Monthly Archives: February 2016

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 99 THE BEATLES (Breaking down the song “Penny Lane”Part B) Featured artist is Clive Barker

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.

I love the music of the Beatles, but I realize that they did not have a Christian Worldview and they did very often pointed their audiences to the empty answers the world usually gives. I would hope that both Ringo and Paul would turn to Christ like both Kerry Livgren and Dave Hope of the rock group KANSAS did. The answer to find meaning in life is found in putting your faith and trust in Jesus Christ. The Bible is true from cover to cover and can be trusted.  

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The Beatles Penny Lane

 

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Great Album

 

 

 

Paul McCartney- Penny Lane (Live)

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

Soli Deo Gloria

Wednesday, January 8, 2014

Music and The General Culture’s Shift Away From Absolute Truth

By

Pastor Stephen Feinstein

Two days ago, I wrote about artists plunging below the line of despair soon after the philosophers. By way of reminder, the line of despair, according Francis Schaeffer, is when people abandon the idea of absolutes and instead see reality as being relative to each individual. Relativity makes sense in a godless, accidental universe. Since many philosophers and artists bought into the philosophy of atheism, they gave up absolute truth with it. The end result is everyone can make up their own truth since ultimately everyone is wrong anyway.

Well, after the artists went below the line of despair, music went next, and then the general culture was soon to follow. Thus, today I will talk about the plunge of music and general culture below the line. As I have said before, the things that Schaffer points out are even more relevant for our day than his.

Just as Hegel was the doorway for philosophy and Impressionism was the doorway for art, Debussy (1862-1918) was the doorway for music to drop below the line of despair. He abandoned traditional musical Musique Concrete. Sound was seriously and deliberately distorted. They would take real sounds, but break them up, rearrange the parts, and throw them back together in any chaotic way they chose. Their message was loud and clear. Everything is relative, all things are in change, and nothing (not even sound) is absolute. This seems to be the uniform message of postmodern man. They see us as arising by chance and chaos, and eventually all will return to that state. So in the meantime, they say we must reject all meaning since there is no purpose or plan that unifies all of the particulars in the universe. For those who are interested, Schaffer gives some very interesting examples on page 36 of The God Who is There, of real samples from these types of composers, scales, eschewed tone in unnatural ways, and utilized chromaticism to alter music’s basic diatonic organization. In other words, our ears naturally make sense out of patterned scales and predictable tones, but he decided to jumble these around allowing for nonsensical sounds. This opened the door for music composers to deliberately go below the line of despair, as seen by the first large movement to do so. That movement was, well, it did not stop with music. This progression below the line moved onto a fourth step—general culture. Schaeffer covers the different elements of general culture in this chapter to make his point. He begins with literature and claims that Henry Miller (1891-1980) started to move the general culture below the line. His writings were certainly pornographic, but his purpose was more philosophical than perverse. His goal was to smash everything, including sex. He rejected that there is any meaning, so his goal was to smash all traditional thoughts of meaning, and he even sought to show that sex is meaningless. Without meaning or standards, he can write about whatever he wants, no matter how perverse…

Next Schaeffer moves onto drama and focuses in on John Osborne (1929-1980). As brilliant as a playwright as this man was, he too was part of this movement towards absurdity. In his famous play Martin Luther, he deliberately distorts history to promote his view of truth. Luther was a man that was absolutely committed to truth and he was convinced that he was right in his doctrinal stances against the Roman Catholic Church. Well, in Osborne’s play, the story ends with one of Luther’s old Catholic mentors asking, “Martin, do you know you are right?” And contrary to all history, Osborne has Luther answer, “Let’s hope so.” The curtain rolls, and the audience is left with the mood that nothing is certain. What a moving way to end a play! If someone missed the point in a philosophy textbook, they certainly would have gotten it from the emotional pit in their stomach after watching the play. This is how drama works. It has the unique power, like music, to bypass the intellect and go straight for the emotions.

Poetry also fell below the line. Dylan Thomas (1914-1953) wrote a poem called Elegy, which is a depressing verbal expression of total meaningless. They are the words of a tortured soul. He put to poetic form the musings of the philosophers, and in so doing he capture the emotional torment caused by such a worldview. Once again, his poetic form could speak to more people than the philosophers could ever hope to.

Modern Cinema is no different. Good movies are not labeled as good because they are morally right, but instead because they are technically good with good camera shots, artistic flavor, and a philosophical message. It is much the same today. Often the movies that win the awards are the movies that the general public did not care for. The general public often likes to see a good guy overcome a bad guy amidst a two hour roller coaster of action and suspense. But in the opinion of the cultural elites, this is nothing more than bad writing and bad filming meant to appease the masses with romantic illusions of escape. The elites want none of that!  Instead, the films that are dubbed as “good” are almost always created by people who agree with the postmodern view of man. Their films have plots that ultimately blur morality, certainty, and truth. They are at their core existentialist.

If you were to explain the drift of modern thought to the average person, they probably would not understand what you are talking about, but as Schaeffer points out, it does not mean they are not influenced by the things they see and hear in movies and on TV, and what they sing along to in pop music. In fact, it is from these areas that the masses have probably been most influenced. It is in these areas that the average “Joe” fell below the line of despair, whether he realized it or not.

For example, 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.

Penny Lane

From Wikipedia, the free encyclopedia
For other uses, see Penny Lane (disambiguation).

Coordinates: 53°23′13″N 2°55′10″W

“Penny Lane”

US picture sleeve
Single by The Beatles
A-side Strawberry Fields Forever
Released 13 February 1967 (US)
17 February 1967 (UK)
Format 7″
Recorded 29 November 1966 –
17 January 1967
EMI Studios, London
Genre
Length 3:03
Label Parlophone (UK)
Capitol (US)
Writer(s) Lennon–McCartney
Producer(s) George Martin
Certification Gold (RIAA)[4]
The Beatles singles chronology
Yellow Submarine” / “Eleanor Rigby
(1966)
Strawberry Fields Forever” / “Penny Lane
(1967)
All You Need Is Love
(1967)
Music sample
MENU
0:00
Magical Mystery Tour track listing

Penny Lane” is a song by The Beatles.[5] It was written by Paul McCartney but credited to the Lennon–McCartney songwriting partnership. The song was created in response to John Lennon’s “Strawberry Fields Forever“, and its lyrics refer to a real street in Liverpool, England.

Recorded during the Sgt. Pepper sessions, “Penny Lane” was released in February 1967 as one side of a double A-sided single, along with “Strawberry Fields Forever”. The single was the result of the record company wanting a new release after several months of no new Beatles releases. Although the song did not top the charts in Britain, it was still a top ten hit across Europe. The song was later included on the band’s US album, Magical Mystery Tour, despite not appearing on the British double EP of the same name.

In 2004, Rolling Stone ranked “Penny Lane” at number 456 on its list of the 500 Greatest Songs of All Time.[6]

Background[edit]

‘Penny Lane’ was kind of nostalgic, but it was really a place that John and I knew; it was actually a bus terminus. I’d get a bus to his house and I’d have to change at Penny Lane, or the same with him to me, so we often hung out at that terminus, like a roundabout. It was a place that we both knew, and so we both knew the things that turned up in the story.[7]

– Paul McCartney, discussing “Penny Lane” in a 2009 interview with Clashmagazine

The song’s title is derived from the name of a street near Lennon’s childhood home for his first five years (9 Newcastle Road, just off Church Road), in the band’s hometown, Liverpool, England. McCartney and Lennon would meet at Penny Lane junction to catch a bus into the centre of the city. During the 1960s, this was a significant bus terminus for several routes, and buses with “Penny Lane” displayed were common throughout Liverpool. The name Penny Lane is also used for the area that surrounds its junction withSmithdown Road, Smithdown Place (where the terminus was located) and Allerton Road, including a busy shopping area. Penny Lane is believed to be named after James Penny, an 18th-century slave trader.[8]

The street is an important landmark, sought out by many Beatles fans touring Liverpool. In the past, street signs saying “Penny Lane” were constant targets of tourist theft and had to be continually replaced. Eventually, city officials gave up and simply began painting the street name on the sides of buildings. This practice was stopped in 2007 and more theft-resistant “Penny Lane” street signs have since been installed, although some are still stolen.[9]

Recording[edit]

Production began in Studio 2 at Abbey Road on 29 December 1966 with piano as the main instrument.[10] On 17 January 1967, trumpet player David Mason recorded the piccolo trumpet solo.[11] The solo, inspired by a performance of Johann Sebastian Bach‘s second Brandenburg Concerto,[12] is in a mock-Baroque style for which the piccolo trumpet (a small instrument built about one octave higher than the standard instrument) is particularly suited, having a clean and clear sound which penetrates well through thicker midrange textures.[13] According to lead sound engineer Geoff Emerick, David Mason “nailed it” at some point during the recording; Paul McCartney tried to get him to do another take but producer George Martin insisted it wasn’t necessary, sensing Mason’s fatigue. This is known[by whom?] as one of the few times the producer’s decision overruled that of the already superstar Beatles. Emerick also notes in his book that prior to this recording, the high “E” was considered unobtainable by trumpet players and has been expected of them since said performance on the record. Mason was paid 27 pounds and 10 shillings for his performance on the recording. “Penny Lane”‘s production effects include percussion effects and piano through a Vox guitar amplifier with added reverb.[14]

The original US promo single mix of “Penny Lane” had an additional flourish of piccolo trumpet notes at the end of the song. This mix was quickly superseded by one without the last trumpet passage, but not before a handful of copies had been pressed and sent to radio stations. These recordings are among the rarest and most valuable Beatles collectibles. A stereo mix of the song with the additional trumpet added back in was included on the USRarities compilation and the UK album: The Beatles Box in 1980, and is included on an alternate take of the song released on Anthology 2 in 1996.

Composition[edit]

The song has a double tonic structure of B major verse (in I-vi-ii-V cycles) and A major chorus connected by formal pivoting dominant chords.[15] In the opening bars in B major, after singing “In Penny Lane” (in an F#-B-C#-D# melody note ascent) McCartney sings the major third of the first chord in the progression (on “Lane”) and major 7th (on “barber”) then switches to a Bm chord, singing the flattened 3rd notes (on “know” with a i7 [Bm7] chord) and flattened 7th notes (on “come and go” [with a ♭VImaj7 [Gmaj7] chord] and “say hello” [with a V7sus4 [F#7sus4] chord]).[16] This has been described as a profound and surprising innovation involving abandoning mid-cycle what initially appears to be a standard I-vi-ii-V Doo Wop pop chord cycle.[17] To get from the verse “In the pouring rain – very strange” McCartney uses an E chord as a pivot, (it is a IV chord in the preceding B key and a V in the looming A key) to take listeners back into the chorus (“Penny Lane is in my ears …”). Likewise to get back from the chorus of “There beneath the blue suburban skies I sit, and meanwhile back … , McCartney uses an F#7 pivot chord (which is a VI in the old A key and a V in the new B key). The lyrics “very strange” and “meanwhile back” can be viewed as hinting at these complex tonal changes.[18]

A feature of the song was the piccolo trumpet solo played by Mason. This is thought to be the first use of this instrument (a distinctive, speciality instrument, pitched an octave higher than the standard B-flat trumpet) in pop music. Martin later wrote, “The result was unique, something which had never been done in rock music before.”[19] McCartney was dissatisfied with the initial attempts at the song’s instrumental fill (one of which, featuring cors anglais, was released on Anthology 2), and was inspired to use the instrument after seeing Mason’s performance on a BBC television broadcast of the second Brandenburg Concerto by Johann Sebastian Bach.[20][21]

The song features contrasting verse-chorus form.[22] Lyrically there are several ambiguous and surreal images. The song is seemingly narrated on a fine summer day (“beneath the blue suburban skies”), yet at the same time it is raining (“the fireman rushes in from the pouring rain”) and approaching winter (“selling poppies from a tray” implies Remembrance Day, 11 November). Ian MacDonald has stated: “Seemingly naturalistic, the lyric scene is actually kaleidoscopic. As well as raining and shining at the same time, it is simultaneously summer and winter.”.[23] Macdonald suggests an LSD influence, and that the lyrical imagery points to McCartney first taking LSD in late 1966. However, he also cites a different story, which dates McCartney’s first LSD trip to 21 March 1967. Macdonald finishes with the comment: “Despite its seeming innocence, there are few more LSD-redolent phrases in the Beatles’ output than the line … in which the Nurse ‘feels as if she’s in a play’ … and ‘is anyway’.”

Context[edit]

A Liverpool Penny Lane street sign

The “shelter in the middle of the roundabout” refers to the old bus shelter, later developed into a cafe/restaurant with a Beatles theme, but now derelict and abandoned, despite its popularity as a tourist attraction. This is also Penny Lane Bus Terminus, where the numbers 46 (Penny Lane to Walton) and 99 (Penny Lane to Old Swan) buses terminated and is officially on Smithdown Place.

The mysterious lyrics “Four of fish and finger pies” are British slang. “A four of fish” refers to fourpennyworth of fish and chips, while “finger pie” is sexual slang of the time, apparently referring to intimate fondlings between teenagers in the shelter, which was a familiar meeting place. The combination of “fish and finger” also puns on fish fingers.[24] The lyrics as printed on the compilation album The Beatles: 1967–1970, however, are “Full of fish and finger pies” which are incorrect[citation needed]. In the remastered version, the lyrics read as “For a fish and finger pies”, which is also incorrect[citation needed].

Release[edit]

When a new Beatles single was requested for by manager Brian Epstein, producer George Martin told him that the band had recorded “Penny Lane” and “Strawberry Fields Forever”, which Martin considered to be the band’s best songs up to that point.[25] At the suggestion of Epstein, the two songs were released as a double A-side single, in a fashion identical to that of their previous single, “Yellow Submarine” / “Eleanor Rigby“. Released in the US on 13 February 1967 and in the United Kingdom on 17 February 1967, the single failed to top the British charts, making it the first time since “Love Me Do” in 1962 for a Beatles single to peak lower than number one. The song stalled at number two, one place below Engelbert Humperdinck‘s “Release Me“.[26] On the national chart compiled by Melody Maker magazine, however, the combination topped the singles list for three weeks.[27] In the United States, the song became the band’s 13th single to reach number 1 on the Billboard Hot 100, doing so for a week before being knocked off by the Turtles‘ song “Happy Together“.

Since the Beatles usually did not include songs released as singles on their British albums, both songs were left off the Sgt. Pepper’s Lonely Hearts Club Band album, a decision Martin later regretted.[28] Both songs were later included on the US Magical Mystery Tour album in November 1967.

This was also the first single by the Beatles to be sold with a picture sleeve in the UK, a practice rarely used there at that time but common in the US and various other countries (such as Japan).

Penny Lane today[edit]

A view down Penny Lane at the opposite end from the roundabout, approaching the junction with Greenbank Road near to Sefton Park.

Tony Slavin (the white building on the corner) now occupies the location of the original Bioletti’s barbershop mentioned in the song as “barber showing photographs / of every head he’s had the pleasure to know”.

Prior to securing international fame, Penny Lane’s chief renown was as the terminus for the No 46 and No 99 bus routes to Walton, Old Swan and the city centre. The terminus included a purpose-built bus shelter, with waiting room and toilets for waiting passengers. The shelter is located on its own “island” which is the mentioned “shelter on the roundabout” in the Beatles song. In the 1980s, the shelter was bought privately and converted to the Sergeant Pepper’s Bistro, though it has since closed and now stands in the middle of its roundabout looking in a very sorry state. The shelter is actually situated in Smithdown Place, though the terminus was named Penny Lane because of its proximity to Penny Lane.

Towards the end of the 1970s, businesses in Penny Lane included Penny Lane Records and a wine bar known in the early years as Harper’s Bizarre, now called Penny Lane Wine Bar (this was actually a doctors’ surgery, previously Drs Walton, Endbinder and Partners); the practice moved to Smithdown Place in the 1980s. Following privatisation, the Merseyside Passenger Transport Executive bus depot, slightly up the hill past Bioletti’s, was demolished and replaced with a shopping precinct complete with a supermarket and a public house.

Since then, the general Penny Lane area has acquired a distinct trendiness and desirability.[citation needed] The “alternative” businesses (wholefood outlets, charity shops), the now expanded array of cafés, bars, bistros, and takeaway food emporiums, as well as handily located traditional businesses (WHSmiths and Clarke’s cake shop), make the neighbourhood the most sought-after among Liverpool’s large student population.[citation needed] Though the song refers to Penny Lane junction on Smithdown Road, the street itself also leads down at the other end to the University of Liverpool‘s student halls of residence, near Sefton Park.

In July 2006, a Liverpool Councillor proposed renaming certain streets because their names were linked to the slave trade. It was soon discovered that Penny Lane, named after James Penny, a wealthy 18th-century slave ship owner and strong opponent of abolitionism, was one of these streets. Ultimately, city officials decided to forgo the name change and re-evaluate the entire renaming process. On 10 July 2006, it was revealed that Liverpool officials said they would modify the proposal to exclude Penny Lane.[29]

According to Barry Miles, the fireman and fire engine referred to in the lyrics are based upon the fire station at Mather Avenue, which is “about half a mile down the road” from Penny Lane.[30] The station is still in use today.

Promotional film[edit]

This is the “shelter in the middle of the roundabout.” As of March 2008, it is in a state of disrepair.

The promotional film for “Penny Lane” was, together with the video for “Strawberry Fields Forever“, one of the first examples of what later became known as a music video.[31] The music video for the song was not filmed at Penny Lane, as the Beatles were reluctant to travel to Liverpool. Street scenes were filmed in and around Angel Lane in London’s East End. The broken sequence of Lennon walking alone was filmed on the King’s Road (at Markham Square) in Chelsea. The outdoor scenes were filmed at Knole Park in Sevenoaks on 30 January 1967. The promotional film for “Strawberry Fields Forever” was also shot at the same location, during the same visit.[32] Both films – directed by the Swede Peter Goldmann – were selected by New York‘s MoMA to be among the most influential promotional music films of the late 1960s. Film of “Penny Lane” was included – with some scenes of green Liverpool buses and a brief overhead view of the bus shelter – but none of the Beatles attended.

Song ownership[edit]

Northern Songs, the publishing company that owned all but four of the Beatles songs, was acquired by ATV – a media company owned by Lew Grade in 1969. By 1985 the company was being run by serial Australian entrepreneur Robert Holmes à Court, who decided to sell the catalogue to Michael Jackson.

Before the sale, he offered his 16-year-old daughter Catherine the chance to keep any song “in her name” from the catalogue. She chose “Penny Lane” as it was her favourite – despite her father’s urging to choose “Yesterday”, which was by far the biggest royalty-earning song on the books (and is in the top four global royalty earning songs of all time).

Catherine Holmes à Court-Mather is still the owner of “Penny Lane”‘s copyright today, one of only five Beatles songs not owned by Sony/ATV Music Publishing.[33]

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The Beatles – In my Life

Published on Feb 25, 2011

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Here Comes The Sun – The Beatles Tribute

Not sung by George but good nonetheless!!

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? ) 

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

Francis Schaeffer

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The Beatles – Revolution

Published on Oct 20, 2015

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CLIVE BAKER IS FEATURED ARTIST TODAY!!!

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“Woody Wednesday” ECCLESIASTES AND WOODY ALLEN’S FILMS: SOLOMON “WOULD GOT ALONG WELL WITH WOODY!” (Part 15 MIDNIGHT IN PARIS Part N Ernest Hemingway 3rd part “He who increases knowledge increases sorrow” Ecclesiastes )

In MIDNIGHT IN PARIS Ernest Hemingway is presented as one the most brilliant writers of all time and I can’t disagree with that assessment either in reality. Notice this first encounter with Gil Pender.

HEMINGWAY:Hemingway.

GIL PENDER:Hemingway?

HEMINGWAY:You liked my book?

GIL PENDER:Liked? I loved! All your work.

HEMINGWAY:Yes, it was a good book,because it was an honest book,and that’s what war does to men.And there’s nothing fine and noble about dying in the mud,unless you die gracefully,and then it’s not only noble, but brave.

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Where does all this brilliance lead Hemingway at the end of his life? He later ended his life in suicide and before he did so he evidently thought a lot about what Solomon said 3000 years ago in the Book of Ecclesiastes. “For in much wisdom is much vexation, and he who increases knowledge increases sorrow” (Eccl. 2:18).

Ecclesiastes 1:12 – 2:26 (Study Guide)

Pastor Justin Hyde

January 11, 2015

“Happiness in intelligent people is the rarest thing I know” (Ernest Hemingway).

“For in much wisdom is much vexation, and he who increases knowledge increases sorrow” (Eccl. 2:18).

We can assume that the wisdom he speaks of is the best thinking that man can do on his own. It is splendid, as far as it goes; nothing else can compare with it (2:13); yet it has no answer to our misgivings about life. It only sharpens them by its clarity” (D. Kidner).

“We are accordingly urged by our own evil things to consider the good things of God; and, indeed, we cannot aspire to Him in earnest until we have begun to be displeased with ourselves. For what man is not disposed to rest in himself? Who, in fact, does not thus rest, so long as he is unknown to himself; that is, so long as he is contented with his own endowments, and unconscious or unmindful of his misery? Every person, therefore, on coming to the knowledge of himself, is not only urged to seek God, but is also led as by the hand to Qind him.” (J. Calvin, Institutes, 1.1).

THOUGHTS:

1. The Vanity of Pleasure a. Solomon tries to find joy in anything, and fails b. Comedy, alcohol, art, nature, money, music, work, and sex all come up wanting c. Solomon turns to wisdom instead of pleasure

2. The Burden of Wisdom a. Solomon hated life – in other words, he knew without eternal view it was meaningless b. Wise person must reQlect on this

3. The Curse of Toil a. Without eternal view, toil is meaningless b. work is not cursed, but the ground is – toiling is hard c. Faith in God is the alternative to our plans

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Justin Hyde rightly noted that without faith in God the world looks like a very bleak place and life UNDER THE SUN “without an eternal view” is meaningless. Furthermore, all of our toil is meaningless. Moreover, “we cannot aspire to [God] in earnest until we have begun to be displeased with ourselves.”

Let me conclude with the words that Justin wrote at the beginning of his study guide:

“Happiness in intelligent people is the rarest thing I know” (Ernest Hemingway).

“For in much wisdom is much vexation, and he who increases knowledge increases sorrow” (Eccl. 2:18).

We can assume that the wisdom he speaks of is the best thinking that man can do on his own.

Midnight in Paris OST – 08 – You Do Something to Me

Pictured below Gil with Ernest Hemingway and Gertrude Stein

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Ernest Hemingway and F. Scott Fitzgerald

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Ernest Hemingway and F. Scott Fitzgerald

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FRIDAY, NOVEMBER 11, 2011

Hemingway: “I spend a hell of a lot of time killing animals and fish so I won’t kill myself.”

Ernest Hemingway, author and the original, literary self-created image of a macho man, killed himself July 2, 1961. Yet after fifty years it’s still unclear why Hemingway — dressed in a favorite robe for his final exit — fulfilled a kind of predestined end for himself.

For months his wife, Mary, publicly claimed he accidentally shot himself cleaning guns at six in the morning. Others knew better: He offered a much more likely warning to those who partied with him: “I spend a hell of a lot of time killing animals and fish,” he told Ava Gardner, “so I won’t kill myself.”

When the written word finally failed him, he was devastated. He could not compose a single sentence for a presentation volume for Kennedy’s inauguration in January, 1961. His fear of failure contributed a creeping sense of illness — the edges of dementia have been suggested over the years since his death — but specific causes have been a mystery.

A new, full examination of Hemingway’s ultimate decision appeared in the Independent, UK, based on psychological research indicating Hemingway’s bipolar mood disorder, depression, chronic alcoholism, repetitive traumatic brain injuries, the onset of psychosis. The twentieth century’s most celebrated literary tough guy had a death wish, instilled at an early age from a doting mother and a bullying father.

Here’s an excerpt from the lengthy article by correspondent John Walsh, in which he identifies Papa Ernest’s restlessness and macho personality as “a galloping parody of masculinity”:

… Some answers were offered in 2006 by a long article in the American Psychiatry magazine, called “Ernest Hemingway: A Psychological Autopsy of a Suicide”. It was by Christopher D. Martin, whose official title is Instructor and Staff Psychiatrist at the Menninger Department of Psychiatry and Behavioural Sciences at Baylor College of Medicine in Houston Texas. …

He had no trouble in diagnosing the author as suffering from “bipolar disorder, alcohol dependence, traumatic brain injury, and probably borderline and narcissistic personality traits”. He notes that many in the Hemingway family –- his father and mother, their siblings, his own son and his grand-daughter Margaux -– were prone to manic-depression (Margaux’s was the fifth, or possibly sixth, suicide in four generations) and suggests that it was Ernest’s manic episodes that drove him to his astonishing feats of creativity. But he locates the writer’s trauma in two childhood experiences.

It seems that it was his mother Grace’s habit to dress him, as a child, in long white frocks and fashion his hair like a little girl’s. It was a 19th-century custom to dress infants alike, but she took it to extremes. She referred to him, in his cute lacy dress, as “Dutch dolly”. She said she was his Sweetie, or, as he pronounced it, “Fweetee”. Once, when Ernest was two, Grace called him a doll once too often. He replied, “I not a Dutch dolly … Bang, I shoot Fweetee”.

But she also praised him for being good at hunting in the woods and fishing in the stream in boys’ clothes. It was too confusing for a sensitive kid. He always hated her, and her controlling ways. He always referred to her as “that bitch”. He’d spend the rest of his life in a galloping parody of masculinity. Dutch dolly indeed. He’d show the bitch there was no confusion in his head.

“I shoot Fweetee.” The trouble was, he also wanted to shoot his father. Clarence Hemingway was a barrel-chested, six-foot bully, a disciplinarian who beat his son with a razor strop. Ernest didn’t retaliate directly. He bottled it up and subsumed it into a ritual, in which he’d hide in a shed in the family backyard with a loaded shotgun and take aim at his father’s head.

Martin speculates that, when Clarence shot himself, Hemingway, aged 29, felt terrible guilt that he’d fantasised about killing him. Unable to handle this, he took to blaming his mother for his father’s death. “I hate her guts and she hates mine,” he wrote in 1949. “She forced my father to suicide.”

After Clarence’s death, Hemingway told a friend, “My life was more or less shot out from under me, and I was drinking much too much entirely through my own fault”. …

(Photo by George Karger, Time Life/Getty)

“The pure products of America go crazy”: William Carlos Williams’ pronouncement — though not specifically aimed at Hemingway — is a good analysis of the psychodrama of Hemingway’s life, and the highwire act he performed in the glare of the camera lights. It’s a supreme irony that at the end, as the river of creativity dried up, Hemingway couldn’t handle the ultimate silence that echoed in his thoughts.

As with some other writers who try to silence that deafening roar with drugs, alcohol, and obsession, the sound Hemingway was trying to erase with the sound of a shotgun blast was the ultimate tolling of a single bell. At the end, it was the only sound Hemingway could really hear.

Midnight in Paris Beat Sheet First Trial

The Lost Generation A&E Biography. I DO NOT OWN THIS MATERIAL.

The quote from the title is actually taken from the film MAGIC IN THE MOONLIGHT where Stanley derides the belief that life has meaning, saying it’s instead “nasty, brutish, and short. Is that Hobbes? I would have got along well with Hobbes.” (Review of MAGIC IN THE MOONLIGHT by FREDERICA MATHEWES-GREEN.) This also seems to be a big part of the theme of Ecclesiastes which was written by Solomon.

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

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

During the last 30 days here are the posts that have got the most hits on my blog on this subject on the historical characters mentioned in the movie “Midnight in Paris”:

Sunday, April 20, 2014

Midnight in Paris (2011)

dir. Woody Allen

Gil (Owen Wilson) and his fiancée Inez (Rachel McAdams) kissing on the bridge – Claude Monet’s Water Garden, Giverny, Eure, France. It’s located across the road from Monet’s house at 84 Rue Claude Monet.

Gil’s hotel – Hotel Le Bristol, 112 Rue du Faubourg Saint-Honoré, Paris, France.

Gil argues with Inez’s friend Paul (Michael Sheen) – The Palace of Versailles, Place d’Armes, Versailles, France.

Inez and her mother picking out a wedding ring – Chopard, 1 Place Vendôme, Paris, France.

Inez and her mother walking toward the Place Vendôme past the Hôtel de Vendôme – 1 Place Vendôme, Paris, France.

Paul argues with the tour guide (Carla Bruni) about Rodin’s wife – Rodin Museum, 79 Rue de Varenne, Paris, France

Wine tasting on the rooftop – Hotel Le Meurice, 228 Rue de Rivoli, Paris, France.

Gil gets lost – Rue Mouffetard at Rue Édouard Quenu, Paris, France.

The church steps – Saint-Étienne-du-Mont Church, Place de L’Abbé Basset, Paris, France. These steps are around the corner from the main entrance on the Rue Sainte-Geneviève that faces the Panthéon.

Gil sees a 1920s Peugeot at midnight – Rue de la Montagne Sainte-Geneviève at Place de L’Abbé Basset, Paris, France.

The party where Gil meets the Fitzgeralds – 53 Quai de Bourbon, Paris, France

The Bricktop club – 17 Rue Malebranche, Paris, France. The real Bricktop club was located at 66 Rue Pigalle in Montmartre but the street looks very different these days.

Gil meets Ernest Hemingway – Polidor, 41 Rue Monsieur le Prince, Paris, France. The Polidor is one of the most popular restaurants on the Left Bank. Its interior has basically unchanged since the late 19th century, and the style of cooking is mostly from that era. It was frequented by many famous artistic and literary figures such as James Joyce, Ernest Hemingway, Antonin Artaud, Jack Kerouac, and Henry Miller.

The Laundromat that Gil later finds in Polidor’s place – 16 Rue des Patriarches, Paris, France

The antique shop – 112 Boulevard de Courcelles, Paris, France.

Gil doesn’t want to get in the car and says he wants to walk in the rain –Boulevard de Courcelles at Rue Pierre le Grand, Paris, France. The church in the background is the Alexander Nevsky Cathedral at 12 Rue Daru.

Gertrude Stein’s (Kathy Bates) house – 15 Rue Malebranche, Paris, France. This is not the actual Gertrude Stein’s house at 27 rue de Fleurus.

The flea market – Le Marché Paul Bert, 96-110 Rue des Rosiers, Saint-Ouen, France.

The museum where Gil argues with Paul about paintings – Musée de l’Orangerie, Jardin des Tuileries, Paris, France. It’s located in the west corner of the Jardin des Tuileries next to the Place de la Concorde.

Gil walking with Adriana (Marion Cotillard) – 17 Place Dauphine, Paris, France.

Gil walking with Adriana in Montmartre – Rue du Chevalier-de-La-Barre, Paris, France. They’re walking east toward the Rue Lamarck, with the Sacré Coeur seen in the background.

Gil and Adriana walking along the street lined with prostitutes – Rue Duperré at Place Pigalle, Paris, France

Gil and Adriana see Zelda Fitzgerald (Allison Pill) contemplating suicide – Pont Neuf, Quai des Orfèvres, Paris, France.

The private detective agency – 18 Rue du Louvre, Paris, France. Apparently, this is a real detective agency.

Gil walking along the Seine – Quai des Orfèvres, Paris, France. The camera is looking toward the Quai des Grands Augustins and he’s walking west toward the Pont Neuf.

Booksellers on the banks of the Seine – Quai de Montebello, Paris, France.

Gil asks the tour guide (Carla Bruni) to translate a passage from Adriana’s memoirs – Square Jean-XXIII, Paris, France. It’s located behind the Notre Dame cathedral.

Gil walking with Adriana – the south side of Place Dauphine, Paris, France.

Gil and Adriana sitting at a restaurant – Restaurant Paul, 15 Place Dauphine, Paris, France

A mysterious coach takes them to the Belle Epoque – Maxim’s, 3 Rue Royale, Paris, France

Gil sitting in a street café – Café L’île de France, 59 Quai de la Tournelle, Paris, France.

The bookstore – Shakespeare and Company, 37 Rue de la Bûcherie, Paris, France

Gil meets with Gabrielle (Léa Seydoux) – Pont Alexandre III, Paris, France. They’re walking on the west side of the bridge and the camera is looking north toward the Grand Palais.

See also…

This series deals with the Book of Ecclesiastes and Woody Allen films.  The first post  dealt with MAGIC IN THE MOONLIGHT and it dealt with the fact that in the Book of Ecclesiastes Solomon does contend like Hobbes  and Stanley that life is “nasty, brutish and short” and as a result has no meaning UNDER THE SUN.

The movie MIDNIGHT IN PARIS offers many of the same themes we see in Ecclesiastes. The second post looked at the question: WAS THERE EVER A GOLDEN AGE AND DID THE MOST TALENTED UNIVERSAL MEN OF THAT TIME FIND TRUE SATISFACTION DURING IT?

In the third post in this series we discover in Ecclesiastes that man UNDER THE SUN finds himself caught in the never ending cycle of birth and death. The SURREALISTS make a leap into the area of nonreason in order to get out of this cycle and that is why the scene in MIDNIGHT IN PARIS with Salvador Dali, Man Ray, and Luis Bunuel works so well!!!! These surrealists look to the area of their dreams to find a meaning for their lives and their break with reality is  only because they know that they can’t find a rational meaning in life without God in the picture.

The fourth post looks at the solution of WINE, WOMEN AND SONG and the fifth and sixth posts look at the solution T.S.Eliot found in the Christian Faith and how he left his fragmented message of pessimism behind. In the seventh post the SURREALISTS say that time and chance is all we have but how can that explain love or art and the hunger for God? The eighth  post looks at the subject of DEATH both in Ecclesiastes and MIDNIGHT IN PARIS. In the ninth post we look at the nihilistic worldview of Woody Allen and why he keeps putting suicides into his films.

In the tenth post I show how Woody Allen pokes fun at the brilliant thinkers of this world and how King Solomon did the same thing 3000 years ago. In the eleventh post I point out how many of Woody Allen’s liberal political views come a lack of understanding of the sinful nature of man and where it originated. In the twelfth post I look at the mannishness of man and vacuum in his heart that can only be satisfied by a relationship with God.

In the thirteenth post we look at the life of Ernest Hemingway as pictured in MIDNIGHT AND PARIS and relate it to the change of outlook he had on life as the years passed. In the fourteenth post we look at Hemingway’s idea of Paris being a movable  feast. The fifteenth and sixteenth posts both compare Hemingway’s statement, “Happiness in intelligent people is the rarest thing I know…”  with Ecclesiastes 2:18 “For in much wisdom is much vexation, and he who increases knowledge increases sorrow.”

Related posts:

A list of the most viewed posts on the historical characters mentioned in the movie “Midnight in Paris”

Characters referenced in Woody Allen’s movie “Midnight in Paris” (Part 38,Alcoholism and great writers and artists)

The characters referenced in Woody Allen’s movie “Midnight in Paris” (Part 36, Alice B. Toklas, Woody Allen on the meaning of life)

Characters referenced in Woody Allen’s movie “Midnight in Paris” (Part 35, Recap of historical figures, Notre Dame Cathedral and Cult of Reason)

The characters referenced in Woody Allen’s movie “Midnight in Paris” (Part 34, Simone de Beauvoir)

The characters referenced in Woody Allen’s movie “Midnight in Paris” (Part 33,Cezanne)

The characters referenced in Woody Allen’s movie “Midnight in Paris” (Part 32, Jean-Paul Sartre)

The characters referenced in Woody Allen’s movie “Midnight in Paris” (Part 31, Jean Cocteau)

The characters referenced in Woody Allen’s movie “Midnight in Paris” (Part 30, Albert Camus)

The Characters referenced in Woody Allen’s “Midnight in Paris” (Part 29, Pablo Picasso)

The Characters referenced in Woody Allen’s “Midnight in Paris” (Part 8, Henri Toulouse Lautrec)

The Characters referenced in Woody Allen’s “Midnight in Paris” (Part 7 Paul Gauguin)

The Characters referenced in Woody Allen’s “Midnight in Paris” (Part 6 Gertrude Stein)

The Characters referenced in Woody Allen’s “Midnight in Paris” (Part 5 Juan Belmonte)

The Characters referenced in Woody Allen’s “Midnight in Paris” (Part 4 Ernest Hemingway)

The Characters referenced in Woody Allen’s “Midnight in Paris” (Part 3 Scott and Zelda Fitzgerald)

The Characters referenced in Woody Allen’s “Midnight in Paris” (Part 2 Cole Porter)

The Characters referenced in Woody Allen’s “Midnight in Paris” (Part 1 William Faulkner)

MUSIC MONDAY Cole Porter “Let’s Do it, Let’s Fall in Love” in the movie MIDNIGHT IN PARIS

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RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 65 Alva Noe, Phil Dept, Berkeley, “It is certainly true that there is nothing that science is teaching us about how we are that supports different religious fables”

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On November 21, 2014 I received a letter from Nobel Laureate Harry Kroto and it said:

…Please click on this URL http://vimeo.com/26991975

and you will hear what far smarter people than I have to say on this matter. I agree with them.

Harry Kroto

_________________

Below you have picture of Dr. Harry Kroto:

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I have attempted to respond to all of Dr. Kroto’s friends arguments and I have posted my responses one per week for over a year now. Today I look at Alva Noe but here are some of my earlier posts:

Sir David AttenboroughMark Balaguer, Patricia ChurchlandAaron CiechanoverNoam Chomsky,Alan DershowitzHubert Dreyfus, Bart EhrmanIvar Giaever , Roy GlauberRebecca GoldsteinDavid J. Gross,  Brian Greene, Susan GreenfieldAlan Guth, Jonathan HaidtHermann HauserRoald Hoffmann,  Bruce HoodHerbert Huppert,  Gareth Stedman JonesShelly KaganStuart Kauffman,  Lawrence KraussHarry Kroto, Elizabeth Loftus,  Alan MacfarlanePeter MillicanMarvin MinskyLeonard Mlodinow,  Yujin NagasawaDouglas Osheroff,   Saul PerlmutterHerman Philipse,  Robert M. PriceLisa RandallLord Martin Rees,  Oliver SacksMarcus du SautoySimon SchafferJ. L. Schellenberg,   Lee Silver Peter Singer,  Walter Sinnott-ArmstrongRonald de Sousa, Victor StengerBarry Supple,   Leonard Susskind, Raymond TallisNeil deGrasse Tyson,  .Alexander Vilenkin, Sir John WalkerFrank WilczekSteven Weinberg, and  Lewis Wolpert,

Alva Noë

From Wikipedia, the free encyclopedia

Alva Noë.

Alva Noë (B.Phil, University of Oxford; Ph.D., Harvard University; born 1964) is Professor of Philosophy at the University of California, Berkeley. The main focus of his work is the theory of perception and consciousness. In addition to these problems in cognitive science and the philosophy of mind, he is interested in phenomenology, the theory of art, Wittgenstein, and the origins of analytic philosophy.[1]

In  the second video below in the 55th clip in this series are his words and  my response is below them. 

50 Renowned Academics Speaking About God (Part 1)

Another 50 Renowned Academics Speaking About God (Part 2)

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

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Below is the letter I wrote to Dr. Noe and I also responded with evidence to his quote.

April 6, 2015

Dr. Alva Noë, c/o Department of Philosophy,
University of California
Berkeley CA

Dear Dr.  Noë,

I saw your interview on CLOSER TO TRUTH and that prompted me to write you today. Let me start off by saying that this is not the first time that I have written you. Earlier I shared several letters of correspondence I had with Carl Sagan, and Antony Flew. Both men were strong believers in evolution as you are today. Previously in this same letter I told you that Dr. John J. Shea  suggested that I read SHADOWS OF FORGOTTEN ANCESTORS by Carl Sagan.  Instead of talking to you about their views today I wanted to discuss the views of you and Charles Darwin.

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

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

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

QUOTE from the show CLOSER TO TRUTH:

It is certainly true that there is nothing that science is teaching us about how we are that supports different religious fables about what we are supposed to be. Magic is not substantiated by science or philosophy.  

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

Charles Darwin observed:

“But I was very unwilling to give up my belief; I feel sure of this, for I can well remember often and often inventing day-dreams of old letters between distinguished Romans, and manuscripts being discovered at Pompeii or elsewhere, which confirmed in the most striking manner all that was written in the Gospels.

Francis Schaeffer commented:

This is very sad. He lies on his bunk and the Beagle tosses and turns and he makes daydreams, and his dreams and hopes are that someone would find in Pompeii or some place like this, an old manuscript by a distinguished Roman that would put his stamp of authority on it, which would be able to show that Christ existed. This is undoubtedly what he is talking about. Darwin gave up this hope with great difficulty. I think he didn’t want to come to the position where his accepted presuppositions were driving him. He didn’t want to give it up, just as an older man he understood where it would lead and “man can do his duty.” Instinctively this of brains understood where this whole thing was going to eventually go…

SINCE CHARLES DARWIN’S DEATH WE NOW HAVE LOTS OF HISTORICAL RECORDS AND MUCH EVIDENCE FROM THE FIELD OF ARCHAEOLOGY THAT SHOW THE BIBLE IS HISTORICALLY ACCURATE.

**************TAKE TIME TO CONSIDER THIS EVIDENCE BELOW********************

I  have been amazed at the prophecies in the Bible that have been fulfilled in history, and also many of the historical details in the Bible have been confirmed by archaeology too. One of the most amazing is the prediction that the Jews would be brought back and settle in Jerusalem again. Another prophecy in Psalms 22 describes the Messiah dying on a cross  almost 1000 years before the Romans came up with this type of punishment.

Many times it has been alleged that the author of the Book of Daniel was from a later period but how did a later author know these 5 HISTORICAL FACTS? How did he know [1] that Belshazzar was ruling during the last few years of the Babylonian Empire when the name “Belshazzar” was lost to history until 1853 when it was uncovered in the monuments? [2] The author also knew that the Babylonians executed individuals by casting them into fire, and that the Persians threw the condemned to the lions. [3] He knew  the practice in the 6th Century was to mention first the Medes, then the Persians and not the other way around. [4] Plus he knew the laws made by Persian kings could not be revoked and [5] he knew that in the sixth century B.C., Susa was in the province of Elam (Dan. 8:2). Of course, the Book of Daniel (2:37-42) clearly predicted the rise of the 4 world empires in the correct order of Babylon, Medo-Persia, Greece, and Rome.

One of the top 10 posts on my blog on this next subject concerning Tyre.   John MacArthur went through every detail of the prophecy concerning Tyre and how history shows the Bible prophecy was correct.  Sagan said he had taken a look at Old Testament prophecy and it did not impress him because it was too vague.

HOW CAN ANYONE SAY THAT THIS FOLLOWING PROPHECY CONCERNING TYRE IS “TOO VAGUE?”

Below is an outline from a sermon from Dr. John MacArthur

Photo of John MacArthur

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John MacArthur on the amazing fulfilled prophecy on Tyre and how it was fulfilled by historical events.

LESSON

I. BIBLICAL PROPHECY CONCERNING TYRE (Ezekiel 26:1–28:19)

A. The Forecast

1. The specifics

a) That King Nebuchadnezzar of Babylon would destroy the mainland city of Tyre (26:7-8).

b) That many nations would rise up against Tyre. These nations would come like waves of the sea, one after another (26:3- 4).

c) That Tyre will be made like a flat rock (26:4, 14).

d) That fisherman will dry their nets there (26:5, 14).

e) That the rubble of the city would be cast into the sea (26:12).

f) That Tyre would never be rebuilt (26:14).

2. The setting

Tyre was a great city. It was one of the largest and most powerful cities of Phoenicia, which is modern day Lebanon.

It was well fortified. A great wall protected the city from land attacks while their world-renowned fleet protected them from attack by sea.

Tyre was a flourishing city during the time when Joshua led Israel into the Promised Land. King Hiram, who began his reign during the rule of David, offered David cedars from Tyre to build his palace. He also loaned David his artisans to craft parts of the great palace (1 Chron. 14:1). Hiram also helped Solomon build the Temple by floating cedars down the shoreline to be picked up and hauled to Jerusalem (2 Chron. 2:16). So Tyre was a great city, and both David and Solomon looked to it for aid.

B. The Fulfillment

1. The prophetic call

a) To Nebuchadnezzar

Not long after the prophecy given by Ezekiel, Nebuchadnezzar did exactly what had been predicted–he laid siege against the city in 585 B.C. For thirteen years Nebuchadnezzar cut off the flow of supplies into the city. In 537 B.C. he finally succeeded in breaking the gates down, but found the city almost empty.

During the thirteen-year siege, the people of Tyre moved all their possessions by ship to an island one-half mile offshore. So Nebuchadnezzar gained no plunder (Ezek. 29:17- 20). Although he destroyed the mainland city (Ezek. 26:8), the new city offshore continued to flourish for 250 years. The prophecy of Ezekiel 26:12–“they shall lay thy stones and thy timber and thy dust in the midst of the water”–remained unfulfilled.

b) To Alexander the Great

At age twenty-two, Alexander the Great came east conquering the known world with an army of between thirty and forty thousand men. Having defeated the Persians under Darius III, Alexander was on the march toward Egypt.

(1) The dilemma

Alexander arrived in the Phoenician territory and demanded that the cities open their gates to him. The citizens of Tyre refused, feeling they were secure on their island with their superior fleet.

(2) The decision

Realizing he did not have a fleet that could match Tyre’s, Alexander decided to build a causeway to the island using the ruins from the mainland city. It was about two hundred feet wide. The prophet said that the city would be thrown into the water, and that’s exactly what happened.

(3) The details

Arrian, a Greek historian, wrote about the overthrow of Tyre and how it was accomplished (The Campaigns of Alexander [New York: Penquin, 1958], pp. 132-43). The fortification of Tyre resembled Alcatraz. The city sat offshore like a rock with walls that came down to the edge of the water. Alexander set out to build the only means to approach the city–a land peninsula. Soldiers started pitching rubble into the water, leveling it off as they went so they could march on it. The water got deeper as they approached the island, and to make their task even more difficult, the people of Tyre bombarded them with missiles.

Werner Keller in The Bible as History tells us that to safeguard the operation, Alexander built mobile shields called “tortoises” (New York: Bantam, 1956], p. 361). Knowing that when they reached the city they would have to scale the walls, Alexander built “Hele-poleis,” which were mobile siege towers 160 foot high. The idea was to roll these structures across the causeway and push them up against the walls. A drawbridge on the front of the towers enabled the soldiers to march across the top of the walls and into the city.

Alexander’s men were under constant attack from people within the city and from the Tyrian navy. Realizing that he needed ships to defend his flanks, Alexander returned to the cities he had conquered and demanded their assistance. That fulfilled the prophecy that God “will cause many nations to come up against thee, as the sea causeth its waves to come up” (Ezek. 26:3).

(4) The destruction

Alexander’s plan succeeded. Eight thousand people were slain and thirty thousand were sold into slavery. It took Alexander seven months to conquer Tyre. The causeway he built can be seen to this day.

2. The prophetic result

How did Ezekiel know all those things would happen? The only explanation is he expressed the mind of God. Historian Philip Myers said, “Alexander the Great reduced it [Tyre] to ruins (332 B.C.). She recovered in a measure from this blow, but never regained the place she had previously held in the world. The larger part of the site … is now as bare as the top of a rock–a place where the fishermen that still frequent the spot spread their nets to dry” (General History for Colleges and High Schools [Boston: Ginn and Co., 1889], p. 55). That fulfills the prophecies of Ezekiel 26:4-5, 14. The island city was repopulated, later to be destroyed by the Moslems in A.D. 1281. However, God said the mainland city would never be rebuilt–and it never has. Jerusalem has been rebuilt many times but Tyre will never be rebuilt because a prophet in Babylon said twenty-five centuries ago, “Thou shalt be built no more” (Ezek. 26:14).

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ANY HISTORIAN CAN HAVE ACCESS TO ALL OF THESE RECORDS. WHY NOT TAKE A FEW MOMENTS AND CHECK OUT THESE FACTS YOURSELF? As a secularist you believe that it is sad indeed that millions of Christians are hoping for heaven but no heaven is waiting for them. Paul took a close look at this issue too:

I Corinthians 15 asserts:

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

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

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

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

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

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

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

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“Truth Tuesday” Someone I knew through my business in 1985 grew up in Germany and was part of the Hitler Youth Program, Was he wrong in his beliefs?

Someone I knew through my business in 1985 grew up in Germany and was part of the Hitler Youth Program, Was he wrong in his beliefs? 

On what basis does the atheist have to say “Hitler was wrong!!!”

Early in his career Hitler was popular and many of the German people bought into his anti-semetic views. Does the atheist have an intellectual basis to condemn Hitler’s actions?

____________________________________

I personally met someone who was part of the Hitler youth movement in Germany in the 1930′s and until his dying day he believed that Hitler was right. I had a basis for knowing that Hitler was wrong and here it is below.
It is my view that according the Bible all men are created by God and are valuable.  However, the atheist has no basis for coming to this same conclusion. Francis Schaeffer put it this way:
We cannot deal with people like human beings, we cannot deal with them on the high level of true humanity, unless we really know their origin—who they are. God tells man who he is. God tells us that He created man in His image. So man is some- thing wonderful.
Francis Schaeffer died in 1984, but there is a website dedicated to his works. In 1972 he wrote the book “He is There and He is Not Silent.” Here is the statement that sums up that book:

One of philosophy’s biggest problems is that anything exists at all and has the form that it does. Another is that man exists as a personal being and makes true choices and has moral responsibility. The Bible gives sufficient answers to these problems. In fact, the only sufficient answer is that the infinite-personal triune God is there and He is not silent. He has spoken to man in the Bible.

The basic question Woody Allen is presenting to his own agnostic humanistic worldview is: If you really believe there is no God there to punish you in an afterlife, then why not murder if you can get away with it?  The secular humanist worldview that modern man has adopted does not work in the real world that God has created. God “has planted eternity in the human heart…” (Ecclesiastes 3:11). This is a direct result of our God-given conscience. The apostle Paul said it best in Romans 1:19, “For that which is known about God is evident to them and made plain in their inner consciousness, because God  has shown it to them” (Amplified Version).

It’s no wonder, then, that one of Allen’s fellow humanists would comment, “Certain moral truths — such as do not kill, do not steal, and do not lie — do have a special status of being not just ‘mere opinion’ but bulwarks of humanitarian action. I have no intention of saying, ‘I think Hitler was wrong.’ Hitler WAS wrong.” (Gloria Leitner, “A Perspective on Belief,” The Humanist, May/June 1997, pp.38-39). Here Leitner is reasoning from her God-given conscience and not from humanist philosophy. It wasn’t long before she received criticism.

Humanist Abigail Ann Martin responded, “Neither am I an advocate of Hitler; however, by whose criteria is he evil?” (The Humanist, September/October 1997, p. 2.). Humanists don’t really have an intellectual basis for saying that Hitler was wrong, but their God-given conscience tells them that they are wrong on this issue.

Here is fine film by Francis Schaeffer and Dr. C. Everett Koop that makes the case for human dignity.

Also here is the link for  another fine article on this same issue by Chuck Colson.

Crimes? What Crimes?

The Grand ‘Sez Who’

Let us take a close look at how you are going to come up with morality as an atheist. When you think about it there is no way around the final conclusion that it is just your opinion against mine concerning morality. There is no final answers. However, if God does exist and he has imparted final answers to us then everything changes.

Take a look at a portion of this paper by Greg Koukl. In this article he points out that atheists don’t even have a basis for saying that Hitler was wrong:

What doesn’t make sense is to look at the existence of evil and question the existence of God. The reason is that atheism turns out being a self-defeating philosophic solution to this problem of evil. Think of what evil is for a minute when we make this kind of objection. Evil is a value judgment that must be measured against a morally perfect standard in order to be meaningful. In other words, something is evil in that it departs from a perfect standard of good. C.S. Lewis made the point, “My argument against God was that the universe seemed so cruel and unjust. But how had I got this idea of just and unjust? A man does not call something crooked unless he has some idea of a straight line.”[ 1 ] He also goes on to point out that a portrait is a good or a bad likeness depending on how it compares with the “perfect” original. So to talk about evil, which is a departure from good, actually presumes something that exists that is absolutely good. If there is no God there’s no perfect standard, no absolute right or wrong, and therefore no departure from that standard. So if there is no God, there can’t be any evil, only personal likes and dislikes–what I prefer morally and what I don’t prefer morally.

This is the big problem with moral relativism as a moral point of view when talking about the problem of evil. If morality is ultimately a matter of personal taste–that’s what most people hold nowadays–then it’s just your opinion what’s good or bad, but it might not be my opinion. Everybody has their own view of morality and if it’s just a matter of personal taste–like preferring steak over broccoli or Brussels sprouts–the objection against the existence of God based on evil actually vanishes because the objection depends on the fact that some things are intrinsically evil–that evil isn’t just a matter of my personal taste, my personal definition. But that evil has absolute existence and the problem for most people today is that there is no thing that is absolutely wrong. Premarital sex? If it’s right for you. Abortion? It’s an individual choice. Killing? It depends on the circumstances. Stealing? Not if it’s from a corporation.

The fact is that most people are drowning in a sea of moral relativism. If everything is allowed then nothing is disallowed. Then nothing is wrong. Then nothing is ultimately evil. What I’m saying is that if moral relativism is true, which it seems like most people seem to believe–even those that object against evil in the world, then the talk of objective evil as a philosophical problem is nonsense. To put it another way, if there is no God, then morals are all relative. And if moral relativism is true, then something like true moral evil can’t exist because evil becomes a relative thing.

An excellent illustration of this point comes from the movie The Quarrel . In this movie, a rabbi and a Jewish secularist meet again after the Second World War after they had been separated. They had gotten into a quarrel as young men, separated on bad terms, and then had their village and their family and everything destroyed through the Second World War, both thinking the other was dead. They meet serendipitously in Toronto, Canada in a park and renew their friendship and renew their old quarrel.

divider

To paraphrase the late Dr. Francis Schaeffer, the person who argues against the existence of God based on the existence of evil in the world has both feet firmly planted in mid-air.

divider

Rabbi Hersch says to the secularist Jew Chiam, “If a person does not have the Almighty to turn to, if there’s nothing in the universe that’s higher than human beings, then what’s morality? Well, it’s a matter of opinion. I like milk; you like meat. Hitler likes to kill people; I like to save them. Who’s to say which is better? Do you begin to see the horror of this? If there is no Master of the universe then who’s to say that Hitler did anything wrong? If there is no God then the people that murdered your wife and kids did nothing wrong.”

That is a very, very compelling point coming from the rabbi. In other words, to argue against the existence of God based on the existence of evil forces us into saying something like this: Evil exists, therefore there is no God. If there is no God then good and evil are relative and not absolute, so true evil doesn’t exist, contradicting the first point. Simply put, there cannot be a world in which it makes any sense to say that evil is real and at the same time say that God doesn’t exist. If there is no God then nothing is ultimately bad, deplorable, tragic or worthy of blame. The converse, by the way, is also true. This is the other hard part about this, it cuts both ways. Nothing is ultimately good, honorable, noble or worthy of praise. Everything is ultimately lost in a twilight zone of moral nothingness. To paraphrase the late Dr. Francis Schaeffer, the person who argues against the existence of God based on the existence of evil in the world has both feet firmly planted in mid-air.

Francis Schaeffer

Francis Schaeffer pictured above.

_______

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MUSIC MONDAY Christian Rock Pioneer Larry Norman’s Songs Part 4

Christian Rock Pioneer Larry Norman’s Songs Part 4

I posted a lot in the past about my favorite Christian musicians such as Keith Green (I enjoyed reading Green’s monthly publications too), and 2nd Chapter of Acts and others. Today I wanted to talk about one of Larry Norman’s songs. David Rogers introduced me to Larry Norman’s music in the 1970’s and his album IN ANOTHER LAND came out in 1976 and sold an enormous amount of copies for a Christian record back then.

Larry Norman – 9 – The Sun Began To Rain – In Another Land (1976)

Larry Norman – 10 – Shot Down – In Another Land (1976)

Larry Norman – 11 – Six Sixty Six – In Another Land (1976)

Larry Norman – 12 – Diamonds – In Another Land (1976)

 

 

 

 

In Another Land (album)

From Wikipedia, the free encyclopedia
In Another Land
Studio album by Larry Norman
Released 1976
Recorded 1975
Label Solid Rock Records
Producer Larry Norman
Larry Norman chronology
So Long Ago the Garden
(1973)
In Another Land
(1976)
Streams of White Light
(1977)
Professional ratings
Review scores
Source Rating
Allmusic 3/5 stars[1]

In Another Land is an album recorded by Larry Norman and released in 1976. It is the third album in Norman’s “trilogy,” which began with Only Visiting This Planet and continued with So Long Ago the Garden. The album contains some of Norman’s most well-known work.

History[edit]

In 1975 Norman recorded In Another Land, the third album in his trilogy, which was released in 1976 through his own Solid Rock label and distributed through Word Records,[2] making it “the first of his albums to be released on a Christian label”.[3] However, according to Norman, “In Another Land, was executorially censored by the “mother company” which insisted on removing any music they felt was “too negative” or “too controversial.”[4] Commercial pressure from Norman’s “American publisher and American and European distributors”[5] forced Norman to remove four songs from In Another Land: “I Dreamed that I Died”, “Looking for the Footprints”, “Top 40 Survey”, and “You’ll Never Find No One (Who Loves You Like I Do”,[6] as they believed that Norman had included too many songs, and that the deleted songs could be released on his next album.[7]One of the songs included on this album was “The Sun Began to Rain” (The Son Began to Reign),[8] an allegory written by Norman, was “knocked out … in just over a minute” with British comedian Dudley Moore on piano.[9] In a 1980 interview Norman explained the purpose of In Another Land:

In Another Land is the third part of the trilogy It’s about the future, and rather than speculate about what the future might hold, I tried to stick closely to what the Bible says it will hold. I think because the future orientated album was so directly tied to the scriptures, people felt this is Larry’s best album, because this is the one I like best. Or This is the most Christian album. I think that Only Visiting This Planet or So Long Ago The Garden were much better conceptional statements, much better medicine for a non-Christian to swallow. The front cover of In Another Land posed a problem. I couldn’t really go and stand on a hillside in front of The New Jerusalem, so I just put together a lot of photographs of Israel and photographs of mountainous terrain. The front cover shows a painting of me standing on a hill, for the first time smiling at the camera, because in the new age I won’t be troubled as I have always been on my other albums about things like world hunger, and world ignorance, human anger and jealousy and pettiness.[10]

Norman provides a more detailed analysis of In Another Land in the producer notes of the 1991 re-issue.[11] In Another Land was Norman’s best-selling album ever,[12] and had the best reception of any of his albums from the Christian establishment.[13] In 2005 Norman recalled:

The Church finally accepted me in 1976, I think it was, and that’s just because I had so many songs people knew that the records stores said, “Okay, I’ll take a chance.” I did In Another Land, which was such a mellow album. It’s really for Christians (none of the other albums were), but what do you say when the concept of the album is eternal life with God in heaven? … Of course they liked that album and the record stores sold it and it was Album of the Month for Word Record Club and it was the #1 seller for a long time.[14]

By 1985 In Another Land had sold 120,000 copies in the USA alone, compared with average sales of less than ten thousand for other gospel albums,[7] Responding to the better acceptance of In Another Land by many church leaders who had previously opposed him and his music, Norman indicated in 1980: “I realised that the music itself would probably appeal to the middle of the road Christians who are offended by the extremes in my observations. But if they like this album, and if they suddenly decide that I have returned to the fold and I am now one of them, they’re going to hate the next album – it’s all blues.”[15] Norman held several concerts in Australia in October 1976.[16]

A different version of the song “I Love You” was first recorded by Randy Stonehill on the now-rare album Born Twice, which was produced by Larry Norman back in 1969. That album credits Stonehill as the writer of the song. Norman’s version completely changes all the verses, retaining only the first line of the first verse of Stonehill’s original composition.

“Righteous Rocker #3” is a reprise of a song which originally appeared on Only Visiting This Planet.

The album also contains a souped-up version of “Why Don’t You Look Into Jesus,” another song which made its first appearance on Only Visiting This Planet. In the later version the controversial second verse from the original (“Gonorrhea on Valentine’s Day / You’re still looking for the perfect lay,” etc.) is conspicuously absent.

“I Am A Servant” was recorded and popularized as a Christian pop ballad by Christian singer Honeytree.

“Song For A Small Circle Of Friends” was a piece written for Norman’s famous friends in the music industry. The song includes allusions to Randy Stonehill, Eric Clapton, Bob Dylan, Charlie Watts of the Rolling Stones, and Paul McCartney. There has never been any evidence that, other than Stonehill, Norman actually knew any of these people.

Tracks[edit]

Original LP release[edit]

Side 1[edit]

  1. “The Rock That Doesn’t Roll”
  2. “I Love You” (Larry Norman, Randy Stonehill)
  3. “UFO”
  4. “I’ve Searched All Around”
  5. “Righteous Rocker #3”
  6. “Deja Vu (If God Is My Father / Why Don’t You Look Into Jesus)”
  7. “I Am A Servant”

Side 2[edit]

  1. “The Sun Began To Rain”
  2. “Shot Down”
  3. “Six, Sixty, Six”
  4. “Diamonds”
  5. “One Way”
  6. “Song For A Small Circle Of Friends”
  7. “Hymn To The Last Generation”

“The Missing Pieces” reissue[edit]

“This is the running order on the original master tape which was sent to Word U.K.”[citation needed]

  1. “Tuning”
  2. “The Rock That Doesn’t Roll”
  3. “UFO”
  4. “I’ve Searched All Around”
  5. “Shot Down”
  6. “Song For A Small Circle Of Friends”
  7. “The Sun Began To Rain”
  8. “Looking For The Footprints”
  9. “Six Sixty Six”
  10. “Righteous Rocker #3”
  11. “If God Is My Father”
  12. “Why Don’t You Look Into Jesus”
  13. “Diamonds”
  14. “One Way”
  15. “I Am A Servant”
  16. “Hymn To The Last Generation”

Extra tracks on CD releases[edit]

  1. “Looking For The Footprints”
  2. “Dreams On A Grey Afternoon”
  3. “Six Sixty Six” (alternate take)
  4. “Strong Love, Strange Peace”
  5. “Dear Malcolm, Dear Alwyn”
  6. “Joyful Delta Day”
  7. “I Don’t Believe In Miracles”

Covers[edit]

Frank Black, a longtime admirer of Norman who became a friend, covered “Six, Sixty, Six” on his album Frank Black and the Catholics.[citation needed]

Personnel[edit]

Production notes[edit]

  • Produced by Larry Norman
  • Engineered by Andy Johns
  • Assistant engineer Tom Trefethen
  • Pre-production recording at Solid Rock studios
  • Recorded at Mama Jo’s and Sunset SOund
  • Mastered at A&M, Studio 3

See also[edit]

References[edit]

  1. Jump up^ In Another Land at Allmusic
  2. Jump up^ “New Music Interview 1980 Part 3”, http://dagsrule.com/stuff/larry/intvw80c.html
  3. Jump up^ “Larry Norman – 1947-2008”, Cross Rhythms, http://www.crossrhythms.co.uk/articles/news/Larry_Norman__19472008/30703/p1/
  4. Jump up^ “Larry Norman (Part 1)”, http://www.onlyvisiting.com/larry/about/story1.html. This is taken from A Moment In Time and Footprints In The Sand CD booklets. See also linear notes, “Looking For the Footprints”, White Blossoms From Black Roots (1997 CD):4.
  5. Jump up^ Philip F. Mangano, “Linear Notes”, Only Visiting This Planet re-issue (1978):2.
  6. Jump up^ “The Compleat Trilogy” insert in 1978 re-issue of Only Visiting This Planet.
  7. ^ Jump up to:a b “Larry Norman Down Under But Not Out”, On Being (1985/1986):7.
  8. Jump up^ The alternate title, The Son Began to Reign, was registered on 15 January 1976. See http://www.faqs.org/copyright/why-should-the-devil-have-all-the-good-music-one-way-dear/. For lyrics, see “The Sun Began to Rain”,http://www.onlyvisiting.com/gallery/lyrics/songs/sun/sun.html
  9. Jump up^ Larry Norman, liner notes, Rebel Poet, Jukebox Balladeer: The Anthology (September 2007); Linear Notes, “The Sun Began to Rain”,White Blossoms From Black Roots (1997); Mike Rimmer, “A Legend Quizzed”, Cross Rhythms (27 August 2005):2,http://www.crossrhythms.co.uk/articles/music/A_Legend_Quizzed/15761/p2/.
  10. Jump up^ “New Music Interview 1980 Part 3”, http://dagsrule.com/stuff/larry/intvw80c.html
  11. Jump up^ Larry Norman, “Producer’s Notes (Part 1), http://www.onlyvisiting.com/larry/articles/producers_notes1.html; Larry Norman, “Producer’s Notes (Part 2), http://www.onlyvisiting.com/larry/articles/producers_notes2.html; Larry Norman, “Producer’s Notes (Part 3),http://www.onlyvisiting.com/larry/articles/producers_notes3.html
  12. Jump up^ See Robert Termorshuizen, “Notes”, http://www.meetjesushere.com/in_another_land.htm
  13. Jump up^ See Robert Termorshuizen, “Notes”, http://www.meetjesushere.com/in_another_land.htm
  14. Jump up^ David Sanford, “Larry Norman Says Good-Bye” (3 March 2008),http://www.burnsidewriterscollective.com/general/2008/03/larry_norman_says_goodbye.php?page=2
  15. Jump up^ “New Music Interview 1980 Part 3”, http://dagsrule.com/stuff/larry/intvw80c.html
  16. Jump up^ “Larry Rocks Along with Christ”, The Age (21 October 1976):12.

 

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SCHAEFFER SUNDAY Review of HOW SHOULD WE THEN LIVE?   by Kevin Rhyne MODERN PHILOSOPHY AND MODERN THEOLOGY THESIS: Modern people have put various things “upstairs” in the area of nonreason in a desperate attempt to find some optimism about meaning and values.

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

A Christian Manifesto Francis Schaeffer

Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR

How Should We Then Live? (9)

MODERN PHILOSOPHY AND MODERN THEOLOGY

THESIS:

Modern people have put various things “upstairs” in the area of nonreason in a desperate attempt to find some optimism about meaning and values.

Schaeffer, F. A. (1982). The complete works of Francis A. Schaeffer: a Christian worldview (Vol. 5, p. 183). Westchester, IL: Crossway Books.

Where does that get them?

Starts with Sartre: reason is absurd, but a person can authenticate himself by an act of the will…not by A=A and A not = non-A. But by his own declaration.

Francis Schaeffer | This Bread Always
Francis Schaeffer | This Bread Always

Where does that put man?

I loved the display of contradiction in Satre. No one can live this way. No one can live apart from reason. And, if untethered reason leads us to all being part of a machine, then reason was meant to be tethered.

So, philosophers continue to search for meaning beyond reason, in the “upper story.”

What examples does he give of these attempts?

Humanistic man tried to make himself self-sufficient and demanded that one start from himself and the individual details and build his own universals. His great hope that he could begin from himself and produce a uniformity of knowledge led him, however, to the sad place where his mind told him that he was only a machine, a bundle of molecules. Then he tried desperately to find meaning in the area of nonreason, until, with those following Jaspers, the problem became how one could be sure he would ever have a big enough final experience (or, even if he had one, how he could ever have another) and there was no way to be sure.

Schaeffer, F. A. (1982). The complete works of Francis A. Schaeffer: a Christian worldview (Vol. 5, p. 185). Westchester, IL: Crossway Books.

Where does the ultimate experience lead you?

The drug culture spurred by Aldux Huxley. Hendrix’ “Are you Experienced? Have you ever been experienced?”

Then Eastern religious systems: Hinduism and Buddhism. “Both seek truth inside one’s own head and both negate reason.”

What effect on theology?

Rationalism tried to throw out the supernatural elements of the Bible.

The rationalistic theologians could not separate the historic Jesus from the supernatural events connected with Him. History and the supernatural were too interwoven in the New Testament. If one retained any of the historical Jesus, one had to keep some of the supernatural. If one got rid of all the supernatural, one had no historical Jesus.

Schaeffer, F. A. (1982). The complete works of Francis A. Schaeffer: a Christian worldview (Vol. 5, p. 190). Westchester, IL: Crossway Books.

In steps existentialism to save the day:

Karl Barth held until the end of his life the “higher critical” views of the Bible which the nineteenth-century liberal theologians held, and thus he viewed the Bible as having many mistakes. But he then taught that a religious “word” breaks through from it. This was the theological form of existentialism and the dichotomy. In other words, the existential methodology was applied to theology. This meant that theology has now been added to all the other things which had been put into the area of nonreason.

Schaeffer, F. A. (1982). The complete works of Francis A. Schaeffer: a Christian worldview (Vol. 5, pp. 190–191). Westchester, IL: Crossway Books.

Rather than the Word of God, they held to the word “God” and put into it any meaning they wanted so that it held no meaning at all.

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

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

Schaeffer, F. A. (1982). The complete works of Francis A. Schaeffer: a Christian worldview (Vol. 5, p. 192). Westchester, IL: Crossway Books.

Religious feeling without content: George Harrison, “My Sweet Lord”

Dr. Francis Schaeffer: How Should We Then Live? Episode 1 of 10

HowShouldWeThenLive Episode 2

HowShouldWeThenLive Episode 3

HowShouldWeThenLive Episode 4

HowShouldWeThenLive Episode 5

HowShouldweThenLive Episode 6 Scientific Age

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

https://vimeo.com/19640017

How Should We Then Live – Episode 8 – The Age of Fragmentation

How Should We Then Live – Episode 9 – The Age of Personal Peace & Affluence

___________

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FRIEDMAN FRIDAY How to Cure Health Care By Milton Friedman (A paper from 2001)

Milton Friedman on Medical Care (Full Lecture)

Published on Feb 2, 2014

I have written about Obamacare over and over again on this blog. Dan Mitchell has shared many funny cartoons about Obamacare too. Milton Friedman has spoken out about government healthcare many times in the past and his film series FREE TO CHOOSE is on You Tube and I encourage you to watch it. It is clear that the federal government debt is growing so much that it is endangering us because if things keep going like they are now we will not have any money left for the national defense because we are so far in debt as a nation.

We have been spending so much on our welfare state through food stamps and other programs that I am worrying that many of our citizens are becoming more dependent on government and in many cases they are losing their incentive to work hard because of the welfare trap the government has put in place. Other nations in Europe have gone down this road and we see what mess this has gotten them in. People really are losing their faith in big government and they want more liberty back. It seems to me we have to get back to the founding  principles that made our country great.  We also need to realize that a big government will encourage waste and corruption. Also raising taxes on the job creators is a very bad idea too. The Laffer Curve clearly demonstrates that when the tax rates are raised many individuals will move their investments to places where they will not get taxed as much.

In 1980 I read the book FREE TO CHOOSE by Milton Friedman and it really enlightened me a tremendous amount.  I suggest checking out these episodes and transcripts of Milton Friedman’s film series FREE TO CHOOSE: “The Failure of Socialism” and “The Anatomy of a Crisis” and “What is wrong with our schools?”  and “Created Equal”  and  From Cradle to Grave, and – Power of the Market.

Milton Friedman – Health Care Reform (1992) pt 1/4

Milton Friedman – Health Care Reform (1992) pt 2/4

Winter 2001
Since the end of World War II, the provision of medical care in the United States and other advanced countries has displayed three major features: first, rapid advance in the science of medicine; second, large increases in spending, both in terms of inflation-adjusted dollars per person and the fraction of national income spent on medical care; and third, rising dissatisfaction with the delivery of medical care, on the part of both consumers of medical care and physicians and other suppliers of medical care.

Rapid technological advance has occurred repeatedly since the industrial revolution – in agriculture, steam engine, railroad, telephone, electricity, automobile, radio, television, and, most recently, computers and telecommunication. The other two features seem unique to medicine. It is true that spending initially increased after nonmedical technical advances, but the fraction of national income spent did not increase dramatically after the initial phase of widespread acceptance. On the contrary, technological development lowered cost, so that the fraction of national income spent on food, transportation, communication, and much more has gone down, releasing resources to produce new products or services. Similarly, there seems no counterpart in these other areas to the rising dissatisfaction with the delivery of medical care.

I. International comparison

These developments in medicine have been worldwide. By their very nature, scientific advances know no geographical boundaries. Data on spending are readily available for 29 Organization for Economic Cooperation and Development (OECD) countries. In every one, medical spending has gone up both in inflation-adjusted dollars per person and as a fraction of national income. Data are available for both 1960 and 1997 for 21 countries. In 13, spending more than doubled as a fraction of gross domestic product. The smallest increase was 67 percent, the largest, 378 percent. In 1997, 16 of the 29 OECD countries spent between 7 percent and 9 percent of gross domestic product on medical care. The United States spent 14 percent, the highest of any OECD country. Germany was a distant second at 11 percent; Turkey was the lowest at 4 percent.

A key difference between medical care and the other technological revolutions is the role of government. In other technological revolutions, the initiative, financing, production, and distribution were primarily private, though government sometimes played a supporting or regulatory role. In medical care, government has come to play a leading role in financing, producing, and delivering medical service. Direct government spending on health exceeds 75 percent of total health spending for 15 OECD countries. The United States is next to the lowest of the 29 countries, at 46 percent. In addition, some governments indirectly subsidize medical care through favorable tax treatment. For the United States, such subsidization raises the fraction of health spending financed directly or indirectly by government to over 50 percent.

What are countries getting for the money they are spending on medical care? What is the relation between input and output? Spending on medical care provides a reasonably good measure of input, but, unfortunately, there is no remotely satisfactory objective measure of output. For the hospital segment, number of beds occupied may at first seem like an objective measure. However, improvements in medicine have included a reduction in the length of hospital stay required for various medical procedures or illnesses. So, fewer patient days may be a sign of greater, not lesser, output. The desired output of medical care is “good health.” But how can we quantify “good health,” and equally important, allow for the role that factors other than medical care – such as plentiful food, pure water, and protective clothing – play in producing “good health”?

The least objectionable measure I have been able to find is expected length of life at birth or at various later ages, though that too is a far from unambiguous measure of the output attributable to spending on medical care. The remarkable increase in life span in advanced countries during the past century reflects much more than spending on medical care proper. Moreover, it does not allow for changes in the quality of life-attempted measurement of which is still in its infancy.

Figure 1 (see Appendix) shows the relation in 1996 for the 29 OECD countries between the percentage of the gross domestic product spent on medical care and the expected length of life at birth for females.1 The relation is clearly positive, though very loose.2 The United States and Germany are clear outliers, ranking first and second in spending but twentieth and seventeenth in length of life. As another indication of looseness, nine countries spent between 7 and 8 percent of GDP on medicine. The group includes Japan, which has the highest expected length of life (83.6 years), and the Czech Republic, fourth from the bottom (77.3 years). Clearly, many factors other than spending on medical care affect expected length of life.

Exploring that relation more fully, however worthwhile a project, is not the purpose of this article, which is to examine the situation in the United States. I have presented the data on the OECD countries primarily to document the two (related?) respects in which the United States is an outlier: We spend a higher percentage of national income on medical care (and more per capita) than any other OECD country, and government finances a smaller fraction of that spending than all except Korea.

II. Why third-party payment?

Two simple observations are key to explaining both the high level of spending on medical care and the dissatisfaction with that spending. The first is that most payments to physicians or hospitals or other caregivers for medical care are made not by the patient but by a third party – an insurance company or employer or governmental body. The second is that nobody spends somebody else’s money as wisely or as frugally as he spends his own. These statements apply equally to other OECD countries. They do not by themselves explain why the United States spends so much more than other countries.

No third party is involved when we shop at a supermarket. We pay the supermarket clerk directly. The same for gasoline for our car, clothes for our back, and so on down the line. Why, by contrast, are most medical payments made by third parties? The answer for the United States begins with the fact that medical-care expenditures are exempt from the income tax if, and only if, medical care is provided by the employer. If an employee pays directly for medical care, the expenditure comes out of the employee’s income after income tax. If the employer pays for the employee’s medical care, the expenditure is treated as a tax-deductible expense for the employer and is not included as part of the employee’s income subject to income tax. That strong incentive explains why most consumers get their medical care through their employer or their spouse’s or their parents’ employer. In the next place, the enactment of Medicare and Medicaid in 1965 made the government a third-party payer for persons and medical care covered by those measures.

We have become so accustomed to employer-provided medical care that we regard it as part of the natural order. Yet it is thoroughly illogical. Why single out medical care? Food is more essential to life than medical care. Why not exempt the cost of food from taxes if provided by the employer? Why not return to the much-reviled company store when workers were in effect paid in kind rather than in cash?

The revival of the company store for medicine has less to do with logic than pure chance. It is a wonderful example of how one bad government policy leads to another. During World War II, the government financed much wartime spending by printing money while, at the same time, imposing wage and price controls. The resulting repressed inflation produced shortages of many goods and services, including labor. Firms competing to acquire labor at government-controlled wages started to offer medical care as a fringe benefit. That benefit proved particularly attractive to workers and spread rapidly.

Initially, employers did not report the value of a fringe benefit to the Internal Revenue Service as part of their workers’ wages. It took some time before the IRS realized what was going on. When it did, it issued regulations requiring employers to include the value of medical care as part of reported employees’ wages. By this time, workers had become accustomed to the tax exemption of that particular fringe benefit and made a big fuss. Congress responded by legislating that medical care provided by employers should be tax-exempt.

III. Effect of third-party payment on medical costs

The tax exemption of employer-provided medical care has two different effects, both of which raise health costs. First, it leads employees to rely on their employer, rather than themselves, to make arrangements for medical care. Yet employees are likely to do a better job of monitoring medical-care providers, because it is in their own interest, than is the employer or the insurance company or companies designated by the employer. Second, it leads employees to take a larger fraction of their total remuneration in the form of medical care than they would if spending on medical care had the same tax status as other expenditures.

If the tax exemption were removed, employees could bargain with their employers for a higher take-home pay in lieu of medical care and provide for their own medical care either by dealing directly with medical-care providers or by purchasing medical insurance. Removal of the tax exemption would enable governments to reduce the tax rate on income while raising the same total revenue. This hidden subsidy for medical care, currently more than $100 billion a year, is not included in reported figures on government health spending.

Extending the tax exemption to all medical care – as in the current limited provision for medical savings accounts and the proposals to make such accounts more widely available – would reduce reliance on third-party payment. But, by extending the hidden subsidy to all medical-care expenditures, it would increase the tendency of employees to take a larger portion of their remuneration in the form of medical care. (I will more fully discuss medical savings accounts in the conclusion.)

Enactment of Medicare and Medicaid provided a direct subsidy for medical care. The cost grew much more rapidly than originally estimated – as the cost of all handouts invariably do. Legislation cannot repeal the non-legislated law of demand and supply. The lower the price, the greater the quantity demanded; at a zero price, the quantity demanded becomes infinite. Some method of rationing must be substituted for price and that invariably means administrative rationing.

Figure 2 provides an estimate of the effect on medical costs of tax exemption and the subsequent enactment of Medicare and Medicaid. The top line in the chart is actual per capita spending on medical care expressed in constant 1992 prices, to allow for the effect of inflation. Spending multiplied more than 23-fold from 1919 to 1997, going from $155 per capita to $3,625. The bottom line shows what would have happened to per capita spending if it had continued to rise at the same rate as it did from 1919 to 1940 (3.1 percent per year). On that assumption, per capita spending would have risen to $1,751, instead of $3,625 by 1997, or less than half as much.3,4

To estimate the separate effects of tax exemption and of Medicare and Medicaid, the second line shows what would have happened to spending if, after Medicare and Medicaid were enacted, spending had continued to rise at the same rate as it did from 1946 to 1965 (4 percent per year). The segment between the two bottom lines shows the effect of tax exemption; the segment between the two top lines shows the effect of the enactment of Medicare and Medicaid. According to these estimates, tax exemption accounts for 57 percent of the increase in cost; Medicare and Medicaid, 43 percent.

Figure 3 presents a different breakdown of the cost of medical care: between the part paid directly by the government and the part paid privately. As the figure shows, the government share has been growing over the whole period. Government’s share went from one-eighth of the total in 1919 to nearly a quarter in 1946 to a quarter in 1965 to nearly half in 1997. The rise in the government’s share has been accompanied by centralization of spending – from primarily by state and local governments to primarily by the federal government. We are headed toward completely socialized medicine and are already halfway there, if in addition to direct costs, we include indirect tax subsidies.

Expressed as a fraction of national income, spending on medical care went from 3 percent of the national income in 1919 to 4.5 percent in 1946, to 7 percent in 1965 to a mind-boggling 17 percent in 1997.5 No other country in the world approaches that level of spending as a fraction of national income no matter how its medical care is organized. The change in the role of medical care in the U.S. economy is truly breathtaking. To illustrate, in 1946, seven times as much was spent on food, beverages, and tobacco as on medical care; in 1996, 50 years later, more was spent on medical care than on food, beverages, and tobacco. In 1946, twice as much was spent on transportation as on medical care; in 1996, one-and-a-half times as much was spent on medical care as on transportation.

IV. The changing meaning of insurance

Employer financing of medical care has caused the term “insurance” to acquire a rather different meaning in medicine than in most other contexts. We generally rely on insurance to protect us against events that are highly unlikely to occur but involve large losses if they do occur – major catastrophes, not minor regularly recurring expenses. We insure our houses against loss from fire, not against the cost of having to cut the lawn. We insure our cars against liability to others or major damage, not against having to pay for gasoline. Yet in medicine, it has become common to rely on insurance to pay for regular medical examinations and often for prescriptions.

This is partly a question of the size of the deductible and the co-payment, but it goes beyond that. “Without medical insurance” and “without access to medical care” have come to be treated as nearly synonymous. Moreover, the states and the federal government have increasingly specified the coverage of insurance for medical care to a detail not common in other areas. The effect has been to raise the cost of insurance and to limit the options open to individuals. Many, if not most, of the “medically uninsured” are persons who for one reason or another do not have access to employer-provided medical care and are not willing to pay the cost of the only kinds of insurance contracts available to them.

If tax exemption for employer-provided medical care and Medicare and Medicaid had never been enacted, the insurance market for medical care would probably have developed as other insurance markets have. The typical form of medical insurance would have been catastrophic insurance – i.e., insurance with a very high deductible.

V. Bureaucratization and Gammon’s Law

Third-party payment has required the bureaucratization of medical care and, in the process, has changed the character of the relation between physicians or other caregivers and patients. A medical transaction is not simply between a caregiver and a patient; it has to be approved as “covered” by a bureaucrat and the appropriate payment authorized. The patient, the recipient of the medical care, has little or no incentive to be concerned about the cost – since it’s somebody else’s money. The caregiver has become, in effect, an employee of the insurance company or, in the case of Medicare and Medicaid, the government. The patient is no longer the one, and the only one, the caregiver has to serve. An inescapable result is that the interest of the patient is often in direct conflict with the interest of the caregiver’s ultimate employer. That has been manifest in public dissatisfaction with the increasingly impersonal character of medical care.

Some years ago, the British physician Max Gammon, after an extensive study of the British system of socialized medicine, formulated what he called “the theory of bureaucratic displacement.” In Health and Security, he observed that in “a bureaucratic system … increase in expenditure will be matched by fall in production…. Such systems will act rather like ‘black holes,’ in the economic universe, simultaneously sucking in resources, and shrinking in terms of ’emitted production.'” Gammon’s observations for the British system have their exact parallel in the partly socialized U.S. medical system. Here too input has been going up sharply relative to output. This tendency can be documented particularly clearly for hospitals, thanks to the availability of high quality data for a long period.

Before 1940, output, as measured by number of patient days per 1,000 population (equal to the number of occupied beds per 1,000 population) and input, as measured by cost per 1,000 population, both rose (input somewhat more than output presumably because of the introduction of more sophisticated and expensive treatments). The number of occupied beds per resident of the United States rose from 1929 to 1940 at the rate of 2.4 percent per year; the cost of hospital care per resident, adjusted for inflation, at 5 percent per year; and the cost per patient day, adjusted for inflation, at 2 percent per year.

The situation changed drastically after the war, as Figure 4 and the top part of Table 1 show. From 1946 to 1996, the number of beds per 1,000 population fell by more than 60 percent; the fraction of beds occupied, by more than 20 percent. In sharp contrast, input skyrocketed. Hospital personnel per occupied bed multiplied nine-fold, and cost per patient day, adjusted for inflation, an astounding 40-fold, from $30 in 1946 to $1,200 in 1996 (at 1992 prices). A major engine of these changes was the enactment of Medicare and Medicaid in 1965. A mild rise in input was turned into a meteoric rise; a mild fall in output, into a rapid decline. The 40-fold increase in the cost per patient day was converted into a 13-fold increase in hospital cost per resident of the United States by the sharp decline in output. Hospital days per person per year were cut by two-thirds, from three days in 1946 to an average of less than a day by 1996.

Taken by itself, the decline in hospital days is evidence of progress in medical science. A healthy population needs less hospitalization, and advances in science and medical technology have reduced the length of hospital stays and increased outpatient surgery. Progress in medical science may well explain most of the decline in output; it does not explain much, if any, of the rise in input per unit of output. True, medical machines have become more complex. However, in other areas where there has been great technical progress – whether it be agriculture or telephones or steel or automobiles or aviation or, most recently, computers and the Internet – progress has led to a reduction, not an increase, in cost per unit of output. Why is medicine an exception? Gammon’s law, not medical miracles, was clearly at work. The provision of medical care as an untaxed fringe benefit by employers, and then the federal government’s assumption of responsibility for hospital and medical care of the elderly and the poor, provided a fresh pool of money. And there was no shortage of takers. Growing costs, in turn, led to more regulation of hospitals and medical care, further increasing administrative costs, and leading to the bureaucratization that is so prominent a feature of medical care today.

Medicine is not the only area where this pattern has prevailed. Aside from defense and medicine, schooling is the only other major area of our society that is largely financed and administered by government, and here too Gammon’s law has clearly operated. Input per unit of output, however measured, has clearly been going up; output, especially if measured in terms of quality, has been going down, and dissatisfaction, as in medicine, is growing. The same may well be true also in defense. However, measuring output independently of input is even more baffling for defense than for medicine.

To return to medicine, hospital cost has risen as a percentage of total medical cost from 24 percent in 1946 to 32 percent half a century later. The cost of physician services is currently the second largest component of total medical cost. It too has risen sharply, though less sharply than hospital costs. In 1946, the cost of physician services exceeded the cost of hospital services. According to the estimates in Table 1, the cost of physician services has multiplied four-fold since 1946, the major rise coming after the adoption of Medicare and Medicaid in 1965.

Figure 5 shows what has happened to the number of physicians and their income. The number almost doubled, and the income per physician almost tripled over the half-century from 1946 to 1996. Both reflect the increase in funds available to finance medical care and the third-party character of payment. The demand for physician services went up, and income had to go up to attract additional physicians. Paradoxically, the attempt by third-party payers – particularly the federal government – to keep costs down has been at least partly self-defeating, because it took the form of imposing onerous rules and regulations on physicians. The resultant bureaucratization of medical practice has made the practice of medicine less attractive as an occupation to most actual and potential physicians, which increased the necessary rise in incomes. It has also reduced their productivity.

VI. Medical-care output

So much for input. What about output? What have we gotten in return for quadrupling the share of the nation’s income spent on medical care?

I have already referred to one component of output – days of hospital care per person per year. That has gone down from three days in 1946 to less than one in 1996. Insofar as the reduction reflects the improvements in medicine, it clearly is a good thing. However, it also reflects the pressure to keep hospital stays short in order to keep down cost. That this is not a good thing is clear from protests by patients, widespread enough to have led Congress to mandate minimum stays for some medical procedures.

The output of the medical-care industry that we are interested in is its contribution to better health. How can we measure better health in a reasonably objective way that is not greatly influenced by other factors? For example, if medical care enables people to live longer and healthier lives, we might expect that the fraction of persons aged 65 to 70 who continue to work would go up. In fact, of course, the fraction has gone down drastically – thanks to higher incomes reinforced by financial incentives from Social Security. With the same “if” we might expect the fraction of the population classified as disabled to go down, but that fraction has gone up, again not for reasons of health but because of government social security programs. And so I have found with one initially plausible measure after another – all of them are too contaminated by other factors to reflect the output of the medical-care industry.

As noted earlier, the least bad measure that I have been able to come up with is length of life, though that too is seriously contaminated by other factors – improvements in diet, housing, clothing, and so on generated by greater affluence, better garbage collection and disposal, the provision of purer water, and other governmental public-health measures. Wars, epidemics, and natural and man-made disasters have played a part. Even more important, the quality of life is as meaningful as the length of life. Perhaps the extensive research on aging currently underway will lead to a better measure than length of life.

Figures 6 and 7 present two different sets of data on expected length of life: Figure 6, expected length of life at birth; Figure 7, remaining length of life at age 65. Both cover the whole century, from 1900 to 1997, the last year for which I was able to get data. For Figure 6 the data are annual; for Figure 7, decennial until recent years. The two tell very different, but equally remarkable, stories.

Expected longevity went from 47 years in 1900 to 68 years in 1950, a truly remarkable rise that proceeded at a fairly steady rate, averaging four-tenths of a year per year. Public-health activities, such as those leading to cleaner water and air and better control of epidemics, played a major role in lengthening life, no doubt; but so too did improvements in medical practice and hospital care, particularly those leading to a sharp reduction in infant and maternal mortality. Whatever its source, the increase in longevity did not have any systematic relation to spending on medical care as a fraction of income. We have reasonably accurate data on spending only from 1929 on; crude data from 1919 on. Except for the deep depression years of 1932 and 1933, national health spending never exceeded 5 percent of national income, and from 1919 to 1948, varied between 3 and 5 percent, primarily as a result of wider swings in national income than in health spending.

The most striking feature of Figure 6 is the sharp slowdown in the increase in longevity after 1950. From 1950 on, longevity grew at less than half the rate that it grew from 1900 to 1950-averaging less than two-tenths of a year per year compared to the earlier four-tenths.6 In the first 50 years of the century, the life span increased by 21 years; in the next 47 years, by eight years. As in the first 50 years, the increase proceeded at a surprisingly steady pace. I have no good explanation for the shift from one trend to the other. I conjecture that it reflects the exhaustion by the end of World War II of the possibility of further major improvements from public-health activity. I leave it to scholars more knowledgeable about medicine than I to give a more satisfactory answer.

The later trend was accompanied, as the earlier one was not, by a major increase in spending as a fraction of national income. However, I attribute that increase in spending to the changes in the economic organization of medical care discussed earlier. I doubt that it is related as either cause or effect to the slowdown in the growth of longevity.

Data are much less readily available for longevity at age 65 than at birth, so I have resorted to the use of decennial estimates except for the most recent year. Figure 7 is almost the mirror image of Figure 6 – that is, the same picture reversed. Instead of first rising rapidly and then slowly, longevity at age 65 at first rose slowly and then rapidly. Until 1940, longevity rose at an average of only .025 years per year. Remaining years of life went from 12 – or to age 77 – in 1900 to 13 – or age 78 – in 1940. Then there was a sharp acceleration, and in the next 57 years, remaining years of life went up by an additional five years to 18 – or age 83, rising at the average rate of .085 years per year. Understandably, both the earlier and the later rates of growth in longevity at age 65 are much smaller than the comparable figures for longevity at birth. The remarkable phenomenon is the shift in trend around 1940, and the steadiness of the trend both before and after 1940.

Data for later years of life suggests that the steadiness of the trend in longevity at age 65 is not likely to continue. At these later ages, there has been a distinct slowing of increases in longevity since about 1980. At age 85, remaining years of life for females has not changed in the 17 years from 1980 to 1997. It was 6.4 years in both 1980 and 1997.7

What caused the change in the trend at age 65, and why was that change in the opposite direction from the change in the trend at birth, and why did it occur about 10 years earlier? Could it have been the emergence of penicillin and sulfa at around 1940 that explains the dating of the shift? No doubt many other advances in medicine, from the handling of blood pressure to the perfecting of open-heart surgery, the improved treatment of cancer, and the better understanding of diet were of special importance for preventing death at later ages. I am incompetent to judge these matters and their relative importance. But I have no doubt that one economic change also played an important role. That was the sharp improvement in the economic status of the elderly brought about by government transfer programs, notably Social Security. From being among the poorest groups in society, the elderly have become among the most affluent in the post-World War II period.

However interesting these speculations may be, they are a long way from providing an answer to the question with which we started this section, namely, “What have we gotten in return for quadrupling the share of the nation’s income spent on medical care?” The slowdown in the increase of longevity at birth started before tax exemption and Medicare had any effect on spending. Similarly, the acceleration in the increase in longevity at age 65 started 25 years before Medicare was enacted and showed no speedup thereafter. Perhaps better measures of the health of the population and various subgroups will show a relation to total spending. But on the evidence to date, it is hard to see that we have gotten much for that spending other than bureaucratization and widespread dissatisfaction with the economic organization of medical care.

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VII. The United States vs. other countries

Our steady movement toward reliance on third-party payment no doubt explains the extraordinary rise in spending on medical care in the United States. However, other advanced countries also rely on third-party payment, many or most of them to an even greater extent than we do. What explains our higher level of spending?

I must confess that despite much thought and scouring of the literature, I have no satisfactory answer. One clue is my estimate that if the pre-World War II system had continued – that is, if tax exemption and Medicare and Medicaid had never been enacted – expenditures on medical care would have amounted to less than half its current level, which would have put us near the bottom of the OECD list rather than at the top.

In terms of holding down cost, one-payer directly administered government systems, such as exist in Canada and Great Britain, have a real advantage over our mixed system. As the direct purchaser of all or nearly all medical services, they are in a monopoly position in hiring physicians and can hold down their remuneration, so that physicians earn much less in those countries than in the United States. In addition, they can ration care more directly – at the cost of long waiting lists and much dissatisfaction.8

In addition, once the whole population is covered, there is little political incentive to increase spending on medical care. In an insightful analysis of political entrepreneurship, W. Allen Wallis noted that

one of the ways politicians compete for votes is by offering to have the government provide new services. For an offer of a new service to have substantial electoral impact, the service ordinarily must be one that a large number of voters is familiar with, and in fact already use. The most effective innovations for a political entrepreneur to offer, therefore, are those whose effect is to transfer from individuals to the government the costs of services which are already in existence, not to alter appreciably the amount of the service reaching the people.9

Medicare, Medicaid, the political stress on the “uninsured,” and the current political pressure for government financing of prescriptions all exemplify this phenomenon. Once the bulk of costs have been taken over by government, as they have in most of the other OECD countries, the political entrepreneur has no additional groups to attract, and attention turns to holding down costs.

An additional factor is the tax treatment of private expenditures on medical care. In most countries, any private expenditure comes out of after-tax income. It does in the United States also, unless the medical care is provided by the employer. For this reason, the bulk of medical care is provided through employers, and private expenditures on medical care are decidedly higher than they would be if medical care, like food, clothing, and other consumer goods, had to be financed out of post-tax income. It is consistent with this view that Germany, the country second to the United States in the fraction of income spent on medical care, has a system in which the employer plays a central role in the provision of medical care and in which, so far as I have been able to determine, half of the cost comes out of pre-tax income, half out of post-tax income.

Our mixed system has many advantages in accessibility and quality of medical care, but it has produced a higher level of cost than would result from either wholly individual choice or wholly collective choice.

VIII. Medical savings accounts and beyond

The high cost and inequitable character of our medical-care system is the direct result of our steady movement toward reliance on third-party payment. A cure requires reversing course, reprivatizing medical care by eliminating most third-party payment, and restoring the role of insurance to providing protection against major medical catastrophes.

The ideal way to do that would be to reverse past actions: repeal the tax exemption of employer-provided medical care; terminate Medicare and Medicaid; deregulate most insurance; and restrict the role of the government, preferably state and local rather than federal, to financing care for the hard cases. However, the vested interests that have grown up around the existing system, and the tyranny of the status quo, clearly make that solution not feasible politically. Yet it is worth stating the ideal as a guide to judging whether proposed incremental changes are in the right direction.

Most changes made in the final decade of the twentieth century have been in the wrong direction. Despite rejection of the sweeping socialization of medicine proposed by Hillary Clinton, subsequent incremental changes have expanded the role of government, increased regulation of medical practice, and further constrained the terms of medical insurance, thereby raising its cost and increasing the fraction of individuals who choose or are forced to go without insurance.

There is one exception, which, though minor in current scope, is pregnant of future possibilities. The Kassebaum-Kennedy bill, passed in 1996 after lengthy and acrimonious debate, included a narrowly limited four-year pilot program authorizing medical savings accounts. A medical savings account enables individuals to deposit tax-free funds in an account usable only for medical expense, provided they have a high-deductible insurance policy that limits the maximum out-of-pocket expense. As noted earlier, it eliminates third-party payment except for major medical expenses and is thus a movement very much in the right direction. By extending tax exemption to all medical expenses whether paid by the employer or not, it eliminates the present bias in favor of employer-provided medical care. That too is a move in the right direction. However, the extension of tax exemption increases the bias in favor of medical care compared to other household expenditures. This effect would tend to increase the implicit government subsidy for medical care, which would be a step in the wrong direction.10 But, on balance, given how large a fraction of current medical expenditures are exempt, it seems likely that the net effect of widely available and flexible medical savings accounts would be very much in the right direction.

However, the current pilot program is neither widely available nor flexible. The act limits the number of medical savings accounts to no more than 750,000 policies, available only to the self-employed who are uninsured and employees at firms with 50 or fewer employees. Moreover, the act specifies the precise terms of the medical savings account and the associated insurance. Finally, at the end of four years (the year 2000) Congress will have to vote to continue or change the program. (Those who signed up in the first four years would be entitled to continue their accounts even if Congress terminates the program.) A number of representatives and senators have indicated their intention to introduce bills to extend and widen the availability of medical savings accounts.

Prior to this pilot project, a number of large companies (e.g., Quaker Oats, Forbes, Golden Rule Insurance Co.) had offered their employees the choice of a medical savings account instead of the usual low-deductible employer-provided insurance policy. In each case, the employer purchased a high-deductible major medical insurance policy for the employee and deposited a stated sum, generally about half of the deductible, in a medical savings account for the employee. That sum could be used by the employee for medical care. Any part not used during the year was the property of the employee and had to be included in taxable income. Despite this loss of tax exemption, this alternative has generally been very popular with both employers and employees. It has reduced costs for the employer and empowered the employee, eliminating much third-party payment.

Medical savings accounts offer one way to resolve the growing financial and administrative problems of Medicare and Medicaid. Each current participant could be given the alternative of continuing with present arrangements or receiving a high-deductible major medical insurance policy and a specified deposit in a medical savings account. New entrants would be required to accept the alternative. Many details would have to be worked out: the size of the deductible and the deposit in the medical savings account, the size of any co-payment, and whether additional medical spending would be tax-exempt. Yet it seems clear from private experience that a program along these lines would be less expensive and bureaucratic than the current system, and more satisfactory to the participants. In effect, it would be a way to voucherize Medicare and Medicaid. It would enable participants to spend their own money on themselves for routine medical care and medical problems, rather than having to go through HMOs and insurance companies, while at the same time providing protection against medical catastrophes.

An interesting and instructive experiment with medical savings accounts has recently taken place in South Africa, as explained by Shaun Matisonn of the National Center for Policy Analysis:

For most of the last decade [the nineties] – under the leadership of Nelson Mandela – South Africa enjoyed what was probably the freest market for health insurance anywhere in the world…. South Africa’s insurance regulations were and are sufficiently flexible to allow the type of innovation and experimentation that American law stifles…. The result has been remarkable…. In just five years, MSA plans captured half the market, proving that they are popular and meet consumer needs as well as or better than rival products. South Africa’s experience with MSAs shows that MSA holders save money, spending less on discretionary items in a way that does not increase the cost of inpatient care. Contrary to allegations by some critics, the South African experience also shows that MSAs attract individuals of all different ages and different degrees of health.

A more radical reform would, first, end both Medicare and Medicaid, at least for new entrants, and replace them by providing every family in the United States with catastrophic insurance – i.e., a major medical policy with a high deductible. Second, it would end tax exemption of employer-provided medical care. And third, it would remove the restrictive regulations that are now imposed on medical insurance – hard to justify with universal catastrophic insurance.

This reform would solve the problem of the currently medically uninsured, eliminate most of the bureaucratic structure, free medical practitioners from an increasingly heavy burden of paperwork and regulation, and lead many employers and employees to convert employer-provided medical care into a higher cash wage. The taxpayer would save money because total government costs would plummet. The family would be relieved of one of its major concerns – the possibility of being impoverished by a major medical catastrophe – and most could readily finance the remaining medical costs. Families would once again have an incentive to monitor the providers of medical care and to establish the kind of personal relations with them that were once customary. The demonstrated efficiency of private enterprise would have a chance to improve the quality and lower the cost of medical care. The first question asked of a patient entering a hospital might once again become “What’s wrong?” and not “What’s your insurance?”

While so radical a reform is almost surely not politically feasible at the moment, it may become so as dissatisfaction with the current arrangements continue to grow. And again, it gives a standard – if less than an ideal one – against which to judge incremental changes.


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Notes

1 Females only are included to remove one source of irrelevant difference among countries. In general, females tend to have a longer expected length of life than males, and countries differ in the ratio of males to females. The correlation of expected length of life with per capita spending on medical care in dollars is almost the same as with percent of GDP spent on medical care.

2 The correlation is partly spurious because percent spent tends to be positively correlated with real GDP, and real GDP is positively correlated with length of life for given percent spent. However, the partial correlation of percent spent with length of life is statistically significant and higher than the partial correlation of real GDP with length of life.

3 In an extensive study, the Rand Corporation compared the effect of different health-insurance plans, varying from one with no deductible and no co-payment – that is, free medical care – to one with 95 percent co-payment, very close to complete private responsibility. In his summary of the results, Joseph Newhouse concluded that, “had there been no MDE [maximum deductible expense], demand on the 95 percent coinsurance plan would have been a little over half as large as on the free care plan,” and an accompanying table gives 55 percent as the actual fraction.

The 1997 value of the extrapolated trend from 1919-1940 is 48 percent of on a completely independent set of data. See Joseph P. Newhouse, Free for All? Lessons from Rand Health Insurance Experiment (Harvard University Press, 1993), p. 458.

4 Had this been the total expenditure in 1996, the United States would have ranked twenty-first, rather than first, among the 29 OECD countries in fraction of income spent on medical care.

5 The figure of 14 percent referred to earlier was from OECD data; it referred to 1996 rather than 1997 and to percent of gross domestic product, not national income.

6 I have used data for the population as a whole, although data are also available by sex and race. There are minor differences between the sexes and between the races, but the broad picture is essentially the same for all, so I have not thought it worthwhile to present more detailed data, as I did in Input and Output in Medical Care (Stanford: Hoover Institution Press, 1992).

7 I am indebted to James Fries, a leading expert on aging, for calling this phenomenon to my attention. The data cited are from Metropolitan Life Insurance Statistical Bulletin, Oct.-Dec., 1998.

8 See Cynthia Ramsay and Michael Walker, Critical Issues Bulletin: Waiting Your Turn, 7th edition (Vancouver, B.C., Canada: Fraser Institute, 1997).

9 W. Allen Wallis, An Overgoverned Society (Free Press, 1976), p. 256.

10 Whether medical savings accounts increase or decrease the government subsidy to medical care, including the hidden tax subsidy of tax exemption, depends on whether they raise or lower total medical expenditures exempted from tax. First-party payment works toward reducing such expenditures by giving consumers an incentive to economize and by reducing administrative costs. The availability of tax exemption to a wider class of medical expenses has the opposite effect. Such experience as we have with medical savings accounts or their equivalent suggests that the first effect is highly significant and is likely to overwhelm the second. However, this issue deserves more systematic investigation.

Milton Friedman is a senior research fellow at the Hoover Institution and author (with Rose D. Friedman) of Two Lucky People (University of Chicago Press, 1998). He received the Nobel Prize for Economic Science in 1976.

Milton Friedman – Health Care Reform (1992) pt 3/4

Milton Friedman – Health Care Reform (1992) pt 4/4

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 98 THE BEATLES (Breaking down the song “Penny Lane”Part A) Featured artist is Marty Balin

Francis Schaeffer noted concerning 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 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. 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)

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Lucy in the sky with diamonds is pretty obvious. what are the others?
1 Answer

Jon Pennington

Jon Pennington, I love music, any kind of music…

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Psychedelia is in the ear of the beholder, but telltale signs of psychedelic rock usually include unusual sounds and timbres (e.g., sitars, fuzz tone, mellotron, electronically distorted sounds), upwardly moving melodies that give the sensation of “flight,” oscillating or lurching rhythms, slowed-down rhythms, speeded-up rhythms, abrupt changes in rhythm to signify disorientation, use of musical modes that sound “Oriental” or “Indian,” lyrical references to bright colors, and an inward lyrical focus on the singer’s interior life.  Psychedelic influences start to creep into the Beatles’ work in 1965, but they haven’t necessarily produced any full-fledged psychedelic songs by then.

The songs from 1965 most likely believed to have some psychedelic influence, but probably can’t be classified as fully psychedelic, include:

  • Help! (recorded April 13, 1965; one theory has it that it was inspired by the soul searching that John Lennon did after his coffee was dosed with LSD by George’s dentist in March 1965; not too psychedelic, but supposedly written as a Roy Orbison-style ballad that later became more uptempo)
  • Norwegian Wood (recorded October 12, 21, 1965; except for George’s sitar, it was more inspired by American folk rock than psychedelic drugs per se)
  • Day Tripper (recorded October 16, 1965; uses “trip” as a drug double entendre, but otherwise more influenced by R&B than psychedelia)

The Beatles’ purest psychedelic period doesn’t begin until the band takes three months off after finishing Rubber Soul:

  • Tomorrow Never Knows (recorded April 6-7, 1966; includes Indian tamboura, a melody similar to an Indian raga drone that barely moves out of the key of C, lyrics borrowed from Timothy Leary, swirly vocals modified using a Leslie speaker cabinet, tape loops with unusual sounds at random intervals, drumming from Ringo that sounds like a tape loop but isn’t)
  • Love You To (recorded April 11, 1966; George’s first song written in Indian raga style)
  • Rain (recorded April 14, 16, 1966; included multiple overdubs recorded at slow speed and high speed to fatten up the sound and make the tempo slightly more draggy, includes drone-like textures)
  • I’m Only Sleeping (recorded April 27-May 6, 1966; inspired by how John’s LSD use encouraged his desire to be lazy, use of dreamlike imagery, backward guitar sounds)
  • I Want to Tell You (recorded June 2-3, 1966; lurching and oscillating harmonies, lyrics focusing on internal confusion, sounds of a piano that sounds out of tune)
  • She Said She Said (recorded June 21, 1966; “fattened” vocals similar to “Rain,” lyrics inspired by an encounter John Lennon had with Peter Fonda while taking an LSD trip, tapes of Ringo’s drums may have been manipulated to sound choppier)
  • Strawberry Fields Forever (recorded November 24 thru December 22, 1966; mellotron, George playing an Indian instrument called a svarmandal, two melodies in different keys combined into one song by playing them at slightly different speeds, introspective lyrics focused on self-doubt, insistence that “nothing is real”)
  • Penny Lane (recorded December 29, 1966 thru January 17, 1967; may have been Paul’s first song reacting to LSD, lyrics mention poppies on a tray, use of harmonium and piccolo trumpet, focus on returning to childhood experience)
  • Carnival of Light (recorded January 5, 1967; avant-garde free form piece still not yet released, possibly could be viewed as Paul’s version of Revolution #9)
  • A Day in the Life (recorded January 19, 1967 thru February 22, 1967; disorienting time-shifts between verses written by John and Paul, symphony orchestra crescendos chaotically until ended in a long, droning chord)
  • Only A Northern Song (recorded February 13-20, 1967; ethereal organ, musical instruments speeded up, in-studio chatter)
  • Being for the Benefit of Mr. Kite (recorded February 17, 1967; features tape manipulation and swirly organ sounds to approximate the sound of being in the middle of a circus)
  • Lucy in the Sky with Diamonds (recorded February 28, 1967 thru March 2, 1967; lyrics feature considerable color imagery, atmposhere shifts from slow and dreamy tempo on the verses to more uptempo on the chorus, ethereal vocals)
  • Within You Without You (recorded March 15, 1967 thru April 4, 1967; inspired by both Indian music and philosophy, song rarely moves out of the key of C)
  • Magical Mystery Tour (recorded April 25, 1967 thru May 3, 1967; partially inspired by the LSD-soaked tours of Ken Kesey and his “magic bus” in the mid-1960s, uses “trip” as a double entendre)
  • Baby, You’re A Rich Man (recorded May 11, 1967; not very psychedelic lyrically, but the clavioline keyboard gives the songs a very unusual texture)
  • It’s All Too Much (recorded May 25, 1967-June 2, 1967; distorted guitar, Hammond organ with lots of sustained drones, main melody rarely moves out of key of G)
  • I Am the Walrus (recorded September 5 thru September 29, 1967; surrealistic lyrics, disorienting tempo changes between verses, nonsense chants, random radio noise from a BBC broadcast of King Lear)
  • Blue Jay Way (recorded September 6 thru October 6, 1967; lyrics inspired by the disorientation of being lost in L.A., includes phasing and backward tapes, oscillates between C major and C diminished)
  • The Inner Light (recorded January 12 thru February 8, 1968; Indian influence on melody, lyrics focus on how you can “travel” without leaving your house)
  • Across the Universe (recorded February 4-8, 1968; the original version before it was modified by Phil Spector features floating Lennon vocals with droning noises and unusual wildlife sounds, a child’s voice matching John’s voice also appears in the mix)

Listing the recording dates is instructive here, because some of these songs   would not get released until the Yellow Submarine LP (It’s Only A Northern Song, It’s All Too Much) or the Let It Be LP (Across the Universe in its Phil Spector version), but were definitely made during the period when psychedelic drugs had the biggest effect on the Beatles creative output.  After February 1968, the Beatles went to Rishikesh to commune with the Maharishi, where they were told not to bring any drugs along, because Trascendental Meditation was a more natural high.  Although the Beatles probably did take some marijuana along to Rishikesh, their use of strong hallucinogens ended at that point, except for John, who used LSD a few more times after Rishikesh.

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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I just wanted to point out what an impact that the short 119 page book ESCAPE FROM REASON has had. Below is a story of Paul McGuire who had never been exposed to Christianity until he read that book and it changed his whole worldview.

SEARCHING FOR TRUTH IN THE NEW AGE

By Paul McGuire
My spiritual pilgrimage began at a very young age when the questions, “Who am I? What is my purpose in life?” and “What am I doing here?” haunted me and burned in my mind night and day. While other children were content to play, I was driven to ask questions about the meaning of life. Raised in New York City, I came from a liberal, educated family. Both my parents were teachers, and neither believed in God.

As a young boy, I thought science could give me the answers to my questions about life. Reading every book I could get my hands on about science and the lives of the great scientists, I often devoured ten books a week. I read about men like Albert Einstein, Nicola Tesla, Thomas Edison, Enrico Fermi, Louis Pasteur, and John Oppenheimer. Building a huge laboratory in my bedroom, I undertook amateur experiments on cryogenics and nuclear physics. Soon, however, I realized that these brilliant men did not have the answers I was looking for. Thus, at an early age I discovered the bankruptcy of scientific materialism.

After exhausting science as a means of finding the meaning of life, I next investigated the occult and Eastern religions. Biblical Christianity was not even an option for me. I had never once met a Bible-believing Christian or seen an evangelist on television, and the churches in my neighborhood were steeped in liberal theology or dead orthodoxy.

The only religion we had at home was secular humanism – the belief that there is no God and man is the center of the universe. As a result, I was raised to believe that there was no absolute right or wrong. Around the dinner table, my parents taught me that human evil was due to ignorance and that the concept of a personal God was an archaic belief any educated person should transcend. In addition, they told me that Christians were intellectually pathetic people who were “anti-love,” “anti-joy,” and “anti-sex.” Instead of promoting anything good, Christians were responsible for the crusades and the Inquisition.

One Thanksgiving evening my grandmother asked my father to pray. Instead, he launched into a thunderous tirade about how there was no reason to thank God – everything we had came from man’s hard work.

In the atheistic environment of my home, the spiritual void within me grew deeper, and I plunged headlong into the New Age philosophy and radical politics. Soon after I reached puberty, my parents divorced, ripping my world apart. My spiritual pilgrimage merged with a growing hatred of all authority and society. I was ripe to be seduced by the counterculture and the psychedelic philosophy of the ’60s which has now become the New Age Movement.

Although my mother held a secular humanist worldview, she was always full of loving concern and discipline. She spent thousands of hours reading me books and taking me to museums and libraries. Genuinely concerned about her rebellious son, my mother sent me to a psychotherapist whom she hoped would solve my problems.

I told my therapist that I wanted to know why I was alive, who I was, and what purpose there was for my life. He could not help me and only provided a listening board. In the vain hope of finding answers, I began reading Sigmund Freud, Carl Rogers, and Carl Jung. But all the leading psychological theorists seemed to contradict each other, and I was left more confused than ever.

Then the “hippie” movement with its drugs and “free love” exploded across the nation. I remember the first time I saw Timothy Leary. Wearing a white outfit and grinning like the “Cheshire Cat” from Alice In Wonderland, he said on national television “Tune in, turn on, and drop out.” This psychedelic prophet of LSDwas in distinct contrast to the people involved in organized religion. Then the Beatles recorded “Sgt. Pepper’s Lonely Hearts Club Band,” and the psychedelic invasion of drugs, Eastern religion, and promiscuous sex spread.

At the age of fifteen, I was wearing long hair and boots and demonstrating with Abbie Hoffman in New York City. I organized demonstrations and was even made an honorary member of the Black Panther Party for protesting outside a prison against the arrest of Panther leaders.

Simultaneously, I deepened my activities in Eastern mysticism and was introduced to drugs by an “honor student” in my high school. I read a book by Aldous Huxley titled Heaven and Hell and the Doors of Perception, which describes Huxley’s experimentation with hashish and mescaline as a means to enter a higher state of consciousness. This fellow student, whose father was a doctor, “turned me on” to hashish and mescaline as part of a serious scientific experiment. Together, we passed through the “doors of perception” and entered a higher realm of consciousness.

Fueled by drugs like LSD and mescaline, it was the psychedelic ’60s that ushered in the current New Age Movement. Powerful mind altering drugs like LSD blasted people into the spiritual realm and forced them to acknowledge the presence of a spiritual reality. This opened the door to the occult and the myriad practices of Eastern mysticism that gave birth to the New Age Movement.

In my own life, the use of powerful psychedelic drugs like LSD intensified my plunge into the New Age philosophy and Eastern Mysticism. Thus began an electric pilgrimage into Hinduism, Buddhism, the teachings of Don Juan, yoga, mental telepathy, altered states of consciousness, hypnotherapy, astral projection, reincarnation, the occult, devil’s weed, spirit guides, and a smorgasbord of mystical experiences. I was greatly influenced by men like Baba Ram Dass, Ken Kesey, Timothy Leary, and Stephen Gaskin.

In fact, my major at the University of Missouri was called “Altered States of Consciousness,” a brand-new accredited field within the Department of Psychology. We studied different means of entering higher states of consciousness and engaged in exercises based on Eastern mystical teaching and experiences by men like Carlos Castaneda. It was during this time of intense New Age activity that I developed spiritual powers and “cosmic consciousness.”

My professor at the University of Missouri was a practicing mystic and taught a number of courses on mental illness. He believed, as did popular psychologists like R.D. Laing, that mental illness or madness could be a means of entering higher consciousness. In this theory, insane people are considered spiritual pilgrims caught between two realities.

My professor invited gurus to teach and perform supernatural feats of levitation. Once while my professor was lecturing, I heard a distinct voice within me shout, “Surrender to the dark forces within!” At this point in my life I noticed a growing intensity in the manifestation of strong paranormal experiences. Yet at the same time, I had a growing feeling that things were getting out of control. The more bizarre things became, however, the more I believed I was moving toward “enlightenment.” I became convinced that everything happening was due to my excess “karma” burning off.

As is often the case with people involved in drugs and the occult, I experienced mixed feelings of great elation and depression. I became a kind of mystical “wildman,” hiking into the woods while on psychedelic drugs and communing with what I thought was God. But I was like a comet crashing into the atmosphere, burning more brightly as I moved through the heavens and consuming myself in flames. One evening I broke into my psychology professor’s office and wrote him an anonymous note warning him of the dangers of “the journey.”

Invasion Of The Jesus Movement

In the early ’70s, a strange thing happen at the University of Missouri: The Jesus Movement spread from the West Coast and entered the campus town of Columbia, Missouri. I remember seeing an article on the Jesus Movement in a national magazine. Reading about these Christians, who I thought were going to regress mankind into a new Dark Age with their “primitive blood-stained religion,” made me furious. I hated them because I thought they would stop the “revolution” and the establishment of the new world order based on higher consciousness.

People involved in the New Age Movement hold the very same beliefs, for their goal is to create a one-world government and unify the planet under a spiritual system of higher consciousness. Like many New Agers, I viewed Christians with all their talk of Jesus Christ being the “only way” as an anachronism and a threat to the spiritual/political revolution coming to the planet.

About this time, however, I finally came face to face with genuine Christians who moved in the supernatural flow of the Holy Spirit and had the glory of God shining on their countenances. I encountered Spirit-filled Christians everywhere and thought it was my duty to defend the faith of Eastern mysticism and the religion of “higher consciousness.” Attacking and debating believers in philosophy classes whenever they spoke out about their faith, I delighted in trying to humiliate them and prove them wrong through intellectual arguments.

In addition, I increased my “outrageous” behavior in front of Christians in an attempt to mock and ridicule them. Since I studied film, I made X-rated animation movies with Barbie dolls in an attempt to sneer at Judeo-Christian morality.

Despite my bitter hatred, a couple of true Christians began to zero in on me and share the love of Jesus Christ. Beneath all my bravado was a hurting, frightened individual reaching out for answers. At first, my mind completely rejected everything they were saying. But they continued to love me with a pure, deep, spiritual agape love. Even though I thought what they were saying was complete idiocy, I felt myself being wooed and convicted by the Holy Spirit as they talked.

For the first time in my life, I sensed God’s love for me. All my intellectual arguments were reduced to nothing as I encountered something far more real than anything I had experienced before. This was not some “trip” or mystical high. The purity and love that I felt had to be God.

Empowered by the Holy Spirit, these supernatural Christians opened up their lives to me. They cared about me as a person and loved me. They invited me to their prayer meetings and had me over for dinner. Through their personal ministry to me, I felt the arms of the living God embrace me and hug me like my father never had. As the Lord touched me deep within my heart, the hurt and bruised child locked inside me emerged and responded to His love.

Although I wasn’t yet ready to surrender, the Holy Spirit continued to work in my life. I had all kinds of intellectual questions, so my Christian friends gave me a book by Dr. Francis Schaeffer called ESCAPE FROM REASON. It changed my life. I was shocked to discover that a person could be both intelligent and a Christian. Talking about God, film, art, and philosophy in brilliant and articulate terms, Dr. Schaeffer explained contemporary culture in a way I had never understood.

Still I fought with the Holy Spirit, and the forces of darkness did not want to let me go. As these Christians prayed for me, the Holy Spirit continued to convict me. Sometimes I found myself walking alone by the highway, and, even though I was “stoned,” I would begin sobbing and weeping as Almighty God touched me.

The Hand Of Providence

One afternoon a guy named Tim invited me to a retreat in a wooded area about an hour away from the campus. I had mysteriously met Tim in the hallway of a dormitory, where he sat reading the Bible that he carried with him everywhere. He was in the hallway to meet someone else, but providentially he met me and invited me to this Christian retreat. Tim’s eyes shone with sincerity and the love of God, so I accepted his invitation.

Dressed in boots, blue jeans, and long hair, I arrived at the retreat center. A brief look at the place quickly convinced me that these people didn’t have what I was looking for. They were the kind of Christians I had seen before – religious but lacking the depth and dimension of people who have had a personal encounter with Jesus Christ.

While at the retreat center, I noted vague references to the Bible, but primarily we played games like “spin the bottle.” I was totally disgusted, for these people reinforced my worst preconceptions about Christianity. After spending the night I told Tim during breakfast that I was going to hitchhike back to the university. Tim walked me to the highway and said, “Paul, God will take care of your ride home.” Wondering if he was some kind of religious nut but hoping to humor him, I said, “Yeah, yeah sure.” Then I stuck out my thumb and tried to hitch a ride.

The first person to pick me up was a Pentecostal preacher. He and his wife talked to me about Jesus the entire ride. Stunned, I chalked it up as coincidence; after all, this was the Bible Belt. After they let me out, I stuck out my thumb and was picked up by a Bible salesman with a station wagon filled with Bibles! As we whizzed down the highway, he opened a giant Bible and began reading. With no hands on the wheel, he asked me if I wanted to receive Jesus into my life. I managed to gulp a “yes,” and he pulled off the road.

As we rolled to a stop, the thought raced through my mind, “What have I got myself into? Is this guy some kind of religious psychopath or axe murderer?” Growing up in New York City had taught me to suspect everybody’s motives and not to trust strangers.

The next thing I knew this Bible salesman was leading me in a prayer. With head bowed and hands clasped, I heard myself saying, “Jesus Christ, I ask you to forgive me of my sins. I invite you to come into my life and make me born again. In Jesus’ name. Amen.” I couldn’t believe I had said this prayer. I wasn’t even sure what sin was, although it seemed to me like an archaic concept. But I prayed in faith and meant it.

Hours later, I forgot the incident had even occurred and “partied” the night away with friends. The next day I woke up hung over and decided to visit a Christian girl named Laura. She and her boyfriend, Burgess, had spent a lot of time ministering and witnessing to me about Jesus.

As Laura and I talked, we were walking next to some giant Roman columns in the university quadrangle. I told her about my highway experience, and another girl sitting on the lawn overheard our conversation. It turned out that she was a minister’s daughter wrestling with the question of whether or not Christianity was really true. Looking at me pointblank, she said, “Do you believe that Jesus Christ was the Son of God?”

All of a sudden the words, “Yes, I believe that Jesus Christ is the Son of God!” leapt from deep within me. I was shocked. I had never said anything like that before. As I spoke, I had the most powerful spiritual experience of my life. It seemed that the sky had cracked open, and the presence of God overwhelmed me. A giant veil was lifted from my eyes as I realized God truly did exist.

I understand that I risk losing credibility by relating this experience exactly as it happened. True miracles can be cheapened by relating them in either a glib or a sensational manner. Many Christians carelessly utter the word “miracle” with such arrogance that it loses all its value. In addition, I understand that many people have had quiet but profound experiences with Jesus Christ that have just as much validity as mine.

But for me to minimize or reduce what happened to more logical terms just to make it more plausible would be inaccurate. I felt as if every dream I had ever had within the depths of my soul came true in an instant. Literally caught up in the Holy Spirit, I felt I was floating for weeks. Although I was higher than I had ever been in my entire life, I knew that the experience was genuine and pure.

Everything I had searched for in Eastern mysticism, human relationships, and the New Age Movement, I now found in Jesus Christ. This was not just another higher state of consciousness, an “upper story leap” without rational content, or a mystical trip. Nothing about this was artificial or mystical.

One could easily misconstrue my involvement in the New Age Movement and my encounter with Jesus Christ as the path of someone hopping from experience to experience lacking rational and verifiable content. Let me assure you that when I began my spiritual journey I did so as a scientist and a skeptic.

The contrast between mystical experiences and my encounter with Jesus Christ was as different as night and day. All of the New Age and Eastern mystical experiences I was involved in had an illusory quality no matter how real they seemed at the time. Jesus Christ was not just another “experience.” My newfound relationship with Him conveyed a reality so strong that I knew I had found God.

PAUL’S PERSONAL TESTIMONY ABOUT HOW HE ESCAPED THE NEW AGE MOVEMENT AND HOW JESUS CHRIST RESCUED HIM FROM DECEPTION?

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

Marty Balin. art-50339-Grace-mirror-c

MARTY BALIN – MUSIC OF MY LIFE – A Journey Into His Art & Music

MARTY BALIN – JEFFERSON AIRPLANE TAKES OFF

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MARTY BALIN – JEFFERSON AIRPLANE TAKES OFF – Part2

MARTY BALIN – JEFFERSON AIRPLANE SURREALISTIC PILLOW SONGS

Marty Balin – Hearts

Marty Balin / Jefferson Airplane by mstrychowska Marty Balin / Jefferson Airplane by mstrychowska

Featured artist is Marty Balin

MARTY BALIN – I SPECIALIZE IN LOVE – THE BEGINNING……*

MARTY BALIN “VOLUNTEERS” with Jorma Kaukonen & Jack Casady

Marty Balin – Rock & Roll with a Splash of Color

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By Ashley Bates
photos SJBuchwald®

It’s not every day that a Rock & Roll Hall of Fame inductee graces downtown St. Augustine, belting out rock hits.
In September, art enthusiasts at the First Friday Art Walk had the chance to see just that when Marty Balin of famed Jefferson Airplane came to town.But when Balin made his appearance at the art walk in September, it was to showcase his art work not his music.

Even though many of us know Balin for his historic rock hits like “Hearts,” “Atlantic Lady” and “Volunteers,” he was a painter long before he began recording hit songs. Actually, Balin got his start painting when he was a child and says painting was his first artistic expression.“I’ve been painting since I was young…selling my artwork in shows. I actually did that before I played music,” said Balin, who has lived in Tampa for the last 20 years.Balin’s full art collection, featuring rock legends many of whom Balin knew personally, can be found at 130 King Fine Art Gallery in downtown St. Augustine.

You wouldn’t be too surprised at what images Balin portrays in his artwork–rock legends from years past including several paintings of the Grateful Dead’s lead singer Jerry Garcia, the queen of rock Janis Joplin, The Door’s Jim Morrison and Elton John, all grace Balin’s canvases. 
Balin said he chooses specific musicians from certain time periods to relive a personal memory. 
“Really it’s a way for me to go back to those memories, like when you see a picture,” said Balin, who has been known to journal while painting to jot down special memories.

 

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When asked what his favorite pieces in his own collection are, Balin explains that the French Le Pétomane pieces are his favorites. 
Le Pétomane was a French entertainer from the Belle Époque era (French for “Beautiful Era”). The famous cabaret, the Moulin Rouge in Paris, also became famous during that time. 
“I just love the idea of the Moulin Rouge, the top hats, the colors,” Balin said. 
The bright, whimsical colors can be seen in his Le Pétomane pieces complete with carousels, elephants and of course the French entertainer Le Pétomane.

The whimsical nature of nature of Balin’s artwork could be attributed to where he was raised as a young boy. Balin was born in Cincinnati but grew up in the San Francisco area, which is where he found his calling to rock music by none other than pop music legend Johnny Mathis. It has been said that Balin was one of the musicians that catapulted San Francisco onto the music scene in the 1960s. Balin formed Jefferson Airplane in the summer of 1965, in San Francisco, as a folk-rock group but the band later came to be known in the psychedelic scene, scoring a gold record with their 1967 second album, “Surrealistic Pillow.” Balin wrote hit songs for the band including “Comin’ Back To Me,” “Plastic Fantastic Lover” and “Share a Little Joke.”

Later, in the early 1970s, Jefferson Starship was formed by several members of the original band Jefferson Airplane.
 Balin and Jefferson Airplane were inducted into the Rock & Roll Hall of Fame in 1996, with the likes of David Bowie, Pink Floyd and Gladys Knight & the Pips, to name a few. “Rock and Roll will never die, good music will always be around,” commented Balin on the evolution of modern rock music.

Balin continues to record his brand of rock ‘n’ roll in the studio and is currently recording an album at the studio in Tampa. “Currently I’m in the studio. (The album) will be Marty Balin music…I haven’t come up with a name for the album just yet.”

Today some of the musicians he says are on his radar are Katy Perry and Madonna. “I guess Katy Perry is pretty good,” he said. “I was watching Madonna’s new tour on TV the other day and she’s still pretty good.”
Even though Balin has enjoyed supreme success in rock ‘n’ roll, he says his greatest accomplishment is “that I’m still here today and alive.”

Jefferson Airplane – Volunteers (Live at Woodstock Music & Art Fair, 1969)

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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? ) 

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

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” ECCLESIASTES AND WOODY ALLEN’S FILMS: SOLOMON “WOULD GOT ALONG WELL WITH WOODY!” (Part 14 MIDNIGHT IN PARIS Part M Ernest Hemingway 2nd part “Is Paris a movable feast and will the feast bring lasting satisfaction?)

Francis Schaeffer rightly noted:

PAPA HEMINGWAY CAN FIND THE CHAMPAGNE OF PARIS SUFFICIENT FOR A TIME, BUT ONCE HE LEFT HIS YOUTH HE NEVER FOUND IT SUFFICIENT AGAIN. HE HAD A LIFETIME SPENT LOOKING BACK TO PARIS AND THAT CHAMPAGNE AND NEVER FINDING IT ENOUGH.

Midnight in Paris OST – 10 – The Charleston

 

In MIDNIGHT IN PARIS Gil becomes good friends with a few of these people, including Ernest Hemingway (Corey Stoll), an interesting representation of the man pictured below.

Midnight in Paris OST – 11 – Ain’t She Sweet

 

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ERNEST HEMINGWAY:She’ll drive you crazy, this woman.-

SCOTT FITZGERALD:She’s exciting,and she has talent.

ERNEST HEMINGWAY:This month it’s writing. Last month it was something else.You’re a writer. You need time to write.Not all this fooling around.She’s wasting you…

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It is true that Zelda Fitzgerald and her husband hosted drunken parties often and Hemingway attended many of them. Later in MIDNIGHT IN PARIS while drunk  Hemingway says to Adriana, “Ma petite Adriana!(There she is, my little Adriana!) Isn’t this little Parisian dream a movable feast?”

Drinking was a large part of Hemingway’s life. Solomon in the Book of Ecclesiastes also takes a long look at liquor and tries to see if it will bring any satisfaction UNDER THE SUN.

In fact, Solomon  filled his home with the best wine (Eccl 2:3).

Concerning the Book of Ecclesiastes Francis Schaeffer noted: 

Solomon was searching for a meaning in the midst of the details of life. His struggle was to find the meaning of life. Not just plans in life. Anybody can find plans in life. A child can fill up his time with plans of building tomorrow’s sand castle when today’s has been washed away. There is  a difference between finding plans in life and purpose in life. Humanism since the Renaissance and onward has never found it and it has never found it. Modern man has not found it and it has always got worse and darker in a very real way.

Ecclesiastes is the only pessimistic book in the Bible and that is because of the place where Solomon limits himself. He limits himself to the question of human life, life UNDER THE SUN between birth and death and the answers this would give.

In Ecclesiastes 1:8 he drives this home when he states, “All things are wearisome; Man is not able to tell it. THE EYE IS NOT SATISFIED WITH SEEING. NOR IS THE EAR FILLED WITH HEARING.”  Solomon is stating here the fact that there is no final satisfaction because you don’t get to the end of the thing.

What do you do and the answer is to get drunk and this was not thought of in the RUBAIYAT OF OMAR KAHAYYAM:

Ecclesiastes 2:1-3

I said to myself, “Come now, I will test you with pleasure. So enjoy yourself.” And behold, it too was futility. I said of laughter, “It is madness,” and of pleasure, “What does it accomplish?” I explored with my mind how to stimulate my body with wine while my mind was guiding me wisely, and how to take hold of folly, until I could see what good there is for the sons of men to do under heaventhe few years of their lives.

The Daughter of the Vine:

You know, my Friends, with what a brave Carouse
I made a Second Marriage in my house;
Divorced old barren Reason from my Bed,
And took the Daughter of the Vine to Spouse.

from the Rubaiyat of Omar Khayyam (Translation by Edward Fitzgerald)

A perfectly good philosophy coming out of Islam, but Solomon is not the first man that thought of it nor the last. In light of what has been presented by Solomon is the solution just to get intoxicated and black the think out? So many people have taken to alcohol and the dope which so often follows in our day. This approach is incomplete, temporary and immature. PAPA HEMINGWAY CAN FIND THE CHAMPAGNE OF PARIS SUFFICIENT FOR A TIME, BUT ONCE HE LEFT HIS YOUTH HE NEVER FOUND IT SUFFICIENT AGAIN. HE HAD A LIFETIME SPENT LOOKING BACK TO PARIS AND THAT CHAMPAGNE AND NEVER FINDING IT ENOUGH.  It is no solution and Solomon says so too.

Midnight in Paris OST – 05 – Let’s Do It (Let’s Fall In Love)

Woody Allen talks ‘Midnight in Paris’

AT THE 27 MIN MARK Woody Allen says:

I have never gotten to the point where I can give an optimistic view of anything. I have these ideas for stories that I hope are entertaining and I am always criticized for being pessimistic or nihilistic. To me this is just a realistic appraisal of life. There are these little Oasis’s these little distractions you get. Last night I was caught up in the Bulls and Heat basketball game on television and for the time being I was thinking about who was going to win. I wasn’t thinking about my mortality or the fact that I am finite and aging. That was not on my mind. Labron James was on my mind and the game. That is the best you can do is get a little  detraction. What I have learned over the years is that there is no other solution to it. There is no satisfying answer. There is no optimistic answer I can give anybody.

The outcome of that basketball game is no less meaningful or no more meaningful than human life if you take the long view of it. You could look at the earth and say who cares about those creatures running around there and just brush it. Ernest Hemingway in one of his stories ( A FAREWELL TO ARMS) is looking at a burning log with ants running on it. This is the kind of thinking that has over powered me over the years and slips into my stories.

I have always been an odd mixture, completely accidentally, I was a nightclub comic joke writer whose two biggest influences were Groucho Marx, who I have always adored and he still makes me laugh  and Igmar Bergman. I have always had a morbid streak in my work and I when I do something that works , it works to my advantage because it gives some substance and depth to the story, but I when I fail the thing could be too grim or too moralizing or not interesting enough. Then someone will say we only like you when you are funny.

Midnight in Paris OST – 06 – You’ve Got That Thing

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FILE – In this May 12, 1959, American novelist Ernest Hemingway, left, speaks with actors Alec Guinness, center, and Noel Coward in Sloppy Joe’s Bar during the making of Sir Carol Reed’s film version of “Our Man in Havana,” based on Graham Greene’s best seller, in Havana, Cuba. Sloppy Joe’s will be reopened in February 2013 by the state-owned tourism company Habaguanex, part of an ambitious revitalization project by the Havana City Historian’s Office, which since the 1990’s has transformed block after block of crumbling ruins into rehabilitated buildings along vibrant cobblestone streets, giving residents and tourists from all over the chance to belly up to the same bar that served thirsty celebrities like Rock Hudson, Babe Ruth and Ernest Hemingway. (AP Photo, File)

Robert Capa [Ernest Hemingway and his son Gregory, Sun Valley, Idaho], October 1941. © Robert Capa/International Center of Photography/Magnum Photos.

An Interview with Ernest Hemingway’s Son, Patrick Hemingway (Part II)

If it weren’t for the fact that Ernest Hemingway has been a cultural icon since the 1920s, one could say that he has had something of a resurgence in popularity during the past couple of years. From Woody Allen’s caricature in “Midnight in Paris” to the more developed portrayal in HBO’s “Hemingway & Gellhorn,” he remains a pop-culture icon. Ernest Hemingway is, of course, one of the more famous authors in American history. But he was more than a writer — he was a character of his own creation. He portrayed himself and his world in the most vivid ways. Both his writing and his life remain powerful in our culture’s imagination.

Born in Oak Park, Ill., in 1899, Hemingway began his writing career in 1917 as a reporter for the The Kansas City Star and continued as a European correspondent for the Toronto Star. Within a decade, he had earned an international reputation as a writer. His journalistic pieces were well-known, and he even wrote some poetry on occasion, but it was for literature that Hemingway became famous.

Hemingway’s specialties were short stories and stark, punchy novels. His first successful collection of short stories was “In Our Time” (1925), and his first novel, “The Sun Also Rises” (1926), was widely regarded as a literary masterpiece immediately after publication. From that time until his suicide in Idaho in 1961, Hemingway wrote 10 novels and dozens of short stories, toured the globe, reported on wars, met world leaders, won the Pulitzer for “The Old Man and the Sea” (1952), and was awarded the Nobel Prize for Literature (1954). All his major works remain in print — in fact, annual sales of his works have increased steadily since his death and now top 1 million books per year.

In terms of style, Hemingway is considered to be one of the more influential English-language writers of all time. The official biography used by his publisher, Scribner & Sons, describes him as having done “more to change the style of English prose than any other writer in the twentieth century … [He] wrote in short, declarative sentences and was known for his tough, terse prose.” Hemingway described his own writing using the metaphor of an iceberg: The words on the page are only part of the story. The rest, “the underwater part of the iceberg,” is always just beneath the surface, giving life and depth to what is written. Numerous other authors, including Jack Kerouac, J.D. Salinger, and Hunter S. Thompson, have credited Hemingway as an influence.

For Christians, perhaps the most interesting thing about Hemingway’s writings is how they so vividly portray his worldview, which can be summed up in two words: truth and tragedy. Everything he wrote reflects those two ideas in some way.

Writing as an Exercise in Truth

Hemingway described all writing — fiction or nonfiction, it makes no difference — as a struggle to describe people, places, experiences, and ideas as truly as they could possibly be expressed.

“Good writing is true writing. If a man is making a story up it will be true in proportion to the amount of knowledge of life that he has and how conscientious he is; so that when he makes something up it is as it would truly be” (“By-Line: Ernest Hemingway,” p. 215).

“Sometimes when I was starting a new story and I could not get it going, I would sit in front of the fire and squeeze the peel of the little oranges into the edge of the flame and watch the sputter of blue that they made. I would stand and look out over the roofs of Paris and think, ‘Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know.’ So finally I would write one true sentence, and then go on from there. It was easy then because there was always one true sentence that I knew or had seen or heard someone say. If I started to write elaborately, or like someone introducing or presenting something, I found that I could cut that scrollwork or ornament out and throw it away and start with the first true simple declarative sentence I had written” (“A Moveable Feast,” p. 12).

“All good books are alike in that they are truer than if they had really happened and after you are finished reading one you will feel that all that happened to you and afterwards it all belongs to you; the good and the bad, the ecstasy, the remorse and sorrow, the people and the places and how the weather was” (“By-Line: Ernest Hemingway,” p. 184).

“The hardest thing in the world to do is to write straight honest prose on human beings. First you have to know the subject; then you have to know how to write. Both take a lifetime to learn” (“By-Line: Ernest Hemingway,” p. 183).

Hemingway demanded this kind of truthfulness not just in writing, but in all of life. His combination of an unusual perceptiveness and exceptional writing skill enables his readers to see the world as he saw it. Many of his written works — which range in subject matter from war in Europe to bullfighting in Spain, skiing in Switzerland, the people of Paris and Key West, hunting in Africa, and fishing in Michigan and the Gulf Stream — consequently resonate as genuine and honest. They may not always be honorable or lovely, but they ring true because Hemingway is able to capture in words the world as he saw it.

Hemingway’s most memorable characters are often based on real people; they reveal how he perceived the people he met. Some are deep and dynamic, like Frederic Henry in “A Farewell to Arms” or Nick Adams, the hero of numerous short stories. Others are shallow caricatures meant to mock the people they represent, like the Bimini brawler in “Islands in the Stream” (1970) or the laughing lady in “To Have and Have Not” (1937). His descriptions of children can be particularly moving, as in the short story “A Day’s Wait.”

One of Hemingway’s editors, Maxwell Perkins, said of him, “If the function of a writer is to reveal reality, no one ever so completely performed it.” Unfortunately, Hemingway’s insistence on telling the truth does not provide his reader with many happy endings. As Hemingway saw it, life is ultimately always tragic.

Life as an Exercise in Tragedy

In his short story “Big Two-Hearted River,” Hemingway refers to swamp fishing as a “tragic adventure.” Sadly, the phrase also aptly describes the majority of Hemingway’s life. He certainly understood his profession to be tragic:

“Dostoevsky was made by being sent to Siberia. Writers are forged in injustice as a sword is forged” (“Green Hills of Africa,” p. 71).

“Madame, all stories, if continued far enough, end in death, and he is no true-story teller who would keep that from you” (“Death in the Afternoon,” p. 122).

Hemingway’s tragic adventure was not confined to his writing. His favorite pastimes also inevitably ended in tragedy: In hunting and fishing, either the animal dies or the hunter or fisherman experiences the tragedy of failure and loss. In bullfighting, either the bull is killed or the torero is gored.

Hemingway seemed bent on extending his tragic adventures into his personal life as well. He was married four times, with numerous other women along the way. According to one story, his last wife, Mary, threatened to kill one of Ernest’s lady friends if she caught them together. His relationships with his three sons were typically strained, past the point of reconciliation in at least one case.

Thus death and loss were ways of life for Hemingway, and he lived out his tragic adventure to the end. After several years of depression and mental deterioration caused by his lifestyle and genetics, Ernest Hemingway shot himself in the head with his favorite shotgun in his Ketchum, Idaho, home on the morning of July 2, 1961.

What does Ernest Hemingway have to do with the gospel?

The ideas of truth and tragedy encapsulate Hemingway’s life, writings, and worldview — or perhaps truth as tragedy is a better way of putting it, for Hemingway saw tragedy as the message that he was truthfully telling. And concerning the tragedy of this life, Hemingway was right. This world is utterly and completely fallen; that fallenness spares no one and extends itself to every area of our lives.

The saddest thing about Hemingway — the shortfall of his worldview — is that he understood the truth of tragedy so deeply but failed to understand the redemption that comes in Jesus. Without the hope that comes from that redemption, it is no surprise that he sought relief in such things as drink, dalliance, sport, and suicide but found no lasting satisfaction in them. The real surprise is that he was so driven to communicate the truth of tragedy to others, diligently writing starting at dawn each day. By his writing he became an apostle of a grim gospel.

Sadder still is the fact that Hemingway’s worldview is shared by so many in our world. Even those who talk themselves into optimism or distract themselves by one means or another are only temporarily avoiding the reality that a world without Jesus is just as Hemingway describes it:

“What did he fear? It was not fear or dread. It was a nothing that he knew too well. It was all a nothing and a man was nothing too. … [H]e knew it all was nada y pues nada y nada y pues nada. Our nada who art in nada, nada be thy name thy kingdom nada thy will be nada in nada as it is in nada. Give us this nada our daily nada and nada us our nada as we nada our nadas and nada us not into nada but deliver us from nada; pues nada. Hail nothing full of nothing, nothing is with thee. …

“Now, without thinking further, he would go home to his room. He would lie in the bed and finally, with daylight, he would go to sleep. After all, he said to himself, it is probably only insomnia. Many must have it.” (“A Clean, Well-Lighted Place,” written by Hemingway in 1926 at age 27. “The Complete Short Stories of Ernest Hemingway: The Finca Vigia Edition,” p. 288.)

The first reason Christians should know about Ernest Hemingway is because they regularly meet people who share his worldview, whose hearts and lives reflect the hopelessness that he wrote about. Hemingway’s writing gives us a better understanding of exactly how such people see the world. Christians will find some of his work to be offensive, but it should not surprise anyone when the lost act lost. We need to temper our offense and respond with compassion and love, for our world can learn only from us that “everyone who believes in him will not be put to shame” and that “everyone who calls on the name of the Lord will be saved.” Every time we are confronted with a worldview like Hemingway’s, it is an opportunity to respond with the world-transforming power of the true gospel.

A second reason why Christians should read Ernest Hemingway is to learn how to write better. Above all other people, Christians know the power of words. Every Christian has experienced the power of God’s Word to change lives, and that same Word commands every Christian to be ready to articulate his faith. Learning to speak and write as well as possible is part of taking that command seriously. Few authors in history have been such a keen observer of people, such a vivid and moving reporter of life, and such a master of words as Hemingway, and he had much to say about developing the skill and style of writing. Who better to learn from than such a man? No one would say that we should ignore such unbelievers as Monet when learning about art or Jefferson when learning about politics. Why would we not learn how to write better from Hemingway?

That said, Hemingway is sometimes a challenging read. His major novels in particular use complicated structures and literary devices that have sustained decades of analysis. A reader new to Hemingway might be better off starting with his short stories, which are more accessible and perhaps best showcase his skill as a writer. For example, the short story “A Clean, Well-Lighted Place,” which is among the finest pieces Hemingway ever wrote, is four pages long, while “The Short Happy Life of Francis Macomber” presents his anthropology in just 24 pages. Both stories can be found in “The Complete Short Stories of Ernest Hemingway: The Finca Vigia Edition” (1987), which is a thorough, but not quite complete collection as it has some notable missing pieces. The collection “Hemingway on Writing” (1999) is also helpful for those who want to focus on his philosophy of writing.

Hemingway is not the only writer who can teach us to write better while revealing something of how our neighbor understands life. He is particularly skilled at doing those two things, but other authors have useful perspectives as well, however true or good they might be. We must be alert to the worldviews they express in each case, be able to examine and interact with them, and by whatever means improve our ability to speak the gospel in response. Judging by our culture’s continuing interest in Ernest Hemingway, his worldview is still influential. This fact presents us with an opportunity to proclaim the truth that Jesus will redeem our tragic world.

Brian Douglas grew up in the Miami, Fla., area and now lives in Boise, Idaho. His interest in Ernest Hemingway began when he read “The Old Man and the Sea” while an undergraduate at Stetson University. He has since studied at Knox Theological Seminary (M.Div. & M.A.) and the University of Sussex. He serves as a ruling elder at All Saints Presbyterian Church (PCA) and teaches at The Ambrose School and Boise State University.

Paul Hendrickson: Hemingway’s Life & Writing

Gary Cooper, Ernest Hemingway, Tillie Arnold and Dr. George Saviers at a party in Sun Valley 1948

Ernest Hemingway, Wrestling With Life (documentary)

Spencer Tracy and Ernest Hemingway with Friends at La Florida (“Floridita”), Havana, Cuba

An Interview with Ernest Hemingway’s Son, Patrick Hemingway (Part I)

Ernest Hemingway with Lady Duff Twysden, Hadley, and friends, during the July 1925 trip to Spain that inspired The Sun Also Rises

This series deals with the Book of Ecclesiastes and Woody Allen films.  The first post  dealt with MAGIC IN THE MOONLIGHT and it dealt with the fact that in the Book of Ecclesiastes Solomon does contend like Hobbes  and Stanley that life is “nasty, brutish and short” and as a result has no meaning UNDER THE SUN.

The movie MIDNIGHT IN PARIS offers many of the same themes we see in Ecclesiastes. The second post looked at the question: WAS THERE EVER A GOLDEN AGE AND DID THE MOST TALENTED UNIVERSAL MEN OF THAT TIME FIND TRUE SATISFACTION DURING IT?

In the third post in this series we discover in Ecclesiastes that man UNDER THE SUN finds himself caught in the never ending cycle of birth and death. The SURREALISTS make a leap into the area of nonreason in order to get out of this cycle and that is why the scene in MIDNIGHT IN PARIS with Salvador Dali, Man Ray, and Luis Bunuel works so well!!!! These surrealists look to the area of their dreams to find a meaning for their lives and their break with reality is  only because they know that they can’t find a rational meaning in life without God in the picture.

The fourth post looks at the solution of WINE, WOMEN AND SONG and the fifth and sixth posts look at the solution T.S.Eliot found in the Christian Faith and how he left his fragmented message of pessimism behind. In the seventh post the SURREALISTS say that time and chance is all we have but how can that explain love or art and the hunger for God? The eighth  post looks at the subject of DEATH both in Ecclesiastes and MIDNIGHT IN PARIS. In the ninth post we look at the nihilistic worldview of Woody Allen and why he keeps putting suicides into his films.

In the tenth post I show how Woody Allen pokes fun at the brilliant thinkers of this world and how King Solomon did the same thing 3000 years ago. In the eleventh post I point out how many of Woody Allen’s liberal political views come a lack of understanding of the sinful nature of man and where it originated. In the twelfth post I look at the mannishness of man and vacuum in his heart that can only be satisfied by a relationship with God.

In the thirteenth post we look at the life of Ernest Hemingway as pictured in MIDNIGHT AND PARIS and relate it to the change of outlook he had on life as the years passed. In the fourteenth post we look at Hemingway’s idea of Paris being a movable  feast.

Top 10 Ernest Hemingway Quotes on Drinking
#10 – WHISKEY
WHISKEY Image

“The whiskey warmed his tongue and the back of his throat, but it did not change his ideas any, and suddenly, looking at himself in the mirror behind the bar, he knew that drinking was never going to do any good to him now. Whatever he had now he had, and it was from now on, and if he drank himself unconscious when he woke up it would be there.” —To Have and Have Not, 1937

#09 – CARELESS
CARELESS Image

“I was a little drunk. Not drunk in any positive sense but just enough to be careless.” —The Sun Also Rises, 1926

#08 – MECHANICAL RELIEF
MECHANICAL RELIEF Image

“Don’t you drink? I notice you speak slightingly of the bottle. I have drunk since I was fifteen and few things have given me more pleasure. When you work hard all day with your head and know you must work again the next day what else can change your ideas and make them run on a different plane like whisky? When you are cold and wet what else can warm you? Before an attack who can say anything that gives you the momentary well-being that rum does? . . . The only time it isn’t good for you is when you write or when you fight. You have to do that cold. But it always helps my shooting. Modern life, too, is often a mechanical oppression and liquor is the only mechanical relief.” —Postscript to letter to critic, poet and translator Ivan Kashkin, August 19, 1935); published in Ernest Hemingway: Selected Letters 1917-1961, 1981, edited by Carlos Baker

#07 – ALL WE DO
ALL WE DO Image

“I wanted to try this new drink. That’s all we do, isn’t it—look at things and try new drinks?” —”Hills Like White Elephants,” Men Without Women, 1927

#06 – HEAVEN
HEAVEN Image

“I wonder what your idea of heaven would be — A beautiful vacuum filled with wealthy monogamists. All powerful and members of the best families all drinking themselves to death. And hell would probably an ugly vacuum full of poor polygamists unable to obtain booze or with chronic stomach disorders that they called secret sorrows.” —Letter to F. Scott Fitzgerald, July 1, 1925; published in Ernest Hemingway: Selected Letters 1917-1961, 1981, edited by Carlos Baker

#05 – GREATEST PERFECTION
GREATEST PERFECTION Image

“Wine is one of the most civilized things in the world and one of the most natural things of the world that has been brought to the greatest perfection, and it offers a greater range for enjoyment and appreciation than, possibly, any other purely sensory thing.” —Death in the Afternoon, 1932

#04 – GOOD COMPANY
GOOD COMPANY Image

“I drank a bottle of wine for company. It was Chateau Margaux. It was pleasant to be drinking slowly and to be tasting the wine and to be drinking alone. A bottle of wine was good company.” —The Sun Also Rises, 1926

#03 – FOOLS
FOOLS Image

“An intelligent man is sometimes forced to be drunk to spend time with his fools.” —For Whom the Bell Tolls, 1940

#02 – AS NATURAL AS EATING
AS NATURAL AS EATING Image

“In Europe we thought of wine as something as healthy and normal as food and also a great giver of happiness and well being and delight. Drinking wine was not a snobbism nor a sign of sophistication nor a cult; it was as natural as eating and to me as necessary.” —A Moveable Feast, 1964

#01 – OLD WHORE
OLD WHORE Image

“Death is like an old whore in a bar—I’ll buy her a drink but I won’t go upstairs with her.” —To Have and Have Not, 1937

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MUSIC MONDAY Cole Porter “Let’s Do it, Let’s Fall in Love” in the movie MIDNIGHT IN PARIS

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Grace Slick’s art featured today!!!

I have featured many artists on my blog and here are links to them.

Marina AbramovicIda Applebroog,  Matthew Barney, Aubrey Beardsley, Larry BellWallace BermanPeter BlakeDerek BoshierPauline BotyBrenda Bury,  Allora & Calzadilla,   Christo and Jeanne-Claude, Heinz Edelmann Olafur EliassonTracey EminJan Fabre, Makoto Fujimura, Hamish Fulton, Ellen GallaugherRyan GanderFrancoise GilotJohn Giorno, Rodney Graham,  Cai Guo-QiangBrion GysinJann HaworthArturo HerreraOliver HerringDavid Hockney, David Hooker,  Nancy HoltRoni HornPeter HowsonRobert Indiana, Jasper Johns, Martin KarplusMargaret KeaneMike Kelley, Peter KienJeff Koons Annie Leibovitz, John LennonRichard LinderSally MannKerry James MarshallTrey McCarley, Linda McCartney, Paul McCartneyPaul McCarthyJosiah McElhenyBarry McGee, Richard MerkinNicholas MonroYoko OnoTony Oursler, John OutterbridgeNam June PaikEduardo PaolozziGeorge PettyWilliam Pope L.Gerhard Richter, Anna Margaret Rose,  James RosenquistSusan RothenbergGeorges Rouault, Richard SerraShahzia Sikander, Raqub ShawThomas Shutte, Grace Slick,  Saul SteinbergHiroshi SugimotoStuart SutcliffeMika Tajima,Richard TuttleLuc Tuymans, Alberto Vargas,  Banks Violett, H.C. Westermann,  Fred WilsonKrzysztof Wodiczko, Ronnie WoodAndrew WyethJamie Wyeth, Bill WymanDavid WynneAndrea Zittel,

Grace Slick Profile – CBS 08/03/09

Jefferson Airplane – Somebody To Love (Live at Woodstock Music & Art Fair, 1969)

Grace Slick shows her artwork on CNN during the 40th anniversery of Woodstock

Jefferson Airplane – White Rabbit (HQ) ~ (ReEdit)

Starship – “Nothing’s Gonna Stop Us Now” – ORIGINAL VIDEO – HQ

John Lennon by Grace Slick

 

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Grace Slick at Wentworth Gallery focuses on art in a post-rock ‘n’ roll career
1965 by Grace Slick Bookmark and Share
by By Skip SheffieldFormer Jefferson Airplane lead singer Grace Slick will greet her public and talk about her flourishing career in art from 6 to 9 p.m. Saturday at Wentworth Gallery at Town Center at Boca Raton. Slick will also appear from 6 to 9 tonight at Wentworth Gallery in the Gardens Mall in Palm Beach Gardens.Grace Slick was always feisty and outspoken as front woman of Jefferson Airplane and Starship, and she is no shrinking violet at age 65.She gave up performing in 1998 because she felt it was silly for a woman her age to sing rock music and try and act like a teenager. She had her first public art show in Fort Lauderdale in 1989, and art is where she channels her creative energy now.

“There a lot of us former rock people who are doing art now,” he offers by telephone from Malibu, California. “My old bandmate Marty Balin is doing quite well. So is Ronnie Wood of the Rolling Stones, and so was Jerry Garcia before he died.”

Slick first painted furry animals (the white rabbit is still a favorite) and beautiful nudes. Her agent suggested she begin doing portraits of musicians she knew, and she has obliged with portraits of Jim Morrison, Jerry Garcia, Janis Joplin and Sting.

“I let my agent deal with the so-called art world,” she says. “He makes suggestions and sets up my appearances. I just paint every day as the spirit strikes.”

Slick was born Grace Wing Oct. 30, 1939 in Evanston, Illinois, but she was raised in San Francisco. She attended the University of Miami in 1958-1959, but admits she was more a partier than a scholar. After graduating from Finch College she returned to San Francisco and married Gerald “Jerry” Slick, a cinematographer. She joined Jefferson Airplane in 1966, replacing original singer Signe Anderson, and sang two of the group’s signature songs, “White Rabbit” and “Somebody to Love.”

Slick divorced and remarried and divorced and became an outspoken anti-war activist as well as a self-admitted rowdy drunk. In 1971 she and Jefferson Airplane guitarist Paul Kantner had a daughter, China Wing Kantner, with whom Slick remains close.

“China is now working on a Ph.D,” Slick reveals proudly. “Her special study is spirituality.”

Although she performed with former bandmates Marty Balin and Paul Kantner for a post-9/11 concert, Slick says she is officially retired from public performance.

“I don’t walk to be one of those old relics doing the oldies circuit,” she protests. “There are a few signature groups that can get away with it. The Rolling Stones need it, evidently, and they are still one of the best rock ‘n’ roll groups in the world. I’m going to be 66 next month, for God sakes. Art is my focus now. I do it all the time. I’m just grateful some people like it well enough to buy it.

Andy Warhol &; Grace Slick

 

 

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Janis Joplin, Grace Slick,

Based on her tempestuous rock-star career as lead singer for Jefferson Airplane in the 1960s, no one would expect Grace Slick to be shy or demure, even at age 73.

And sure enough, she isn’t.

“I’ve lived a good life,” she said by phone from her Malibu home. “Now I’m an old broad.”

In her second career as an artist, Slick produces paintings just as colorful and provocative as her songs. She’ll appear Saturday, May 18, at the Norcal Modern Gallery in Healdsburg, which is hosting her “Once Upon a Time” exhibit.

Her work is filled with “Alice in Wonderland” images reminiscent of Slick’s 1967 hit, “White Rabbit,” but her interest in art, and Alice, predates her rock and roll career, she said.

“I knew I could draw when I was very little. I used to draw angels when I was about 5,” she said.

“The story of ‘Alice in Wonderland’ was the only one that was read to me where some Prince Charming doesn’t come along and save her,” Slick said. “She has a lot of guts. She does it all herself. She doesn’t stop.”

While Slick’s income comes from her music royalties, she doesn’t deny the commercial appeal of her iconic White Rabbit paintings.

“People will, for obvious reasons, buy pictures of white rabbits from me. Now I’m getting real good at drawing rabbits,” Slick said.

“I have an agent, and his job is to sell stuff,” she added. “He finds that my portraits of other rock musicians also sell, and I enjoy doing that, too.”

Slick wrote “White Rabbit” while in a Bay Area Band called The Great Society, formed in 1965. After joining Jefferson Airplane the following year, she recorded the song for the “Surrealistic Pillow” album.

She also performed in the band’s later incarnations — Jefferson Starship, from 1981 to 1984, and Starship, until 1988. She retired from rock and roll in 1989, and began painting in the mid-1990s.

Her first art show was in Florida in 2000, and she has had more than 100 exhibits since then, creating fanciful images with bright acrylic paints.

“I like really heavy, knock-your-brains-out color,” Slick said. “I paint in acrylic, because it’s fast, and I don’t have a lot of time left to sit around and let oil paint dry.”

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1965 by Grace Slick

 

Jimi Hendrix by Grace slick artist

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  _ The song ELEANOR RIGBY was a huge hit because it connected so well with “all the lonely people.” The line that probably best summed up how many people felt was: “All the lonely people, Where do they all come from? All the lonely people, Where do they all belong?” Francis Schaeffer believed in engaging the secular […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 95 THE BEATLES (Breaking down the song “Eleanor Rigby” Part A and the issue of DEATH ) Featured artist is Joe Tilson

No one remembered Eleanor Rigby enough to come to her funeral. It is sad but Francis Schaeffer points out King Solomon’s words on death from 3000 years ago and they seem similar to the song’s conclusion. Eleanor Rigby – PAUL McCARTNEY The Beatles Cartoon – Eleanor Rigby. Uploaded on Feb 21, 2012 Ah, look at […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 94 THE BEATLES (The Beatles and the Gurus on SGT. PEP. ) (Feature on PHOTOGRAPHER BILL WYMAN )

The Beatles went through their Eastern Religion phase and it happened to be when the album SERGEANT PEPPER’S LONELY HEARTS CLUB BAND album came out. Today we will take a look at the article “The Gurus of Sergeant Pepper,” by Richard Salva and then look at some of the thoughts of Francis Schaeffer on this topic. I […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 93 THE BEATLES (Breaking down “REVOLUTION 9” Part B) Astrid Kirchherr is featured Photographer

In 1967 the Beatles had honored Stockhausen by putting his photo on the cover of their Sergeant Pepper [sic] album. When John Lennon was murdered in December 1980, Stockhausen said in a telephone interview: “Lennon often used to phone me. He was particularly fond of my Hymnen and Gesang der Jünglinge, and got many things […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 92 THE BEATLES (Breaking down “REVOLUTION 9” Part A) Featured photographer is John Loengard

Have you ever had the chance to contrast the music of Bach with that of the song Revolution 9 by the Beatles? Francis Schaeffer pointed out, “Bach as a Christian believed that there was resolution for the individual and for history. As the music that came out of the Biblical teaching of the Reformation was […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 91 (WHY WAS H.G.WELLS ON THE COVER OF SGT. PEPPERS? Part B) Featured Artist is Claes Oldenburg

Last time we looked at the hedonistic lifestyle of H.G.Wells who appeared on the cover of SGT PEPPERS but today we will look at some of his philosophic views that shaped the atmosphere of the 1960’s.   Wells had been born 100 years before the release of SGT PEPPERS but many of his ideas influenced […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 90 (WHY WAS H.G.WELLS ON THE COVER OF SGT. PEPPERS? Part A) Featured Artist is Ellsworth Kelly

Why was H.G.Wells chosen to be on the cover of SGT PEPPERS? Like many of the Beatles he had been raised in Christianity but had later rejected it in favor of an atheistic, hedonistic lifestyle that many people in the 1960’s moved towards.  Wells had been born 100 years before the release of SGT PEPPERS […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 89 THE BEATLES, Breaking down the song “BLACKBIRD” Part B (Featured Photographer is Jürgen Vollmer)

Since racial tensions were extremely high in the 1960’s I am adding a part two to my last post. I grew up in Memphis and was a resident when MLK Jr. was unfortunately assassinated. Just two months later Paul McCartney wrote the song BLACKBIRD because of this assassination. Francis Schaeffer also spoke out strongly against […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 88 THE BEATLES, Breaking down the song “BLACKBIRD” Part A (Featured Photographer is Richard Avedon)