time to time under the title Suicidal Impulses of the Business Community, something like that, and it’s true. It’s in the self-interest of the business community to get government on its side. It’s in the self-interest of a particularbusiness. Look at this crazy business about ethanol. Who’s benefiting from that?

Russ Roberts: Farmers. Corn farmers.

Milton Friedman: No, the farmers aren’t benefiting.

Russ Roberts: The landowners.

Milton Friedman: What’s the company that produces it?

Russ Roberts: Archer Daniels Midland. So of course, they lobby and talk about the enormous environmental benefits of ethanol.

Milton Friedman: But the real puzzle—puzzle isn’t quite the right word—the real problem here is where do you find the support for free markets? If free markets weren’t so damn efficient, they could never have survived because they have so many enemies and so few friends. People think of capitalism or free markets as something that obviously is supported by business. People think that if a business party is a party in politics, it will promote free market. But that’s wrong. It will be in the self-interest of individual businesses to promote a tariff here and a tariff there, to promote the use of ethanol—

Russ Roberts: Special regulations for its competitor that apply just by chance to its competitors but not to itself—

Milton Friedman: That’s right.

Russ Roberts: —or that they already comply with but their competitors don’t happen to comply with.

Milton Friedman: And it’s so hard in general, so much harder, to repeal anything government is doing than it is to get it to do it. There are so many stupid things that government is doing that, clearly, it would be in the self-interest of the public at large to have repealed. Who would—who can really on logical grounds defend sugar quotas? There’s no way of defending sugar quotas.

Russ Roberts: You don’t think it’s a big national security issue? [laughter]

Milton Friedman: That was why they were imposed. Because of Cuba. They were initially imposed against Castro. But once you got them, you couldn’t get rid of them.

Russ Roberts: It’s a good example because the beneficiaries are very few.

Milton Friedman: They’re very few.

Russ Roberts: We understand that politically that gives them a certain reason to be loud in talking to the representatives but you’d think the fewness of them would eventually be decisive in overturning it but it has not.

Milton Friedman: No, it’s not, because it’s an advantage. If 50 percent of the people were sugar farmers, you couldn’t possibly have sugar quotas, because it costs too much to the others. But if 1% of the people are sugar producers, for each dollar that they get, that’s divided among 99 people so it’s only one cent to the individual.

Russ Roberts: So their incentive to yell is small— which brings us back to a question that you write about in Capitalism and Freedom.Issue by issue, it’s easy to make the case for discretion.

When you see the cumulative effect of going issue by issue, you really can make the case for principles. You give the example in the book of freedom of speech. Obviously, a lot of Americans are against freedom of speech.

Milton Friedman: Oh, sure.

Russ Roberts: And if you went issue by issue, you’d find a lot of speech that would be voted down as not appropriate and yet we sustain it through enough people believing that it’s a good thing.

Milton Friedman: But even here, with the campaign finance laws, we’re reducing freedom of speech drastically.

Russ Roberts: That gets back to your point about businesses wanting government to protect them. In this case, the business is the industry of government. Politicians like the protection that campaign finance laws gives them.

Milton Friedman: Yeah.

Russ Roberts: That’s a very tough one when they regulate themselves. They do tend to be a little self-interested there. It’s very sad.

Milton Friedman: But how do we get that repealed? What politician is going to come up and make a big fight on repealing the McCain-Feingold legislation.

Russ Roberts: Although the Supreme Court occasionally does speak up and suggest that this is not really consistent with the Constitution.

Milton Friedman: Well, the Supreme Court is not a very strong support in some cases. Look at what it did with property—with eminent domain. The Kelo case is not really a good advertisement for a free market Supreme Court.

Russ Roberts: But ironically, it did produce a backlash at the state and local level against using it.

Milton Friedman: The Institute of Justice—which is a remarkably good organization—has been promoting that backlash against it and they’ve been doing a very good job. It may well be that you’ll end up with a stronger support for property than you originally had. But that wasn’t the intention of the Supreme Court.

Russ Roberts: Let’s go back to the difficulty of repealing bad laws. You mentioned sugar quotas, sugar price supports, as an example. What role do you think economic illiteracy, a lack of understanding on the part of the public of the full effects of legislation, plays in sustaining laws that are described as in the national interest but are really serving special interests?

Milton Friedman: Very little. Because it’s not in the self-interest of the recipients to figure it out. What housewife is going to spend the time to save the extra money—maybe it’s $5.00 or $10.00 a year she pays extra on sugar? It doesn’t pay to try to figure out. What you’re dealing with is rational ignorance. The rational part is what I want to emphasize. It’s not ignorance that is avoidable because it’s rational to be ignorant.

Yet somehow, people do get it. Minimum wages have become less popular than they used to be. They’ve been trying to pass a rise in the minimum wage for years and they haven’t passed one. And that’s because, I think, there is more understanding of the economic merits or demerits of it than there used to be—more people recognize the effect of a higher minimum wage on the employment of the poor.

Russ Roberts: On the flip side, the living wage, which are these local ordinances or like the one in Chicago we spoke about earlier, gets attention and often passes.

And if anything, you’d think there the effects are going to be more stark in a local area—employers have more choices to leave the area which they wouldn’t have at the federal level. On the case of gasoline price controls, true, no one clamors for price controls but we have all these implicit price controls—threats by attorney generals to prosecute gougers in the wake of Katrina or worse, vaccine manufacturers who might have the gall to charge a market-clearing price.

Instead we have the president of the United States two winters ago begging people to not use the vaccine if they’re not really at risk, instead of using the price mechanism which is so much more effective. It seems to be a paradoxical pattern? Do you have any thoughts on that?

Milton Friedman: I don’t think there’s anything very paradoxical about it. First place, we are now only 20 or 30 years from when we had price controls [on gasoline]. And so a large fraction of the population had personal experience with it. Twenty or 30 years from now, after there’s nobody living who had experience with price controls, I wouldn’t be surprised to see it come back again.

We have to keep ourselves open to the facts. The facts are that the world has become better and better over time. The 19th Century was better than the 18th Century. The 20th Century was better than the 19th Century. The 21st Century is going to be better than the 20th Century. There was once an article back in, oh, 1780 or something, which said how many people lived in free countries and how many lived in the rest—non-free.

And the ratio of people who live in free countries to the total population of the world has surely been going up throughout this whole—these past two centuries. It went up most dramatically recently when the Berlin Wall fell, when the Soviet Union went out of existence. So there’s reason to be optimistic.

Somehow or other, these stupid individuals who vote these bad laws seem to have enough sense to keep from voting laws bad enough to create a negative GNP. So I think in the end, you’ve got to remain an optimist.

Russ Roberts: I share your optimism and I like the long-term perspective. On any one day, you can always get depressed about what’s going on in Washington or in city hall but the long-term trend is toward more freedom and a higher standard of living and although it seems very difficult for people to recognize that, they’re always moaning; the educated class is always moaning about how things have never been worse. We stand on the brink of a precipice either because we have a trade deficit or China or manufacturing jobs are in decline or the inequality due to this, that or the other, or immigration. There’s always some threat to our prosperity that’s imminent and yet we manage to keep going.

Milton Friedman: And yet—another thing on the glass being half empty. While everybody complains about Bush’s tax cuts, nobody really is in favor of higher taxes. There’s no broad sentiment, no broad move [to raise taxes].

Russ Roberts: I want to ask you about George Stigler who you mentioned earlier. Stigler was an observer of the political scene. He was a political economist who described why things were the way they were but he felt it was a waste of time to be an advocate, a preacher, a proselytizer for a particular philosophy or ideology because politicians face these incentives and you’re not going to change what they do. Being an advocate for this policy or that policy or trying to increasing liberty—as you have—is a Quixotic endeavor. Is that a fair assessment of his view?

Milton Friedman: There’s a lot of truth to it. George always used to say, “Milton wants to change the world. I just want to observe it.” But it wasn’t true. That was what he would say. But after all, you never heard George say a good thing about bigger government. You never heard him in any way express views that differed from yours and my views about what we ought to be doing. So I think that was a little bit of a show that he put on.

Russ Roberts: But he didn’t spend as much time as you have professionally.

Milton Friedman: No, no. He did spend much more time on observing.

Russ Roberts: And you have spent a great deal of time obviously on observing but a sizeable amount of time on urging or prodding or pushing politicians and others—the rest of us—to advocate for smaller government and more individual freedom.

Milton Friedman: I have.

Russ Roberts: As a person who spent a lot of time in the—not just in the academic vineyard but in the policy vineyard, do you look back on that as fruitful work?

Milton Friedman: I really had two lives. One was as a scientist—as an economist—and one was as a public intellectual. And everybody more or less does his major scientific work at a relatively early age And it’s kind of natural, I think, that people switch from the one area to the other. Really until the 1970s, I did not have much contact in politics whatsoever.

I had some but not much. But then, I think increasingly as the scientific side of my life matured and I happened to know more people in politics, my interests and my activities switched to some extent. I think what really motivated it more than anything else was when I was writing columns for Newsweek.

Russ Roberts: Which was fun, I assume.

Milton Friedman: It was fun. It was fine. I found it a very challenging thing to do and it made me—forced me—to keep up with the current affairs that were going on and also it brought me into contact with people who were active in politics.

Russ Roberts: Did colleagues other than George voice an opinion about you spending your time that way? I know at that point in your life, you were already incredibly respected and successful but—

Milton Friedman: No. No.

Russ Roberts: For a young scholar, it’s not the best use of time often.

Milton Friedman: I always told my students that if they went to Washington, they shouldn’t stay there more than two years or they’ll get ruined. And in general, I’ve argued to youngsters who came up to me and wanted to be ideologists, wanted to promote an ideological view, that they first better get themselves established as an economist or as a scholar and get a good job and then they could afford to do it.

Russ Roberts: What advice would you give to those who love liberty and would like to see its cause thrive? You talked about some optimism, that the broad historical trends are good. Anything in the short run that you think would be useful or good for people to be aware of or take advantage of?

Milton Friedman: I think people have to do what they want to do. I think that the best thing that people can do who want to promote the free market is to talk about the free market, to think about the free market, to write about the free market and to get into arguments.

Russ Roberts: Something you’ve spent a lot of time at.

Milton Friedman: I’ve had a lot of experience in it, a great deal.

Russ Roberts: That’s good advice. Thank you, Milton.


*See Milton Friedman’s biography in the Concise Encyclopedia of Economics.To post a followup to this essay, go to EconTalk.org.

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

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

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

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Nortre Dame’s Weis was one of the best speakers we have had at the Little Rock Touchdown Club!!!

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I really enjoyed listening to Charlie Weis on Tuesday. Nortre Dame’s Weis was one of the best speakers we have had at the Little Rock Touchdown Club!!!

Little Rock Touchdown Club – September 8, 2015

Weis adapts to life away from football

By Jeremy Muck

This article was published September 9, 2015 at 2:32 a.m.

charlie-weis-right-shown-with-new-england-patriots-quarterback-tom-brady-in-2004-was-the-patriots-offensive-coordinator-in-2000-2004-helping-lead-them-to-three-super-bowls

Charlie Weis doesn’t have any interest in badmouthing the New England Patriots.

The four-game suspension handed down by NFL Commissioner Roger Goodell to Patriots quarterback Tom Brady for his role in using underinflated footballs during the AFC Championship Game last season was overturned last week by U.S. District Judge Richard Berman.

Weis coached Brady when he served as the Patriots’ offensive coordinator (2000-2004) and credits the quarterback, Coach Bill Belichick and owner Robert Kraft for helping him land the head coaching position at his alma mater Notre Dame in 2005.

“I got it because of those guys,” Weis told the Little Rock Touchdown Club on Tuesday at Embassy Suites in Little Rock. “Now you want me to go say bad things about them? I might be dumb, but I’m not that dumb.

“If you’re looking for one person to be on the bandwagon, you found the right guy. I’m always going to be thankful and respectful for everything they did for me. I appreciated the small part I got to play.”

Weis, 59, served as offensive coordinator under Patriots Coach Bill Belichick, helping lead the team to Super Bowls in 2001, 2003 and 2004.

A decade later, Weis finds himself out of coaching after going 41-49 in stints at Notre Dame (2005-2009) and Kansas (2012-2014).

Weis said his struggles at Notre Dame could be traced to the composition of his coaching staff. Three of his assistants — Michael Haywood (Miami, Ohio), Rob Ianello (Akron) and Brian Polian (Nevada) — eventually left to run their own programs.

“I hired too many people that wanted to use the school as a steppingstone for a head coaching job,” Weis said.

In between his stints at Notre Dame and Kansas, Weis returned to the NFL in 2010 as the Kansas City Chiefs’ offensive coordinator and helped lead the team to an AFC West title. He left Kansas City after one season to become offensive coordinator under Will Muschamp at Florida before accepting the Kansas job.

Weis said his wife, Maura, questioned him on why he would consider coaching at Kansas, which played in the Orange Bowl in January 2008 but has played in only one bowl game since, the Insight Bowl in the 2008 season.

” ‘Why would you do that?’ ” Weis recalled his wife asking him. ” ‘Aren’t they a basketball school?’ “

It turned out that she may have been onto something. Weis was just 6-22 with the Jayhawks and was fired after a 2-2 start in 2014 in the third year of a five-year contract.

Thanks to his contract buyouts at Notre Dame and Kansas, Weis is owed $24.6 million through December 2016. But this season marks the first time since 1979 that he isn’t coaching on the sidelines.

Weis remains involved in the game through his son, Charlie Weis Jr., who is in his first year as a football analyst at Alabama working under Coach Nick Saban. Weis attended Alabama’s victory over Wisconsin on Saturday at AT&T Stadium in Arlington, Texas, and plans to attend the Crimson Tide’s Oct. 10 game against Arkansas in Tuscaloosa.

“You’re living vicariously through him,” Weis said. “It’s a little different, because instead of going through minicamps and training camps you’re not doing anything.

“I was a little surprised I wasn’t as depressed as I thought I would be not coaching, to tell you the truth.”

Weis has taken on a more active role in his family’s charity, Hannah and Friends, a nonprofit organization that benefits people with special needs. Hannah, 21, who is Weis’ only daughter, suffers from Global Development Delays, an intellectual disability that takes hold in a person’s formative years characterized by significantly impaired cognitive functioning. The charity has raised more than $5 million since 2003, Weis said.

Weis said he had several opportunities to get back into coaching in 2015, but he is content with his current situation. He said he wishes Arkansas the best of luck Oct. 10 when the Razorbacks visit Alabama, but Weis’ loyalties aren’t hard to hide these days.

“I root for one team, Alabama, because I love my son,” Weis said. “If he leaves Alabama, then I don’t root for Alabama anymore.

“I don’t buy a whole lot of swag. When you’re a young guy, you don’t stay in a place very long.”

Sports on 09/09/2015

Print Headline: Weis adapts to life away from football

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Francis Schaeffer correctly noted:

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

Top 30 Psychedelic Beatles Songs

The Beatles Strawberry Fields Forever

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

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

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

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Magical Mystery Tour beatles on bus

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The Beatles Strawberry Fields Forever

Great Album

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

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

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

(Francis Schaeffer pictured below)

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

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

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

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

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

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

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

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

Strawberry Fields Forever

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

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

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

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

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

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

Background and writing[edit]

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

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

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

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

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

Musical structure[edit]

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

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

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

Recording[edit]

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

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

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

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

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

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

Release[edit]

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

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

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

Promotional film[edit]

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

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

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

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

Critical reception[edit]

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

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

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

Cultural influence[edit]

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

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

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

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

Cover versions[edit]

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

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

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

Personnel[edit]

Personnel per Ian MacDonald[93]

The Beatles
Additional musicians and production staff

Chart positions[edit]

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

______

Top 10 Beatles Psychedelic Songs

Keystone/Hulton Archive, Getty Images

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

10

‘She Said, She Said’

From: ‘Revolver’ (1966)

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

9

‘It’s All Too Much’

From: ‘Yellow Submarine’ (1969)

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

8. ‘A Day In The Life’

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

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

7. ‘Within You Without You’

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

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

6. ‘I’m Only Sleeping’

From: ‘Revolver’ (1966)

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

5. ‘Strawberry Fields Forever’

From: ‘Magical Mystery Tour’ (1967)

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

4. ‘Lucy In The Sky With Diamonds’

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

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

3. ‘Only A Northern Song’

From: ‘Yellow Submarine’ (1969)

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

2. ‘I Am The Walrus’

From: ‘Magical Mystery Tour’ (1967)

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

1.’Tomorrow Never Knows’

From: ‘Revolver’ (1966)

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

September 19, 2011

By Elvis Costello

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

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

35

‘Paperback Writer’

the beatles 100 greatest songs
Harry Benson/Getty Images

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

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

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

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

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

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

Appears On: Past Masters

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

 Updated August 10, 2014, 12:00 am

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jamie Wyeth

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

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

Biography[edit]

Early life[edit]

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

Artistic study[edit]

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

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

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

Marriage[edit]

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

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

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

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

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

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

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Image result for sergent peppers album cover

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

Image result for francis schaeffer how should we then live

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

Francis Schaeffer

Image result for francis schaeffer

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

February 15, 2018 – 1:45 am

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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WOODY WEDNESDAY Review of Woody Allen’s latest movie IRRATIONAL MAN Part 9

Woody Allen has always been nihilistic and this comment below continues that position:

“The only thing you can do in life is distract yourself so you have moments that are not reality,” he said. “I go to a movie and watch Fred Astaire dance so I’m not thinking about death and the decaying of my body. And then you come out and the problems hit you in the face.”

He continued, “What distracts me is I try to get [actors] to do a scene right…I’ll solve [an acting problem]. If I don’t solve it it will be a bad movie but i won’t die. Filmmaking is to distract me. It’s like how they give the inmates basket weaving.”

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

Woody Allen, Emma Stone and the cast of Irrational Man in Cannes

Irrational Man Movie CLIP – I’m Blocked (2015) – Joaquin Phoenix, Emma Stone Movie HD

Irrational Man Movie CLIP – You’re Paranoid (2015) – Joaquin Phoenix, Emma Stone Movie HD

Cannes 2015: Woody Allen sings a bleak tune

The skies were blue over Cannes on Friday, beautiful people strolled the streets and the best films in the world were all around. Woody Allen‎, however, was in a pretty dark mood.

“We’re all going to end up in a very bad position one day. The same position but a bad one,” he said, speaking to reporters in a room toward the back of the Cannes Film Festival’s Palais complex.

“The only thing you can do as an artist is come up with a way to explain‎ to people why life has some meaning. And you can’t do that without conning them. Because in the end it has no meaning. Everything you create will vanish and the earth will vanish and the sun is vanishing …. it will all be gone one day no matter how much we cherish it.”

Allen was giving a press conference after the first screening of his new movie “Irrational Man,” which played to journalists Friday ahead of it world premiere Friday night.

It was said by his reps to be Allen’s only Croisette appearance, so perhaps the comments — made in response to a straightforward question about his approach — was the best chance to work out the existentialism. Or maybe it was the movie itself that had him so glum. A comedy of the most jet-black sort, “Irrational Man” centers on a philosophy professor named Abe Lucas (Joaquin Phoenix) who spends his days swimming in a sea of enervated despair. Or would swim, if he could find any joy in this world.

Early on, Abe meets, and is showered with the affections of, an attractive student (Emma Stone). But it’s still not enough to shake him from his doldrums. It actually takes committing a serious crime to do that. Said crime is a rational premeditated act — so rational that Lucas is able to find both justification and meaning in it.

The enterprise has shades of “Match Point” and “Manhattan Murder Mystery,” with a (slightly) lighter tone than the former and less sleuthing than the latter. The film’s main thrust, though, might be as an assault on the search for meaning, and how the quest itself can lead to some unfortunate consequences.

“[Religious people] think if they live a good life they’ll live on in heaven,” Allen said at the press conference. In his mind, he said, that’s a fallacy that equates to a secular person like Phoenix’s character “thinking he’ll commit this act and make his life better.”

cComments
What Allen the idiot philosophe doesn’t grasp, because he hasn’t evolved, learning anything different since he was very young, is the great relief he might get from ancient Hindu wisdom, that as everything comes to an end, everything is re-born in other forms and, yes, even new…

For those of us raised on movies like his genre parodies (“Bananas,” “Sleeper”) or the intellectual romantic comedies for which he’s most famous, this turn to the lugubrious can seem unexpected, and perhaps a function of age. But Allen deflected the idea he’s become more morose in his filmmaking preoccupations lately. “I was ponderously serious at a young age,” he said. “I just had to be a comic filmmaker because that’s where my gifts were and no one would give me any money to make a serious movie.”

Attempts to shake things up creatively have also been for naught. You’d think a commitment to make an Amazon show, as Allen recently made, might snap him from his mood. But it turns out that’s only caused more stress.
“It was a catastrophic mistake,” he said, not seeming to be joking. “I don’t know what I’m doing. I’m floundering. I expect this to be a cosmic embarrassment‎.” Though Allen pretty much averages a movie each year even at 79, the idea of doing six half-hours, with quick endings and restarts, has proved foreign territory for him.

‎Less foreign is a spring-summer breakout — he’s had his share of late. And though “Irrational Man,” which arrives in theaters in July, doesn’t have the travels-through-history appeal of “Midnight in Paris‎” or the eye-opening central performance of “Blue Jasmine,” it does offer popular actors in some compelling situations, under a just-thick-enough layer of froth.

That doesn’t mean its director is likely to turn sunny anytime soon.

“The only thing you can do in life is distract yourself so you have moments that are not reality,” he said. “I go to a movie and watch Fred Astaire dance so I’m not thinking about death and the decaying of my body. And then you come out and the problems hit you in the face.”

He continued, “What distracts me is I try to get [actors] to do a scene right…I’ll solve [an acting problem]. If I don’t solve it it will be a bad movie but i won’t die. Filmmaking is to distract me. It’s like how they give the inmates basket weaving.”

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I love it when I find someone else who has a love for Woody Allen movies like I do. Evidently Paul Semel is person like that. Below is Paul Semel’s fine review:  Woody Allen Stand Up Comic 1964 1968 01 The Vodka Ad JANUARY 12, 2015 Woody Allen The Stand-Up Years 1964-1968 Review Given that he’s […]

Woody Allen: The Stand-Up Years 1964-1968 (Part 1)

Woody Allen Stand Up Comic 1964 1968 05 Mechanical Objects Standing Up and Floating Out Our favorite things this week include Woody Allen’s “The Stand-Up Years,” “Inherent Vice” by Thomas Pynchon not Paul Thomas Anderson, and “Saga” by Brian K. Vaughan. MILK & HONEY Email this page Posted January 14, 2015 Allen’s Stand-Up Roots: On […]

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 […]