Monthly Archives: April 2017

MUSIC MONDAY George Harrison’s song MY SWEET LORD and what the word GOD actually means according to Francis Schaeffer

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Image result for beatles in india

George Harrison is the only member of the Beatles who stuck with Hinduism while the other three abandoned it shortly after their one trip to India.  Francis Schaeffer noted, ” The younger people and the older ones tried drug taking but then turned to the eastern religions. Both drugs and the eastern religions seek truth inside one’s own head, a negation of reason. The central reason of the popularity of eastern religions in the west is a hope for a nonrational meaning to life and values. The reason the young people turn to eastern religion is simply the fact as we have said and that is that man having moved into the area of nonreason could put anything up there and the heart of the eastern religions  is a denial of reason just exactly as the idealistic drug taking was.”

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George Harrison My Sweet Lord

Francis Schaeffer in his book HOW SHOULD WE THEN LIVE? (page 191 Vol 5) asserted:

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

This problem has been around for a long time because people need to clarify what they mean when they say the word GOD. Many years ago Charles Darwin even had to clarify this same issue when he responded to different letters. Recently I read the online book  Charles Darwin: his life told in an autobiographical chapter, and in a selected series of his published letters, and in it I noticed that Francis Darwin wrote In 1879 Charles Darwin was applied to by a German student, in a similar manner. The letter was answered by a member of my father’s family, who wrote:–

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

Francis Schaeffer commented:

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

(Francis Schaeffer pictured below)

“My Sweet Lord”

I really want to know you
Really want to go with you
Really want to show you lord
That it won’t take long, my lord (hallelujah)
Hm, my lord (hallelujah)
My, my, my lord (hare krishna)
My sweet lord (hare krishna)
My sweet lord (krishna krishna)
My lord (hare hare)
Hm, hm (Gurur Brahma)
Hm, hm (Gurur Vishnu)
Hm, hm (Gurur Devo)
Hm, hm (Maheshwara)
My sweet lord (Gurur Sakshaat)
My sweet lord (Parabrahma)
My, my, my lord (Tasmayi Shree)
My, my, my, my lord (Guruve Namah)
My sweet lord (Hare Rama)Look at the first two lines above, “I really want to know you, Really want to go with you.” Is this just a mumbo jumbo kind of talk or did krishna, Gurur Brahma, Vishnu,  Devo, Maheshwara, Parabrahma, Tasmayi Shree, Namah and Rama all speak of a historical faith rooted in history that can be researched?

Thought Snack: What Christian Faith Really Is

“Suppose we are climbing in the Alps and are very high on the bare rock, and suddenly the fog shuts down. The guide turns to us and says that the ice is forming and there is no hope; before morning we will all freeze to death here on the shoulder of the mountain. Simply to keep warm the guide keeps us moving in the dense fog further out on the shoulder until none of us have any idea where we are. After an hour or so, someone says to the guide, ‘Suppose I dropped and hit a ledge ten feet down in the fog. What would happen then?’ The guide would say that you might make it until the morning and thus live. So, with absolutely no knowledge or any reason to support his action, one of the group hangs and drops into the fog. This would be one kind of faith, a leap of faith.Suppose, however, after we have worked out on the shoulder in the midst of the fog and the growing ice on the rock, we had stopped and we heard a voice which said, ‘You cannot see me, but I know exactly where you are from your voices. I am on another ridge. I have lived in these mountains, man and boy, for over sixty years and I know every foot of them. I assure you that ten feet below you there is a ledge. If you hang and drop, you can make it through the night and I will get you in the morning.’I would not hang and drop at once, but would ask questions to try to ascertain if the man knew what he was talking about and if he was not my enemy. In the Alps, for example, I would ask him his name. If the name he gave me was the name of a family from that part of the mountains, it would count a great deal to me. In the Swiss Alps there are certain family names that indicate mountain families of that area. In my desperate situation, even though time would be running out, I would ask him what to me would be the adequate and sufficient questions, and when I became convinced by his answers, then I would hang and drop.This is faith, but obviously it has no relationship to the other use of the word. As a matter of fact, if one of these is called faith, the other should not be designated by the same word. The historic Christian faith is not a leap of faith in the post-Kierkegaardian sense because [God] is not silent, and I am invited to ask the adequate and sufficient questions, not only in regard to details, but also in regard to the existence of the universe and its complexity and in regard to the existence of man. I am invited to ask adequate and sufficient questions and then believe Him and bow before Him metaphysically in knowing that I exist because He made man, and bow before Him morally as needing His provision for me in the substitutionary, propitiatory death of Christ.” – Francis Schaeffer, Francis A. Schaeffer Trilogy: The God Who Is There, Escape From Reason, He Is There and He Is Not Silent__________________________In the 1960’s when so many young people from the USA jumped into eastern religions Francis Schaeffer called it a leap into non-reason and Schaeffer also asserted:

The universe was created by an infinite personal God and He brought it into existence by spoken word and made man in His own image. When man tries to reduce [philosophically in a materialistic point of view] himself to less than this [less than being made in the image of God] he will always fail and he will always be willing to make these impossible leaps into the area of nonreason even though they don’t give an answer simply because that isn’t what he is. He himself testifies that this infinite personal God, the God of the Old and New Testament is there. 

Instead of making a leap into the area of non-reason the better choice would be to investigate the claims that the Bible is a historically accurate book and that God created the universe and reached out to humankind with the Bible. Below is a piece of that evidence given by Francis Schaeffer concerning the accuracy of the Bible.

TRUTH AND HISTORY (chapter 5 of WHATEVER HAPPENED TO THE HUMAN RACE?, under footnote #95)

Two things should be mentioned about the time of Moses in Old Testament history.

The form of the covenant made at Sinai has remarkable parallels with the covenant forms of other people at that time. (On covenants and parties to a treaty, the Louvre; and Treaty Tablet from Boghaz Koi (i.e., Hittite) in Turkey, Museum of Archaeology in Istanbul.) The covenant form at Sinai resembles just as the forms of letter writings of the first century after Christ (the types of introductions and greetings) are reflected in the letters of the apostles in the New Testament, it is not surprising to find the covenant form of the second millennium before Christ reflected in what occurred at Mount Sinai. God has always spoken to people within the culture of their time, which does not mean that God’s communication is limited by that culture. It is God’s communication but within the forms appropriate to the time.

The Pentateuch tells us that Moses led the Israelites up the east side of the Dead Sea after their long stay in the desert. There they encountered the hostile kingdom of Moab. We have firsthand evidence for the existence of this kingdom of Moab–contrary to what has been said by critical scholars who have denied the existence of Moab at this time. It can be found in a war scene from a temple at Luxor (Al Uqsor). This commemorates a victory by Ramses II over the Moabite nation at Batora (Luxor Temple, Egypt).

Also the definite presence of the Israelites in west Palestine (Canaan) no later than the end of the thirteenth century B.C. is attested by a victory stela of Pharaoh Merenptah (son and successor of Ramses II) to commemorate his victory over Libya (Israel Stela, Cairo Museum, no. 34025). In it he mentions his previous success in Canaan against Aschalon, Gize, Yenom, and Israel; hence there can be no doubt the nation of Israel was in existence at the latest by this time of approximately 1220 B.C. This is not to say it could not have been earlier, but it cannot be later than this date.

Merneptah Stele, Israel 1200 BC

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FRIEDMAN FRIDAY Paddy Cosgrave Sep 7, 2016 Trump and the Risk of Doing Nothing

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Over 200 years ago, just as the excesses of British aristocracy were being banished from Boston’s shores, one of America’s founding fathers Thomas Jefferson warned of a “new aristocracy” which might one day come to control America under the name of democracy.

For those interested in the 2016 US election, and bemused in particular by the rise of Donald Trump, Jefferson’s warnings make for fascinating reading.

Thomas Jefferson was concerned by the rise of what he termed “our monied corporations which dare already to challenge our government to a trial of strength and bid defiance to the laws of our country”. Jefferson hoped that his fellow democrats would “crush in its birth” this “new aristocracy”. He lamented that if they failed, then eventually this “new aristocracy” would rise to “rid[e] and rul[e] over the plundered ploughman and beggared yeomanry” under the name of democracy.

But Jefferson was not alone.

Alexander Hamilton, another founding father, warned of a new “spirit of speculation”. It was a “dangerous tumour” he wrote that if allowed develop unchecked would one day “rob the industrious of the fruits of their labour and… enable the idle and rapacious to live in ease and comfort at the expense of the better part of the community”. He called it “popular despotism” and insisted that it’s rise “must be corrected”.

Another founding father, James Madison worried of a comparable future. In that future, democratic government would be found “substituting the motive of private interest in place of public duty”, leading to “a real domination of the few under an apparent liberty of the many”. The drivers of this change in Madison’s view would be “[t]he stock-jobbers” who he wrote “will become the praetorian band of the Government, at once its tool and its tyrant; bribed by its largesses and overawing it by its clamours and combinations”.

On the other side of the Atlantic, during a similar period, Scottish philosopher and economist Adam Smith was also sharing his predictions.

Smith’s words should carry weight for those interested in capitalism, freedom and democracy on all sides of the political spectrum. Nobel prize winning economist Milton Friedman, who is an ideological pillar of modern liberalism, begins one of his more seminal works, Free to Choose, with great praise for Adam Smith. Smith is, Friedman concludes, the “father of modern economics”, and his book The Wealth of Nations a “masterpiece”. For any classical, quasi or neoliberal, Adam Smith’s words in Wealth of Nations are therefore worth some consideration.

Smith believed the existence of what he called “joint stock companies” was unreasonable except in exceptional circumstances where they can demonstrate “with the clearest evidence that the undertaking is of greater and more general utility than the greater part of common trades”. However, Smith later concluded that while corporations “are established for the public-spirited purpose of promoting some particular manufacture” they “can in other respects scarce ever fail to do more harm than good”.

In the long run, Smith concluded that “the interested sophistry of merchants and manufactures”, might come to overwhelm the benevolent aspirations of democrats everywhere and turn civil government into “civil government… instituted for the defence of the rich against the poor”.

Some decades later Alexis de Tocqueville, whom another ideological pillar of modern liberalism Frederick von Hayek considered one “of the greatest political thinkers”, made similar observations. De Tocqueville urged in his chef-d’oeuvre Democracy in America that any “friends of democracy should keep their eyes anxiously fixed” on “the manufacturing aristocracy which is growing up under our eyes”. De Tocqueville understood it to be “one of the harshest which has ever existed in the world”. Moreover, if allowed develop, it could plausibly be expected to lead to “a permanent inequality of conditions”, leading to “a real domination of the few under an apparent liberty of the many”, to borrow Madison’s words once more.

Milton Friedman wrote at length about the “relation between economic freedom and political freedom”, and was adamant that “historical evidence speaks with a single voice”. The founding fathers of the United States and of modern economics are part of that single voice. While many of their predictions were for the most part theoretical, those theories perhaps pass Friedman’s ultimate test of validity when applied to our modern democracies. Writing in 1966 in The Methodology of Positive Economics Friedman concluded that:

[T]heory is to be judged by its predictive power for the class of phenomena which it is intended to “explain.” Only factual evidence can show whether it is “right” or “wrong” or, better, tentatively “accepted” as valid or “rejected.” …the only relevant test of the validity of a hypothesis is comparison of its predictions with experience.

The experience of many in the western world today, in particular the squeezed middle, is that Jefferson’s “new aristocracy” has truly “become the praetorian band of the Government”. Trump, Farage and many others across the western world, both on the right and left, are reshaping politics by articulating people’s fears in a new language. In place of Jefferson’s “new aristocracy” is the 1%. In place of Madison’s “stock jobbers” is Wall Street. In place of what Adam Smith termed “the interested sophistry of merchants and manufactures” are the lobbyists both in the United States and Europe.

However, implicit in much of the recent commentary about the rise of the 1% and their role in shaping policy is the assumption that this phenomenon is something new or recent. It’s not. As the documentary record shows it has been forever both a feature and concern of democrats on both sides of the Atlantic. The only difference today perhaps is the extent to which our “new aristocracy” influences decisions that impact on all of our lives.

The question then for those interested in maintaining the promise of the founding fathers of modern democracy is to what extent you believe Trump or Farage or similar political voices are the answer to this “dangerous tumour”, this “new aristocracy”. If you don’t, the challenge then is to build or support voices that are the answer. As to do nothing at a moment of so much tumultuous change is to tacitly acquiesce to whatever happens next.

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Some sources in particular order for those curious:

Friedman, Milton, “The Methodology of Positive Economics” In Essays In Positive Economics (Chicago: Univ. of Chicago Press, 1966)

Friedman, Milton & Rose, Free To Choose, (Avon, 1981)

Friedman, Milton, Capitalism and Democracy, (University of Chicago Press, 2002)

Werhane, Patricia, Adam Smith and His Legacy for Modern Capitalism, (Oxford University Press, 1991)

Smith, Adam, The Wealth of Nations, (Aberdeen University Press, 1904)

Sellers, Charles, The Market Revolution: Jacksonian America, 1815–1846, (New York: Oxford University Press, 1991)

Jennifer Nedelsky, Private Property and the Limits of American Constitutionalism: The Madisonian Framework and its Legacy, (University of Chicago Press, 1990)

Hayek, F.A., The Road to Serfdom, (Routledge Classics, 2002)

Tocqueville, Alexis de, Democracy in America, (Mentor Books, 1984)

Manley, John F., “American Liberalism and the Democratic Dream: Transcending the American Dream,” Policy Studies Review, Vol. 10, №1, Fall 1990

 

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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 pictured below

Francis Schaeffer wrote, “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 – 51 Years Ago Today – All You Need is Love

All You Need Is Love – 1s Preview

Paul McCartney, Joe Cocker, Eric Clapton & Rod Stewart – All You Need Is Love (LIVE) HD

All You Need Is Love

From Wikipedia, the free encyclopedia
This article is about the Beatles song. For other uses, see All You Need Is Love (disambiguation).
“All You Need Is Love”

US picture sleeve
Single by The Beatles
Released 7 July 1967
Recorded 14 and 19–26 June 1967,
Olympic and EMI studios, London
Genre
Writer(s) Lennon–McCartney
The Beatles singles chronology
Strawberry Fields Forever” / “Penny Lane
(1967)
All You Need Is Love
(1967)
Hello, Goodbye
(1967)
Magical Mystery Tour track listing

All You Need Is Love” is a song written by John Lennon[3] and credited to Lennon–McCartney. It was first performed by the Beatles on Our World, the first live global television link. Watched by over 400 million in 25 countries, the programme was broadcast via satellite on 25 June 1967.[4] The BBC had commissioned the Beatles to write a song for the United Kingdom’s contribution.

 This portion below is an article from the blog http://www.beatlesebooks.com/all-you-need-is-love

“ALL YOU NEED IS LOVE”

(John Lennon – Paul McCartney)

Sometime in early 1967, the BBC began publicizing an upcoming live television event that would be “for the first time ever, linking five continents and bringing man face to face with mankind, in places as far apart as Canberra and Cape kennedy, Moscow and Montreal, Samarkand and Soderfors, Takamatsu and Tunis.”  This ambitious program would be entitled “Our World,” the world’s first global television program, which proposed to link five continents simultaneously by satellites orbiting the earth.

Eighteen countries agreed to provide live contributions to this program with thirteen additional countries agreeing to broadcast the event (although seven countries pulled out just days before it aired).  A projected 500 million viewers were anticipated, making this the most ambitious and historic television program of its time.  In the U.S., the show was to be aired on the National Educational Television (NET) network of 113 affiliate stations.

All of the contributions to the program were to be divided into a number of sub-sections, namely “This Moment’s World,” “The Hungry World,” “The Crowded World,” “Physical Excellence,” “Artistic Excellence” and “The World Beyond.” Since the entire program was the brainchild of the BBC, the British contribution was well thought out with the intention of displaying the finest the country had to offer.

With this in mind, it was hardly a surprise to most that on May 18th, 1967, it was announced that The Beatles would be highlighted as the concluding segment of the “Artistic Excellence” section of the program, being one of two British contributions to the show.  They were to perform live in EMI Studios recording a song written especially for the occasion.  “In what has since been described, with some justification, as the greatest single moment in the history of popular music,” relates Mark Lewisohn in his book “The Complete Beatles Chronicle,”  “The Beatles, now at their absolute zenith, performed ‘All You Need Is Love’…From playing skiffle music in an abattoir workers’ social club in 1957 to instructing 350 million people, live across the globe ten years later that ‘love is all you need‘ is a leap in scale so colossal that it’s still hard to comprehend.”

Songwriting History

“Brian (Epstein) suddenly whirled in and said that we were to represent Britain in a round-the-world hook-up, and we’d got to write a song,” recalls George martin.  “It was a challenge.  We had less than two weeks to get it together, and then we learnt there were going to be over 300 million people watching, which was for those days a phenomenal figure.”

In a mid 1967 interview, Paul explained to DJ Kenny Everett, “What happened was, a fellow from the BBC, an organization which I’m sure you have heard of, asked us to get together a song for this.  So we said, ‘We’d get one together, with nice easy words, so that everyone can understand it.’  So he said, ‘Oh, all right then.  We’ll see you in a couple weeks.’  So we went away, and we just played Monopoly for a bit, and then the fellow said, ‘Now, where’s the song?’  So we said, ‘Ah! Don’t worry Derek.’  His name was Derek Burrell-Davis.  ‘We’ll soon have a song for you.’”

Geoff Emerick, in his book “Here, There And Everywhere,” gives some first-hand details about the group being introduced to the project.  “A couple of months previously, while we were still wrapped up with the job of completing ‘Pepper,’  Brian Epstein had made one of his infrequent visits to the studio.  With a grandiloquent sweep of this hands, he called for silence.  ‘Boys,’ he announced, ‘I have the most fantastic news to report.’  Everyone’s ears perked up. Brian paused for dramatic emphasis.  ‘You have been selected to represent England in a television program which, for the first time ever, will be transmitted live around the world via satellite.  The BBC shall actually be filming you making your next record.’”

“He looked around the room expectantly,” Emerick continues.  “I almost thought he was getting ready to take a bow.  To his utter dismay, the group’s response was…to yawn.  Ringo fidgeted at the back of the room, anxious to return to the game of chess he was playing with Neil (Aspinall), and George resumed tuning his guitar.  John and Paul exchanged blank looks for a moment. Paul didn’t seem all that interested; I guess he was probably just too focused on finishing up ‘Pepper.’  With a distinct lack of enthusiasm, John finally said, ‘Oh, okay.  I’ll do something for that.’”

“Brian was incensed at their casual reaction. ‘Aren’t you excited?  Don’t you realize what this means to us?  Don’t you have any idea how much hard work and effort I put into making this deal?’  Lennon cut him off with an acidic comment:  ‘Well, Brian, that’s what you get for committing us to doing something without asking us first.’  Epsteinlooked close to tears.  At a loss for words, he stomped out of the studio in a snit.  From the studio chatter that followed after he had gone.  I gathered that, rather than viewing this as a coup, the four Beatles saw it as a violation of their self-declared intent to never perform live again.  What’s more, they resented the fact that their manager had presented it to them as a fait accompli.  They were at a point where they wanted to take control of their own career.”

“With that, the issue was forgotten…until, some weeks later, during one of the ‘You Know My Name‘ sessions, Paul happened to ask John casually, ‘How are you getting on with that song for the television broadcast?  Isn’t it coming up fairly soon?’  John looked questioningly at Neil, who was the keeper of the band’s diary.  ‘Couple of weeks time, looks like,’ Neil responded after consulting his tattered book. ‘Oh God, is it that close?  Well, then I suppose I’d better write something.’”  With the above information, we can narrow down the time of writing “All You Need Is Love” as between June 7th and 14th, 1967.

Shortly before his death, Brian Epstein had this to say about the “All You Need Is Love” project:  “I’ve never had a moment’s worry that they wouldn’t come up with something marvelous. The commitment for the TV program was arranged some months ago.  The time got nearer and nearer, and they still hadn’t written anything.  Then, about three weeks before the program, they sat down to write.  The record was completed in ten days.  This is an inspired song, because they wrote it for a worldwide program and they really wanted to give the world a message.  It could hardly have been a better message.  It is a wonderful, beautiful, spine-chilling record.”

“Even The Beatles, who were seldom overawed by anything, were a bit bomb-happy about it,” George Martin relates in his book “All You Need Is Ears.”  “’But you can’t just go off the cuff,’ I pleaded with them.  ‘We’ve got to prepare something.’ So they went away to get something together, and John came up with ‘All You Need Is Love.’  It had to be kept terribly secret, because the general idea was that the television viewers would actually see The Beatles at work recording their new single…John came up with the idea of the song, which was ideal, lovely…They work best under pressure.  It is a fairly simple love song.”

“So John and I just got together,” Paul continues, “and thought and I wrote one, and John wrote one, and we went to the session and we just decided to do his first.  By the time that we had done the backing track for John’s, we suddenly realized that his was the one…So we’ve still got mine, ready to do for the next one, which is of a similar nature in its simplicity, but with a different message.” Although Paul’s intended contribution has never been confirmed, many feel it was the very next song The Beatles recorded, namely, “Your Mother Should Know.”

In his book “Many Years From Now,” Paul elaborates:  “’All You Need I Love’ was John’s song.  I threw in a few ideas, as did the other members of the group, but it was largely ad libs like singing ‘She Loves you’…or silly little things at the end and we made those up on the spot.  The chorus ‘All you need is love‘ is simple, but the verse is quite complex, in fact I never really understood it, the message is rather complex.”

George Harrison seemed to understand the lyrics, however, as he explained in the “Beatles Anthology” book about his overall experience in The Beatles:  “If we weren’t in The Beatles we would have been in something else, not necessarily another rock’n’roll band.  Karma is:  what you sow, you reap.  Like John said in ‘All You Need Is Love’:  ‘There’s nowhere you can be that isn’t where you’re meant to be,’ because you yourself have carved out your own destiny by your previous actions.  I always had a feeling that something was going to happen.”

In time, Paul’s memory began to fade as to whether the song was written especially for the event or not.  “One of those we had around at the time,” he’s said.  “I’ve got a feeling it was just one of John’s songs that was coming anyway…once we had it, it was certainly tailored to suit the program.”  It appears, however, that these blurry recollections are just the products of the passage of time since his earlier quotes, as those from many others, indicates the song being written precisely for the “Our World” program.

In any event, Ringo says it well in the book “Beatles Anthology”: “The writers of the song were masters at hitting the nail on the head!..It was for love.  It was for love and bloody peace.  It was a fabulous time.  I even get excited now when I realize that’s what it was for:  Peace and love, people putting flowers in guns.”

Recording History

“The project cam together so fast,” Geoff Emerick explains about preparing for the “All You Need Is Love” broadcast, “that George Martin was unable to book the band into any of the EMI studios, so they had to record the backing track at Olympic; once again, to my frustration.  I was unable to engineer it or even attend because I was an EMI staffer.”  The group’s recent positive experience at Olympic Studios recording “Baby You’re A Rich Man” made the choice of this studio an easy one.

With only eleven days until the television show was due for broadcast, The Beatles entered Olympic Sound Studios on June 14th, 1967 (time unknown) to record the rhythm track for “All You Need Is Love.”  In Geoff Emerick’s absence, Eddie Kramer(future producer of Jimi Hendrix and Kiss) was engineer along with George Chkiantz as tape operator and, as usual, George Martin as producer.  Eddie Kramer remembers:  “They came in and it was, ‘Well, what are we going to do now?’  John had the idea for ‘All You Need Is Love’ and he sat next to me in the control room.  We rigged the talkback mike so that it could be used for vocals, and he sang through that.”

But this was hardly a typical recording session, as John himself explained back in 1967:  “We just put a track down, because I knew the chords.  I played a harpsichordand George played a violin, because we felt like doing it like that and Paul played a double bass.  They can’t play them, so we got some nice noises coming out and then you can hear it going on, because it sounded like an orchestra, but it’s just those two playing the violin.”  Eddie Kramer recalls:  “There was a bunch of instruments left over in the studio from previous sessions, including a double-bass that Paul played.”  An invoice from that session revealed a fee of ten guineas being paid for John’s use of the harpsichord.  George Martin states:  “I remember that one of the minor problems was that George had got hold of a violin which he wanted to try to play, even though he couldn’t!”

With Ringo on his usual drum kit, the group went through a total of 33 takes of the rhythm track for the song with this unusual instrumentation, John’s vocal being the only voice heard intended as a guide vocal only.  The book “The Beatles Recording Sessions” explains, “Right from the beginning of take one ‘La Marseillaise’ (the French national anthem) was a vital part of the song, emphasizing the international flavor of the occasion.”  Engineer George Chkiantz relates:  “The Beatles were very opportunistic and very positive.  At one point we accidentally made a curious sound on the tape and they not only wanted to keep it on the recording they also asked us to deliberately repeat that same sound again.  Other groups would have been annoyed but The Beatles capitalized on the mistake.”

Eddie Kramer explains:  “They did the song from beginning to end for a good half-hour.  They’d get to the end of the song and John would count it off again without stopping, doing it again and again until they got the one that they liked.”  It was determined that ‘take 10’ was the best, so a tape reduction was prepared of this take to be brought to EMI Studios for additional recording.  “They did a four-track to four-track mixdown,” George Chkiantz continues, “with curiously little care we all thought – and George Martin specifically told me to keep any little chatter before the take began.”

Five days later (only six days to go), on June 19th, 1967, The Beatles continued work on the song in EMI Studio Three from approximately 7 pm to 1:45 am the following morning.  After the engineering staff of George Martin, Geoff Emerick and 2nd engineer Richard Lush prepared a tape copy of the previously recorded rhythm track onto track one of a new four-track tape, overdubbing began on the three open tracks.  Onto track two was recorded more drums from Ringo, a piano played by George Martin, and a banjo played by John.  Onto tracks three and four were recorded John on lead vocals and Paul and George on backing vocals.  These lead vocals from John were apparently replaced later, as we’ll see.

The first mono mix created for the song was done on June 21st, 1967 in Room 53 of EMI Studios between 4:30 and 5 pm by George Martin and engineers Malcolm Addey and Phil McDonald.  This mono mix, however, was only of the rhythm track recorded at Olympic Studios (omitting the above mentioned overdubs done on June 19th) and was documented as “remix 1.”  Later that evening, in the control room of EMI Studio Three, a similar mono mix, this one unnumbered, was prepared by the team of Martin, Emerick and Lush between the hours of 7 and 11:30 pm.  An acetate of this mono mix was given to Derek Burrell Davis, director of the BBC broadcast team, in preparation for the upcoming June 25th show.

“So then we thought, ‘Ah well, we’ll have some more orchestra around this little three-piece with a drum,’” explained John in 1967.  George Martin relates in his book “All You Need Is Ears,”  “I did a score for the song, a fairly arbitrary sort of arrangement since it was at such short notice.”  The orchestra was planned to be a part of the live television event, but they recorded a sizable portion of their contribution beforehand, on June 23rd, 1967 in EMI Studio One between 8 and 11 pm.

Since all four tracks of the four-track tape was full at this point, a tape reduction was first made on this day to open up some tracks for overdubbing purposes.  The orchestra overdubbed George Martin’s score onto this tape reduction (still stipulated as ‘take 10’) these overdubs designated as takes 34 through 43 (continuing from the 33 initial takes The Beatles made at Olympic Studios on June 14th).

Around this time, some very brave decisions were made regarding the actual live broadcast.  “In a fit of bravado,” relates Geoff Emerick, “Lennon announced that he was going to do his lead vocal live during the broadcast, which prompted the ever competitive Paul to respond that if John was going to do that, he would play bass live, too.  It seemed to me to be a foolhardy – though brave – decision.  What if one of them sang or played a bad note in front of millions of viewers?  But they were supremely confident, and they could not be dissuaded by George Martin, who was adamantly opposed, but as was usual by this point, had no real authority.”

“In an act of further defiance,” Emerick continues, “John and Paul even talked George Harrison into doing his guitar solo live, which we all knew was a tricky proposition.  To my surprise, Harrison gave in without a whole lot of argument; my sense was that he was afraid of being embarrassed in front of his bandmates.  Only Ringo was completely safe, for technical reasons:  if the drums were played live, there would be too much leakage onto the microphones that were going to be picking up the sound of the orchestra.  Ringo nodded his head solemnly when I explained that to him.  I couldn’t tell whether he was relieved at being absolved of the responsibility of playing live, or whether he felt left out.”

The next day, June 24th, 1967 (the day before The Big Event), EMI Studios decided to forego their usual ‘closed door’ policy and allow more than 100 journalists and photographers inside throughout the late morning.  Then, from 2 to 4 pm, a camera rehearsal for the following day’s events took place in EMI Studio One, which included The Beatles, the thirteen members of the orchestra and Mike Vickers, a former member of the Manfred Mann band who was recruited to conduct the orchestra (since George Martin would be too busy in the control room on that day).

It was during this rehearsal that managerBrian Epstein “came in and held a meeting with George Martin and the band,” Geoff Emerick recalls, “during which they debated the wisdom of rush-releasing the upcoming performance as a single.  John, of course, was keen – it was his song, after all – and it didn’t take much effort to talk Paul into it, either…Only George Harrison was reluctant; presumably he was worried that he might muff his solo, even though it was only four bars long.  He was finally persuaded when George Martin assured him that we could stay late afterward and do any necessary repair work.”

Geoff Emerick noticed something interesting happening during these camera rehearsals.  “I noticed George Harrison engaged in conversation with the television director for quite a long time.  I had no idea what they were talking about, but I did notice during the broadcast that the camera was not trained on George during his guitar solo.  Perhaps he requested that specifically, either because he didn’t have confidence in his playing, or because he felt it was likely that he would replace the part later.”

After this camera rehearsal was complete, four more takes of overdubbing (takes 44 – 47) were recorded for “All You Need Is Love” in preparation for this days’ decision to release the song as The Beatles next single as soon after the broadcast as possible.  Although we don’t know for sure what these overdubs consisted of, Geoff Emerick’s book “Here, There And Everywhere” may shed some light on this.  “Adding to the chaos was John’s insistence on making a last minute change to the arrangement, which sentGeorge Martin into a tizzy – he was doing the orchestral score and had to rapidly come up with new sheet music for the musicians, who milled around impatiently waiting for him.  To his credit, George came up with a spectacular arrangement, especially considering the very limited time he had to do it in and the odd meters that characterized the song.”  These overdubs took place in EMI Studio One between 5 and 8 pm, they all leaving then to get a good night’s rest before the eventful next day.

The day of reckoning arrived; June 25th, 1967.  The Beatles, the orchestra, the engineering team, the BBC crew and everyone else involved arrived at EMI Studio One at around 2 pm for what became an arduous and nerve-wracking day of activity.  Much rehearsal (all recorded) and trouble-shooting was needed before the live transmission would take place later that evening.

“The day of the performance came,” George Martin explains, “with television cameras rolling into the big Number One studio at Abbey Road.  But I was still worried about the idea of going out totally live.  So I told the boys:  ‘We’re going to hedge our bets.  This is how we’ll do it.  I’ll have a four-track machine standing by, and when we go on the air I’ll play you the rhythm track, which you’ll pretend to be playing.  But your voices and the orchestra will really be live, and we’ll mix the whole thing together and transmit it to the waiting world like that.’ The BBC’s mobile control unit was set up in the forecourt at Abbey Road, and I was to feed them the mix from our control room inside the studios.  Geoff Emerick, my engineer, was sitting right next to me but, even so, communication was rather hampered by the fact that a television camera was sitting right over us, watching our every move.”

At some point, possibly during these rehearsals, another last minute addition was made to the orchestral score.  “George Martin…wrote the end of ‘All You Need Is Love,” Paul explains.  “It was a hurried session and we said, ‘There’s the end, we want it to go on and on.’  Actually, what he wrote was much more disjoined, so when we put all the bits together, we said, ‘Could we have “Greensleeves” right on top of the little Bach thing?’  And on top of that, we had the ‘In The Mood’ bit.”  Trumpeter David Mason remembers, “We played bits of Bach’s Brandenburg concerto in the fade-out.”

“When it came to the end of their fade-away as the song closed,” George Martin relates, “I asked them:  ‘How do you want to get out of it?’  ‘Write absolutely anthing you like, George,’ they said.  ‘Put together any tunes you fancy, and just play it out like that.’  The mixture I came up with was culled from the ‘Marseillaise,’ a Bach two-part invention,  ‘Greensleeves,’ and the little lick from ‘In The Mood.’  I wove them all together, at slightly different tempos so that they all still worked as separate entities.”

But there was only one problem with this arrangement.  “Unfortunately, there was a sting in the tail for me,” George Martin continues. “I was being paid the princely sum of fifteen pounds for arranging the music and writing the bits for the…ending, and I had chosen the tunes for the mixture in the belief that they were all out of copyright.  More fool me.  It turned out that although ‘In The Mood’ itself was out of copyright, the Glenn Miller arrangement of it was not.  The little bit I had chosen was the arrangement, not the tune itself, and as a result EMI were asked by its owners for a royalty.  The Beatles, quite rightly I suppose, said:  ‘We’re not going to give up our copyright royalty.’  SoKen East, the man who had by then become managing director of EMI Records, came to me and said:  “Look here, George, you did the arrangement on this.  They’re expecting money for it.’ ‘You must be out of your mind,’ I said.  ‘I get fifteen pounds for doing that arrangement.  Do you mean to say I’ve got to pay blasted copyright out of my fifteen quid?’  His answer was short and unequivocal.  ‘Yes.’  In the end, of course, EMI had to settle with the publishers.”

Three rehearsal takes were recorded first (takes 48 – 50), then three rehearsal takes for the BBC were recorded (numbered 1 – 3), then back to more dry run rehearsals (takes 51-53).  “Paul had requested a working microphone so that he could shout out ad-libs,” remembers Geoff Emerick.  “The problem was that the mic I had set up blocked Paul’s face on the camera angle they wanted to use.  In the end, I acceded to the director’s request that a smaller mic be substituted even thought it was not the mic I would normally have employed.  I felt it was unlikely that whatever Paul ended up ad-libbing would be of significant importance to the record, and even if it turned out that it was, it was something we could easily overdub later.

“Lennon was very nervous that day too,” recalls engineer Richard Lush.  “He might not have looked it but I was used to working with him and you get to know when someone is nervous.”  Geoff Emerick concurs:  “Richard and I were both struck by how visibly nervous John was, which was quite unusual for him:  we’d never seen him wound up so tightly.  He was smoking like a chimney and swigging directly from a pint bottle of milk, despite warnings from George Martin that it was bad for his voice – advice that Lennon studiously ignored.  One time as I passed by, I heard John mumbling to himself, ‘Oh, God, I hope I get the words right.’  On this night he was forced to rely on his memory because his ever-present lyric sheet had to be placed off to the side due to the camera angle; if he turned his head to consult it, he’d be singing off-mike.”

There apparently was an hour or two break from rehearsals which allowed the engineering crew to leave for a well deserved dinner.  When they arrived back at around 6 pm, they saw that a large group of celebrity friends had arrived for the broadcast, all dressed in the colorful clothes of the day.  According to reports, these friends included Mick Jagger, Marianne Faithfull, Keith Richard, Keith Moon, Eric Clapton, Pattie Harrison, Jane Asher, Mike McCartney, Graham Nash, Gary Leeds, Hunter Davies, Terry Condon, Allistair Taylor and Brian Epstein.  “I had Keith Moon next to me,” Ringo remembers.  “We decided to get some people in who looked like the ‘love generation’,” George Harrison recalls.  “If you look closely at the floor, I know that Mick Jagger is there.  But there’s also an Eric Clapton, I believe, in full psychedelic regalia and permed hair, sitting right there.”

Author George Gunby, in his book “Hello Goodbye, The Story Of ‘Mr. Fixit’,” recounts the eyewitness recollections of Brian Epstein’s assistant Allistair Taylor:  “Throughout the afternoon and early evening the musicians and technicians rehearsed constantly.  It must have been the most rehearsed spontaneous performance ever!  The party guests arrived…they sat on the studio floor and waited as the clock ticked remorselessly towards 9:30 pm, the time set for the live transmission.  Despite the relaxing effects of the ‘whacky baccy’ being smoked throughout the studio and the building, tempers became frayed and nerves raw.  Then John threw everything out of kilter by claiming that he had lost his voice.  Paul laughed at him and gently ribbed his songwriting partner.  A glass of water and a few more barbed comments from McCartney put things right.”

“Paul strode into the control room at one point,” Geoff Emerickstates, “and spent some time working on the bass sound with me.  It struck me as a smart thing to do.  Not only was he making certain that his instrument would come across the way he wanted it to, but getting out of the studio, away from the others and out of the line of fire, had a calming effect on both of us.  It gave us both a little sanctuary where we could focus on just one specific thing and not think about the monumental technical feat we would soon be attempting to pull off.”

Four more rehearsal takes were recorded (takes 54 – 57) while they were waiting for the cue from the BBC that they were ready for broadcast.  After some last minute technical problems regarding lost communication with the BBC truck parked outside (and the frantic hiding of glasses and a bottle of scotch in the control room during a last minute toast between the engineering crew), the intercom speaker unexpectedly proclaimed “Going on air…NOW!”  The live broadcast caught ‘take 57’ of their rehearsal midstream, which was duly interrupted by George Martin in the control room, thanking The Beatles for their work on the “vocal backing,” and instructing the tape operator:  “Run back the tape please, Richard.”  While the group waited for the tape to be rewound and cued up, and in between announcer Steve Race’s comments to the viewing audience, The Beatles were heard nervously goofing around with their instruments with John singing “She loves you, yeah, yeah, yeah.” (During rehearsals, John is also heard singing “Yesterday” and “She’ll Be Coming Round The Mountain When She Comes.”)

After John takes a sip of milk, roadie Mal Evans collects some empty tea cups, and the orchestra enters into the studio and takes their seats, the previously recorded tape is cued up and begins to be played.  So starts ‘take 58,’ the official take of the song for the “Our World” broadcast which spanned the globe thanks to the Early Bird ‘space booster’ and Lana Bird and ATS/B satellites.

The make-up of the four-track tape was as follows:  ‘Track One’ contained the prerecorded rhythm track, ‘Track Two’ contained the live bass guitar, lead guitar and drums (they ended up being miked in order for Ringo to perform a live snare drum roll at the beginning of the song), ‘Track Three’ had the live orchestra, and ‘Track Four’ had the live vocals from John and Paul.

“The Beatles themselves gave an inspiring performance,” Geoff Emerick relates, “though you could see the look of relief on all their faces as they got to the fadeout and realized that they’d actually pulled it off.  John came through like a trouper, delivering an amazing vocal despite his nervousness and the plug of chewing gum in his mouth that he forgot to remove just before we went on air.  Paul’s playing, as always, was solid, with no gaffs, and even George Harrison’s solo was reasonably good, though he did hit a clunker at the end. Unsurprisingly, despite the complicated score and tricky time changes, the orchestral players came through like the pros they were, with no fluffs whatsoever, even on the most demanding brass riffs.”

Shortly after the momentous broadcast was complete, the engineers took off to the nearby Abbey Tavern for a celebratory drink while the orchestra, BBC crew and all the guests left for the evening.  When they got back just before 11 pm, they worked with George Martin and maintenance engineer Martin Benge to put the finishing touches on the song in preparation for the soon-to-be-released single.

Geoff Emerick relates:  “From the very first playback, the four Beatles were knocked out by what they were hearing.  Harrison winced a little during his guitar solo, butRichard (Lush) took the initiative and reassured him, saying, ‘It’ll be fine; we’ll put a little wobble on it and it will be great.’ In the end, all we had to do was add the effect and duck the last bad note.”  John related at the time:  “There was no conception about how it should sound like at the end until we did it that day.”

Emerick continues:  “John’s vocal needed only two lines dropped in in the second verse, where, sure enough, he flubbed a lyric.  The only other remaining task was to redo the snare drum roll that Ringo played in the song’s introduciotn; it had been a last-minute decision for him to do it live during the broadcast, and George Martin felt it could be done a bit better…The only things that were replaced on ‘All You Need Is Love’ for the record release were the snare roll at the beginning, and two lines of the lead vocal.”  After these overdubs took place, the studio doors were finally shut by around 1 am the following morning.

Later that day, June 26th, 1967, the engineering team of Martin, Emerick and Lush entered the control room of EMI Studio Two refreshed and ready to create the releasable mono mix of the song.  While mixing out John’s tambourine shaking at the beginning of the song, they made nine attempts at creating this crucial mix, only five of which were complete.  Their fourth attempt was deemed the best, this being given to a young Ken Scott (who was apprenticing as a mastering engineer and would become a sought after producer in his own right) to be transferred to vinyl.  “Funnily enough,” stated George Martin, “although John had added a new vocal, Ringo had added a drum roll and we had done a new mix, few people realized the single was any different to the TV version of the song.”

There was no intention to put out “All You Need Is Love” on an album at this point, so no stereo version was prepared yet.  Capitol Records, however, did intend to include the song on their makeshift album “Magical Mystery Tour” so, with only the mono version available, they created a fake-stereo version of the song (probably in late October of 1967) for their stereo version of the album, placing the treble frequencies on one channel and the bass frequencies on the other channel.

On November 1st, 1967, the same engineering team of Martin, Emerick and Lush met in Room 53 of EMI Studios between 10 am and 1 pm to create a couple new mono mixes for songs that were to appear in the soundtrack to the upcoming “Yellow Submarine” movie, “All You Need Is Love” being one of them.  This new mix, noted as remix 11, clipped off the last 13 seconds of the song, which omitted the final reprise of “Greensleeves” as heard on the released single.

In preparation for the soundtrack album release of “Yellow Submarine,” a stereo mix of “All You Need Is Love” was now deemed necessary.  This was done on October 29th, 1968 in the control room of EMI Studio Three by Geoff Emerick and 2nd engineer Graham Kirkby (no producer was present).  There are many notable differences between this stereo mix and the released mono mix.  In this stereo mix, the brass is quieter, the drums are louder, the piano is heard more prominently, and a voice that appears to say “Check!” is heard at about the 25 second mark.  George’s guitar solo is a little quieter here and has a little less of the “wobble” effect.  This guitar solo also cuts off just after the flubbed note in the fifth measure in the mono mix while it continues to be heard throughout the fifth and sixth measure in this stereo mix.  The stereo mix is also substantially shorter that the released mono mix, also omitting the second playing of “Greensleeves.”

Sometime in early 1999, a brand new mix of “All You Need Is Love” was created in EMI Studios for the album “Yellow Submarine Songtrack” which was put together to coincide with the re-release of the film that year. This new vibrant mix has the “Check!” voice panned out and also has the earlier fade as the previous stereo mix does. This mix was created by the engineering team of Peter Cobbin, Paul Hicks, Mirek Stiles andAllan Rouse.

Also, sometime presumably in early 2006, George Martin and son Giles Martin met in EMI Studios (now Abbey Road Studios) to create yet another stereo mix of “All You Need Is Love” for the album and project “Love.” This mix is generally the same as the original stereo mix until the fade out which combines elements of “Baby You’re A Rich Man,” “Rain, “Sgt. Pepper’s Lonely Hearts Club Band” and “Ticket To Ride.” The song then ends with a combination of the orchestration of the song “Goodnight” and the sign off on their “Third Christmas Record.”

Giles Martin then created yet another stereo mix of “All You Need Is Love” in Abbey Road Studios, along with Sam Okell, for inclusion on the re-release of the compilation album “Beatles 1.”

Song Structure and Style

For a song that was intended for an international audience, John kept to a simple song structure, this being ‘(introductory) verse/ verse/ verse/ chorus/ (instrumental) verse/ chorus/ verse/ chorus/ chorus’ (or aaabababb) with a short introduction and long meandering conclusion thrown in.  However, time signature changes abound as is sporadically usual on Lennon compositions in his later Beatles output.

A short three-measure introduction is heard first which mostly comprises the orchestra playing “La Marseillaise” along with Ringo’s overdubbed snare drum roll.  Lennon also played this French National Anthem on harpsichord during the initial rhythm track but it is virtually, if not totally, indecipherable on the finished product.  This introduction sets the 4/4 meter as a template for the rest of the song.

The first eight-measure verse then begins which is actually just used as an introduction, the only vocals being the words “love, love, love” repeated three times in harmony by John, Paul and George.  The second, fourth and eighth measures are in ¾ time while the rest are in the usual 4/4 time, this pattern being repeated in all the verses of the entire song.  John’s harpsichord appears in earnest at this point playing simple chords throughout the verse while Ringo taps out quarter-note snare drum beats along with John.  The violins kick in starting from the fifth measure and play throughout this verse while George squeaks out a few guitar notes in the final measures.  We can also detect faint tambourine beats played by John from the live broadcast.

The first proper verse starts afterwards as Paul’s bass guitar bounces in and John’s lead vocals wind throughout.  The “love, love, love” backing vocals are still present as are the strings playing nearly the same arrangement as in the introductory verse.  There are some unidentified percussion-like sounds heard throughout this verse that possibly were made by George on violin in the rhythm track (or from John’s banjo overdub).  The second vocal verse comes next which is quite similar to the previous one except for a more elaborate orchestral arrangement, a combination of the prerecorded score with a different live broadcast score.  We can also hear George playing some actual bowed violin in the final measure.

The first chorus then appears, which is also eight measures long.  All of the measures are in 4/4 time except for the eighth measure which is in 2/4.  John’s lead vocal is double-tracked throughout the chorus while the verses are all single-tracked.  Lennon’s is the only voice heard in this chorus while the orchestral score plays a much more melodic and dominant role, mimicking in part what John originally played on the harpsichord in the rhythm track.  Lennon’s live tambourine is also heard somewhat more prominently in this chorus.

The next verse that follows is used as the instrumental section of the song, the first four measures highlighted by George’s live guitar solo, the flubbed chord heard at the beginning of the fifth measure.  The “love, love, love” backing vocals reappear here as the orchestra continues to be featured dramatically, especially with the staccato sixteenth-notes heard in the seventh measure.  The tambourine is still present throughout as is George’s violin noodling in the eighth measure.  The second chorus then follows which is primarily identical to the first chorus except for Paul’s adlib “whoop”s heard in the third and fourth measure.

The final verse then appears which now features an engaging string arrangement not heard before.  The backing vocals now sing the single word “love” held out three times and George’s violin is heard playing a triplet-like pattern in the final measure which briefly continues on into the chorus that follows it.

The chorus is now repeated twice, the orchestral arrangement altering once again from the choruses previously heard.  Various additional elements are heard here, including an accordion, George Martin’s barrel-house piano playing, backing vocals from Paul and George, and more fluid bass work from McCartney.  The last chorus is noteworthy for featuring Paul’s “all together now” in the second measure and “everybody” in the fourth measure.  The strings climax in the fifth through eighth measures by playing ascending triplet patterns until they reach their highest pitch in the eighth measure which is then played with a swing beat into the first four measures of the conclusion.

This conclusion consists of 30 measures in the common stereo version and 34 measures in the mono version.  Vocally, this conclusion consists of John repeating “love is all you need” with a prerecorded John, Paul and George harmonizing the same line afterwards continually in a ‘row, row, row your boat’ fashion.  This vocalization continues this way until the twelfth measure, Paul yelling “woo-hoo” in the eleventh measure which encourages John to reply “yee-hay!”  The prerecorded harmony vocals of John, Paul and George continue through the rest of the song but, with John’s solo vocals abandoned, it allows him to adlib whatever came to mind, singing “Yesterday” in the 14th measure and shouting “Woah!” in the 15th measure.  Paul shouts “Oh yeah” in the 17th and 18th measures which prompts John to sing “She loves you, yeah, yeah, yeah” twice within measures 19 and 22.  Paul yells “woo-hoo” both in measures 24 and 25 and an “ah” in measure 26, after which we hear some indecipherable mumblings until the song fades away.

Orchestral insertions in the conclusion consist of David Mason playing Bach’s “Brandenburg Concerto” in measures five through eight, tenor saxophonists playing the introduction to “In The Mood” in measures nine and ten and then again in measures twelve and thirteen. The strings play “Greensleeves” for the first time in measures 15 through 20, which is quickly followed by David Mason’s repeat of “Brandenburg Concerto” in measures 20 through 24. Then comes “In The Mood” two more times in measures 24 and 25 and then 27 and 28. Then, as heard in the mono mix, “Greensleeves” is repeated through measures 29 through 34 until the recording finally fades away.

As was usually the case, John puts in a stellar performance for one of his own compositions, propelling the proceedings with his harpsichord work from the rhythm track.  His vocal work is performed with great aplomb and his tambourine is simple but nicely done.  We can’t exactly say the same thing for his banjo playing since it’s buried too far in the mix.  Paul’s bowed double-bass isn’t very discernible either, but his bass guitar is proficiently performed as is his backing vocals.  George’s nerves brought out a suitable live guitar solo for the recording and even his violin playing wasn’t too bad. Ringo’s role may have been rudimentary but his overdubbed snare roll worked very nicely.  George Martin’s piano work in the final choruses are up to his usual high standards and are placed suitably low in the mix as not to detract from the simple message of the song.  Coming off of the extravagant production of the “Sgt. Pepper” album, they still knew how to pull out all the stops to create a full and impressive arrangement to define the “summer of love” mentality of 1967.

US picture sleeve.

American Releases

America had to wait a little over three weeks from the “Our World” broadcast to be able to purchase the “All You Need Is Love” single, which was released on July 17th, 1967.  It only took five weeks on the Billboard charts to reach the #1 spot.  Even though it only stayed at the summit for a single week (toppled by “Ode To Bille Joe” by Bobbie Gentry), it stayed in the top three of the singles chart for an impressive five weeks.  Probably because of this being a rushed release, the single’s b-side “Baby You’re A Rich Man” was given a lower suffix numbe, resulting in “All You Need Is Love” being placed on the “sliced apple” b-side when the single was re-released in the 70’s.

The song appeared on an American album for the first time only a few months later, on November 27th, 1967, on the Capitol concocted release “Magical Mystery Tour.”  Since a stereo mix of the song didn’t exist at this time, the stereo copies of this album included a fake-stereo mix that separated the bass and treble frequencies.  This album was first released on compact disc (now with the true stereo mix) on September 21st, 1987 and then on a remastered re-release on September 9th, 2009.

January 13th, 1969, was the next release of the song on the soundtrack album to the movie “Yellow Submarine.”  This album featured the newly created stereo mix which was noticeably shorter than the version we all were used to hearing before this time.  The first compact disc version of this album was released on October 25th, 1987 and then in a remastered condition on September 9th, 2009.

April 2nd, 1973, saw the release of the first official set of “greatest hits” packages by The Beatles, “All You Need Is Love” being contained on “The Beatles/1967-1970” (aka “The Blue Album”).  This album first appeared on compact disc on September 20th, 1993 and then as a remastered set on August 10th, 2010.

The next release of the song was on October 15th, 1982 on the single album “20 Greatest Hits.”  Then in February of 1994, Capitol Cema re-released the single on pink vinyl as a “for jukebox only” 45.  Then came the newly mixed version of the song as released on the album “Yellow Submarine Songtrack,” which was released on September 13th, 1999.  This was followed by the November 14th, 2000 release of the album “Beatles 1,”  “All You Need Is Love” earning its spot here because of its topping the charts in both Britain and America. This album was released in a remastered condition in September of 2011, and then as a remixed album on November 6th, 2015.

Next came the album “Love,” released on November 21st, 2006, which featured a newly created mash-up mix of the song featuring elements of many other Beatles songs during its conclusion (as described above).  And if die-hard fans felt that the original lengthened mono mix of “All You Need Is Love” had gotten lost in the shuffle, the box set “The Beatles In Mono” rectified the situation, this set being released on September 9th, 2009.

Live Performances

Even though The Beatles retired from live performances in the end of the summer of 1966, their June 25th, 1967 “Our World” broadcast of “All You Need Is Love” (as detailed above) is the nearest to a live show the group put on in nearly a year.  Some may also point to the song’s inclusion in the 1968 animated film “Yellow Submarine” as a performance of sorts, and therefore it is also acknowledged here as well.

Surprisingly, Paul McCartney decided to include a medley of two Beatles songs with a similar lyrical theme, both considered Lennon staples, on his lengthy “On The Run” tour.  Paul and his band performed the entire song “The Word” and then finished it off with a three-time repeated chorus of “All You Need Is Love,” complete with his ad-libs “all together now,” “everybody” and a full fledged Beatle harmonized “she loves you, yeah, yeah, yeah” to end the performance.  This obviously brought the house down in all the venues he decided to perform this at, which included most of the European leg of the tour, spanning from November 26th, 2011 (Bologna, Italy) to March 28th, 2012 (Antwerp, Belgium).  For some reason, Paul decided not to perform this medley in North America, South America or Asia.

Conclusion

“Well, I’m really glad that most of the songs dealt with love, peace, understanding…You know, it really did.  If you look back there’s hardly any of ’em that says, ‘Go on, kes, tell ’em all to sod off, leave your parents.’  It’s all very, ‘All You Need Is Love,’ John’s ‘Give Peace A Chance.’  There’s a very good spirit behind it all.”

This quote from Paul McCartney during the interviews from the Anthology documentary sums up nicely how the song “All You Need Is Love” was viewed by the group as the overall message The Beatles were trying to convey to the world. They weren’t trying to subvert the morals of young minds in the sixties, as many thought. They were just being themselves, artistically expressing their honest thoughts and/or beliefs at any given time.  George described the song as “a kind of subtle bit of PR for God, basically.”

While the sentiments of “All You Need Is Love” weren’t overtly political, the message can easily be interpreted as a salve for any unrest of any age if all the complications could somehow be stripped away.  It reveals the underlying truth that inner peace needs to be attained first for each one of us individually before a bigger universal picture can emerge.  “You can learn to be YOU in time,” John sings, instead of being who you are conditioned to be from your societal and/or religious upbringing onward.  It may appear to be a herculean task to accomplish this but, promises John, “It’s easy!”  And, once this is done on an individual basis, our united focus on true unadulterated “love” can accomplish anything.

“I still believe ‘All You Need Is Love,’ you know,” John related many years later, “but I don’t believe that just saying it is gonna do it.  You know, I mean, I still believe in the fact that love is what we all need.”

Song Summary

All You Need Is Love

Written by: John Lennon / Paul McCartney

  • Song Written: June, 1967 
  • Song Recorded: June 14, 19, 23, 24, 25, 1967
  • First US Release Date: July 17, 1967
  • US Single Release: Capitol #5964
  • Highest Chart Position: #1 (1 week)
  • First US Album Release: Capitol #SMAL-2835 “Magical Mystery Tour
  • British Album Release: Apple #PCS7070 “Yellow Submarine”
  • Length: 3:57 (mono) 3:48 (stereo)
  • Key: G major
  • Producer: George Martin
  • Engineers: Geoff Emerick, Eddie Kramer, Richard Lush, George Chkiantz, Martin Benge

Instrumentation (most likely):

  • John Lennon – Lead and Backing Vocals, Harpsichord, Banjo, tambourine
  • Paul McCartney – Bass (1964 Rickenbacker 4001 S), Double-bass, backing vocals
  • George Harrison – Violin, Guitar (1961 Sonic Blue Fender Stratocaster, painted psychedelic), backing vocals
  • Ringo Starr – Drums (1964 Ludwig Super Classic Black Oyster Pearl)
  • George Martin – Piano (Hamburg Steinway Baby Grand)
  • Sidney Sax – Voilin
  • Patrick Halling – Violin
  • Eric Bowie – Violin
  • Jack Holmes – Violin
  • Rex Morris – Tenor Saxophone
  • Don Honeywill – Tenor Saxophone
  • Evan Watkins – Trombone
  • Harry Spain – Trombone
  • Jack Emblow – Accordion
  • Stanley Woods – Trumpet, Flugelhorn
  • David Mason – Piccolo Trumpet
  • Keith Moon – Percussion 
  • Assorted Guests – Handclaps

How Should We then Live Episode 7 

Artist featured today is  Shirazeh Houshiary

Contemporary Christian Art – The Rt Revd Lord Harries of Pentregarth

 

 

Published on Apr 10, 2012

Contrary to much opinion, the current scene of faith-related art is very much alive. There are new commissions for churches and cathedrals, a number of artists pursue their work on the basis of a deeply convinced faith, and other artists often resonate with traditional Christian themes, albeit in a highly untraditional way. The challenge for the artist, stated in the introduction to the course of lectures above, is still very much there: how to retain artistic integrity whilst doing justice to received themes.

This lecture is part of Lord Harries’ series on ‘Christian Faith and Modern Art’. The last century has seen changes in artistic style that have been both rapid and radical. This has presented a particular problem to artists who have wished to express Christian themes.

The transcript and downloadable versions of the lecture are available from the Gresham College website:
http://www.gresham.ac.uk/lectures-and…

Gresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website.
http://www.gresham.ac.uk

SHIRAZEH HOUSHIARY: ‘LIKE THE DARK SENSES BEING REVEALED’

 

BY Elizabeth Fullerton POSTED 05/22/13 7:00 AM

Mystical and metaphysical, Shirazeh Houshiary’s sculptures, paintings, and animations explore the very nature of existence

143  39  2  1815

Shirazeh Houshiary. “I don’t want to fit into any category,” she says. “I want to be an individual.”

SHANNON OKSANEN/COURTESY THE ARTIST AND LEHMANN MAUPIN, NEW YORK AND HONG KONG

With light streaming in through large skylights and classical music filling the space under the vaulted roof, the Iranian-born artist Shirazeh Houshiary’s immaculate white London studio feels more like a chapel than an artist’s workspace. Entering the building, the visitor has the sense of stepping out of time. It is a fitting setting for an artist whose paintings, sculptures, and animations are profoundly meditative and concerned with the metaphysical.

This ambience derives partly from Houshiary’s own quiet composure and partly from the nature of her work. “I’m trying to really get beyond what we experience with the three-dimensional senses we have, because we see the world in a limited way. Much of reality is what we don’t see,” says the artist, who was born in Iran and came to Britain in 1974.Houshiary, 58, does not practice any religion and dislikes such labels as “transcendental,” yet her work has an undeniably spiritual quality, overtly so with installations such as Breath, a white glazed-brick tower emitting chants from four religions that was erected in Battery Park in Manhattan in 2004, and her 2008 East Window for St. Martin-in-the-Fields church in Trafalgar Square in London.Despite these prominent projects and her participation in a steady stream of international exhibitions, Houshiary has a low public profile. This too may have to do with the nature of her output. “Shirazeh’s work has a quiet power to attract contemplation—it’s slow burn,” says Vivien Lovell, director of the art consultancy Modus Operandi, which organized the commission for East Window and the altar of St. Martin-in-the-Fields, both awarded to Houshiary and her British architect husband, Pip Horne.

Houshiary and Horne’s window for St. Martin-in-the Fields, London, 2008.

DAVE MORGAN/COURTESY LEHMANN MAUPIN, NEW YORK AND HONG KONG

On the walls of the upper floor of the studio hang two recently completed canvases in mottled purples, radiant whites, blues, and black, destined for her solo show in November at Lehmann Maupin Gallery in New York. Poetic and primeval, these works at once suggest exploding galaxies in vast swirling cosmic spaces and the ribbed contours of minute cellular structures—like satellite pictures of tumultuous weather patterns or microscopic images of skin tissue.

One canvas, titled Dark Senses, in dusty purple on black, is bisected by a vaporous trail of handprints, marking a departure for the artist—an attempt to capture the elusive quality of human presence through physical touch. “It is almost like some hand mark that is really touching something very distant like the universe, like the dark senses being revealed,” says Houshiary.Creating the paintings is an act that involves the artist’s whole body, as she moves around within the reinforced canvas on the floor, overlaying several coats of pigment, on top of which she traces an intricate filigree in pencil. The combination produces a smoky, layered effect that gives the illusion of dimensions beyond the flat picture plane.For the past 20 years, she has been weaving a silvery web across all her paintings. It is made up of two words in Arabic repeated thousands of times: “I am” and “I am not.” Crushed together, so minuscule as to be indecipherable, the words embody the duality of existence in the same way as the yin and the yang. “It’s the overlapping of the two words, being and not being, life and death,” explains Houshiary. “It’s not about meaning. The relationship between the absence and presence is unknowable and leads to infinite possibility.”The paintings take two to six months to create—perhaps another reason for Houshiary’s low public profile. “You’re aware when you see the work of the amount of time that’s put into each one and that’s given back to you when you’re looking at it; the mark making almost denotes time,” says Jenni Lomax, director of the Camden Arts Centre, which gave Houshiary a solo show in 1993.Finished paintings are shipped only at the last possible moment, because Houshiary likes to live with them and learn from them. “They have their own presence and they teach me a lot,” she says.Nominated for the Turner Prize in 1994, Houshiary began her career as a sculptor and came later to painting and multimedia installation. In the 1980s, she was linked to the so-called New British Sculptors such as Anish Kapoor, Richard Deacon, and Tony Cragg, but unlike many of them, Houshiary has eschewed the limelight.Collected by museums ranging from Tate, the Museum of Modern Art, and the Guggenheim, she has taken part in major group shows worldwide and had numerous solo exhibitions at the Lisson Gallery in London and Lehmann Maupin in New York, which both represent her, and where her paintings go for $30,000 to $300,000, sculptures $150,000 to $500,000, and animations $50,000 to $250,000. But she has yet to have a retrospective at a big-name institution.Despite the fashion for identity politics among some curators, Houshiary refuses to ally herself with any ethnic group. While her textual patterns have been compared to Arabic calligraphy and her ritualistic creative process has been seen as an embodiment of Sufism, the mystical strand of Islam, she is fiercely resistant to attempts to classify her art and is careful about the shows in which she takes part.Indeed, the only time a flash of anger ruffles her calm demeanor during several hours in the studio is when she talks about Tate’s interpretation of her work Veil (which the museum owns) as a reference to the chador, the all-enveloping black robe worn by many Muslim women. “That’s all they can see of the people who come from the Middle East—they have to be oppressed,” she says. “I don’t want to fit into any category. I want to be an individual, with a mind and ideas, who can connect to the bigger picture of who we are as human beings.”Born in Shiraz in 1955, Houshiary went to school and university in Iran. Even in her native country, she says, she felt like an outsider, wanting no part of the brewing revolution that erupted in 1979, five years after she moved to England to study at the Chelsea School of Art. She has returned to Iran only twice; the lack of democracy, in politics and in the home, depresses her.“I don’t want to deny my roots. My Persian heritage is definitely there,” she says. “It’s not something I need to defend or fight for. It’s just there.” But she feels more connection with her adopted country than with her homeland.She has been with her English husband since they met as students in the 1970s. They share the studio in the leafy West London suburb of Barnes, walking there from home every day along the Thames, far from the industrial east where most of London’s artists live.The studio, designed by Horne, reflects the scope of Houshiary’s activities, with the upper loft space dedicated to painting, the ground floor to sculpture, and the basement to animation. In the entire building, virtually the only traces of her roots are a pair of Persian slippers and a book on the Sufi mystic poet Rumi, nestled in her crowded shelves among scientific tomes by Stephen Hawking, poetry by Keats and Rilke, and numerous books on art, with subjects ranging from Kazimir Malevich andBarnett Newman to Velázquez. On the floor of the studio, more books—on Leonardo da Vinci, Piero della Francesca, and Francisco de Zurbarán—lie open or in piles alongside computerized sketches for sculptures in coral, rust, and turquoise.The art historian Mel Gooding sees a strong resonance in Houshiary’s abstract painting and sculpture in terms of rhythm, structure, and color with the works of many Renaissance masters, despite their predominantly religious subject matter.“I was aware with Antonello da Messina and Fra Angelico especially that she was clearly looking, as she does all the time, at the Western European tradition of painting,” Gooding says. “We are not talking about any kind of Christian imagery, we’re talking about a set of formal ideas that has to do with an art that seeks revelation rather than description.”The concept of the veil is in fact fundamental to Houshiary’s work, but it has nothing to do with Islam, women, oppression, or Christian marriage ceremonies. Veils, shrouds, and membranes are a recurring motif; for her, the veil is the skin separating the human interior and exterior, and it is also a metaphor for perception, representing a barrier that needs to be broken through for us to achieve awareness of our being.“My recent work has had a lot of quality of rupture and piercing and chasm, so it’s like a quest to go beyond the veil that stops us seeing through,” Houshiary says, pointing to her painting Chasm, due to appear in November at Lehmann Maupin, with a milky spatial mist over a black background punctured with intense blue gashes that draw in the viewer.

Chasm, 2012, expresses “a quest to go beyond the veil.”

DAVE MORGAN/©SHIRAZEH HOUSHIARY/COURTESY LEHMANN MAUPIN, NEW YORK AND HONG KONG

If her work prompts analogies with science as well as metaphysics, it’s no accident; she is deeply interested in quantum physics and intrigued by the uncertain nature of existence. “The universe is in a process of disintegration, everything is in a state of erosion, and yet we try to stabilize it,” she says. “This tension fascinates me and it’s at the core of my work.”

Moving from her painting area down to the ground floor, Houshiary points to a pink tower sculpture of anodized aluminium bricks titled Sheer, whose hard, spiraling surface shimmers and ripples, suggesting—in an apparent trick of alchemy—a soft veil twisting in the wind. Whereas her early towers were grand symmetrical columns, these latest versions have been distorted and shrunk down to chest height as a way of exploring her other central theme, life’s intrinsic polarity.“It is as if the same object is constructed and collapsed simultaneously, and actually these works are really about the space inside,” Houshiary says, her hands running over the smooth bricks. “By stretching, by pulling, just like a veil, you’re trying to transcend the three-dimensional space, similar to what I do in my painting.” Three of these sculptures are being made in colored glass bricks for the exhibition “Glasstress” at the Venice Biennale this year, a further step in her desire to transform concrete matter into something floating and fragile.The next stage will be to stretch the sculptures so that they eventually tear, but she and Horne, who helps with architectural quandaries, still have to find a way to make that work.The themes of the duality of existence and its ephemeral nature have found a powerful expression in Houshiary’s animations. Passing downstairs to the studio basement, she dims the lights and plays her piece Breath, a variation on her Battery Park installation, which is owned by both the Museum of Modern Art and the Guggenheim. Four vocalists simultaneously chant Jewish, Christian, Buddhist, and Islamic prayers while their breath is visualized on four video screens. Encapsulating the essence of being in the idea of exhalation and inhalation, the faint imprint expands and contracts on the screens like breath on glass with the ebb and flow of the voices.Houshiary points out the harmonious flow between the different cadences, almost like an audio version of what peaceful coexistence among races and religions could be. “I think it’s a very important work for me; it really says a lot about who we are,” she says as the chants fill the surrounding darkness.Houshiary has made several variations of the work, one of which was for her Battery Park installation, commissioned by the nonprofit Creative Time. Another is being shown at the Venice Biennale in a 22-foot-high tower, aimed at immersing the viewer in the multisensory experience.

Breath II, Houshiary and Horne’s installation in Battery Park, New York, 2004.

CHARLie.SAMUELS.COM/COURTESY LEHMANN MAUPIN, NEW YORK AND HONG KONG

David Toop, a musician, sound curator, and author of several books on the history of sound, draws parallels between Houshiary’s “desire to capture what is not tangible, what is invisible” and the music of John Cage, in which silence, or lack of music, is as important as the notes.

“There’s a kind of field there of almost nothingness seething with life,” Toop says. “That’s what I feel about silence. It’s not a blankness; there’s a different level of perception, so it demands a certain kind of attunement to fully engage with it.”Back in her upper loft, where music vibrates through the space eclipsing the drone of airplanes from nearby Heathrow, the only sign of time passing is the changing light on Houshiary’s canvases.“I love this light in England; it’s very bleary and hazy. There’s no edge to things,” she says. “I don”t like a harsh, definable light like they have where I come from.” Unsurprisingly for an artist who is unconfined by boundaries, she finds Turner and Monet liberating in the way they make objects dissolve into the atmosphere.“Its somewhere between seeing and not seeing. The perception is free to move between the two rather than to be fixed,” she says. “Perhaps that’s why I like this veiled light.”Elizabeth Fullerton is a London-based freelance writer and a former foreign correspondent for Reuters.

Shirazeh Houshiary

From Wikipedia, the free encyclopedia

 

 

 

The new East window of St Martin’s in the Fields church by Shirazeh Houshiary

Shirazeh Houshiary (born Shiraz 15 January 1955) is an Iranian installation artist and sculptor. She is a former Turner Prize nominee, and lives and works in London.

Life and work[edit]

Shirazeh Houshiary left her native country of Iran in 1973. She attended Chelsea School of Art, London (1976–9) and was a Cardiff College of Art junior fellow at (1979–80).

Houshiary was identified with other young sculptors of her generation such as Richard Deacon and Anish Kapoor, but her work was distinct from theirs in the strong Persian influence which it displayed, though sharing with Kapoor a spiritual concern. Her ideology draws on Sufi mystical doctrine and Jalal ad-Din Muhammad Rumi, a Persian mystic and poet from the 13th century.[1]

She was a nominee for the 1994 Turner Prize. In 2008, the St Martin-in-the-Fields Church in London unveiled a commission by Shirazeh Houshiary and Pip Horne for the East Window.[2]Houshiary’s work is included in numerous public and private collections including the Museum of Modern Art, New York and The Tate Collection, London. In 2005, Creative Timecommissioned Houshiary and Pip Horne for their Creative Time Art on the Plaza series where the monumental Breath tower was exhibited in New York City. Her work was also included in Feri Daftari’s exhibition Without Boundary: Seventeen Ways of Looking at the Museum of Modern Art in 2006 and the 17th Biennale of Sydney in 2010.[3]

In 2005 (Veil)[4] and 2008 (Shroud),[5] Houshiary worked with animator Mark Hatchard of Hotbox Studios to create animations for gallery installations at the Lehmann Maupin Gallery in New York and the Lisson Gallery in London.[6]

Notes and references[edit]

  1. Jump up^ “Biography” tate.org.uk. Accessed September 13, 2006
  2. Jump up^ Glancey, Jonathan, The Guardian, 25 April 2008
  3. Jump up^ “Shirazeh Houshiary” 17th Biennale of Sydney. 2010.
  4. Jump up^ “Veil preview” Oneartworld.com. Accessed 2010
  5. Jump up^ “Shroud Preview” ArtFacts.net. Accessed 2010
  6. Jump up^ “Shirazeh Houshiary interview”. Aesthetica. 2008

External links[edit]

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Shirazeh Houshiary, b.1955

East Window in St Martin in the Fields 2007,

Caro’s religious work is not purely abstract. At the least it hints at the representational, as have nearly all the artists we have considered in previous lectures. This is for fundamental reasons because Christianity is committed to the fact that the Divine Word became flesh, the invisible was made manifest. But even more abstract art can work in some contexts, as we saw in the case of the Ceri Richards with his Sacrament Chapel in Liverpool’s Roman Catholic Cathedral. Amongst contemporary work in this genre I single out Shirazeh Houshiary, who born in Shiraz, but has lived and worked in UK since 1976. She trained at the ChelseaCollege of Art and has work in many major collections round the world. Her work draws on Sufi spirituality, particularly Persian mysticism.

 

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Shirazeh Houshiary

Shirazeh Houshiary (b. 1955, Iran) moved to London in the early 1970’s and graduated from the Chelsea School of Art in 1979, emerging with a group of artists that included Anish Kapoor and Richard Deacon. Houshiary is well known for her sculptures in which she investigates spiritual principles and abstract forms. In her first solo exhibition in New York, presented at Lehmann Maupin Gallery in 1999, she exhibited a series of paintings that explored her interest in Sufism and the 13th Century mystic poet Jalal al-Din Rumi. The calligraphy was implemented in graphite and repeatedly laced into the luminous surfaces.  In her labor-intensive paintings she unites the word and the canvas into a meditative visual experience, which results in work that is about presence and experience.
Houshiary, who was a Turner Prize nominee in 1994, has had solo and group exhibitions at the Camden Arts Centre, London (1993); SITE Santa Fe, New Mexico (2002); Tate Liverpool (2003); the Museum of Modern Art, New York (2007); RISD Museum, Providence (2011); and the Royal Academy of Arts, London (2012), among others. The artist was included in the 17th Biennale of Sydney in 2010 and the 2012 Kiev Biennale, Ukraine.
Houshiary’s work is in prestigious public collections including the British Council Collection, London; The Metropolitan Museum of Art, New York; Museum of Contemporary Art, Prato; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; and Tate Modern, London, among others. The artist currently lives and works in London, England. 

[1] Pamela Tudor Craig (Lady Wedgewood) Icons of the Invisible God; Selected sculptures of Peter Eugene Ball, Chevron, 1999, p.8

[2] A very positive response to the work was given in an article by Tom Devonshire Jones in the “Church Times, 14, October, 2008

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WOODY WEDNESDAY “My Speech to the Graduates” by Woody Allen, First published in the New York Times in 1979

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   My Speech to the Graduates  

                                     by Woody Allen

                               First published in the New York Times in 1979

 

More than at any other time in history, mankind faces a crossroads. One path leads to despair and utter hopelessness. The other, to total extinction. Let us pray we have the wisdom to choose correctly.

I speak, by the way, not with any sense of futility, but with a panicky conviction of the absolute meaninglessness of existence which could easily be misinterpreted as pessimism.


It is not. It is merely a healthy concern for the predicament of modern man. (Modern man is here defined as any person born after Nietzsche’s edict that “God is dead,” but before the hit recording “I Wanna Hold Your Hand.”) This “predicament” can be stated one of two ways, though certain linguistic philosophers prefer to reduce it to a mathematical equation where it can be easily solved and even carried around in the wallet.

Put in its simplest form, the problem is: How is it possible to find meaning in a finite world given my waist and shirt size?

This is a very difficult question when we realize that science has failed us. True, it has conquered many diseases, broken the genetic code, and even placed human beings on the Moon, and yet when a man of eighty is in a room with two eighteen-year-old cocktail waitresses nothing happens. Because the real problems never change.

After all, can the human soul be glimpsed through a microscope? Maybe–but you’d definitely need one of those very good ones with two eyepieces. We know that the most advanced computer in the world does not have a brain as sophisticated as that of an ant. True, we could say that of any of our relatives but we only have to put up with them at weddings or special occasions.

Science is something we depend on all the time. If I develop a pain in the chest I must take an X-ray. But what if the radiation from the X-ray causes me deeper problems? Before I know it, I’m going in for surgery. Naturally, while they’re giving me oxygen an intern decides to light up a cigarette. The next thing you know I’m rocketing over the World Trade Center in bed clothes. Is this science?

True, science has taught us how to pasteurize cheese. And true, this can be fun in mixed company–but what of the H-bomb? Have you ever seen what happens when one of those things falls off a desk accidentally?

And where is science when one ponders the eternal riddles? How did the cosmos originate? How long has it been around? Did matter begin with an explosion or by the word of God?
And if by the latter, could He not have begun it just two weeks earlier to take advantage of some of the warmer weather? Exactly what do we mean when we say, man is mortal? Obviously it’s not a compliment.

Religion too has unfortunately let us down. Miguel de Unamuno writes blithely of the “eternal persistence of consciousness,” but this is no easy feat. Particularly when reading Thackeray. I often think how comforting life must have been for early man because he believed in a powerful, benevolent Creator who looked after all things. Imagine his disappointment when he saw his wife putting on weight.

Contemporary man, of course, has no such peace of mind. He finds himself in the midst of a crisis of faith. He is what we fashionably call “alienated.” He has seen the ravages of war, he has known natural catastrophes, he has been to singles bars.

My good friend Jacques Monod spoke often of the randomness of the cosmos. He believed everything in existence occurred by pure chance with the possible exception of his breakfast, which he felt certain was made by his housekeeper.

Naturally belief in a divine intelligence inspires tranquility. But this does not free us from our human responsibilities. Am I my brother’s keeper? Yes. Interestingly, in my case I share that honor with the Prospect Park Zoo.

Feeling godless then, what we have done is made technology God. And yet can technology really be the answer when a brand new Buick, driven by my close associate, Nat Zipsky, winds up in the window of Chicken Delight causing hundreds of customers to scatter?

My toaster has never once worked properly in four years. I follow the instructions and push two slices of bread down in the slots and seconds later they rifle upward. Once they broke the nose of a woman I loved very dearly. Are we counting on nuts and bolts and electricity to solve our problems?

Yes, the telephone is a good thing–and the refrigerator–and the air conditioner. But not every air conditioner. Not my sister Henny’s, for instance. Hers makes a loud noise and still doesn’t cool. When the man comes over to fix it, it gets worse. Either that or he tells her she needs a new one. When she complains, he says not to bother him. This man is truly alienated. Not only is he alienated but he can’t stop smiling.

The trouble is, our leaders have not adequately prepared us for a mechanized society. Unfortunately our politicians are either incompetent or corrupt. Sometimes both on the same day. The Government is unresponsive to the needs of the little man. Under five-seven, it is impossible to get your Congressman on the phone. I am not denying that democracy is still the finest form of government. In a democracy at least, civil liberties are upheld. No citizen can be wantonly tortured, imprisoned, or made to sit through certain Broadway shows.

And yet this is a far cry from what goes on in the Soviet Union. Under their form of totalitarianism, a person merely caught whistling is sentenced to thirty years in a labor camp. If, after fifteen years, he still will not stop whistling, they shoot him.

Along with this brutal fascism we find its handmaiden, terrorism. At no other time in history has man been so afraid to cut into his veal chop for fear that it will explode. Violence breeds more violence and it is predicted that by 1990 kidnapping will be the dominant mode of social interaction.

Overpopulation will exacerbate problems to the breaking point. Figures tell us there are already more people on earth than we need to move even the heaviest piano. If we do not call a halt to breeding, by the year 2000 there will be no room to serve dinner unless one is willing to set the table on the heads of strangers. Then they must not move for an hour while we eat. Of course energy will be in short supply and each car owner will be allowed only enough gasoline to back up a few inches.

Instead of facing these challenges we turn instead to distractions like drugs and sex. We live in far too permissive a society. Never before has pornography been this rampant. And those films are lit so badly!

We are a people who lack defined goals. We have never leaned to love. We lack leaders and coherent programs. We have no spiritual center. We are adrift alone in the cosmos wreaking monstrous violence on one another out of frustration and pain. Fortunately, we have not lost our sense of proportion.

Summing up, it is clear the future holds great opportunities. It also holds pitfalls. The trick will be to avoid the pitfalls, seize the opportunities, and get back home by six o’clock.

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RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 126 Christian de Duve, Nobel Prize-winning Belgian cytologist and biochemist, “There is a complete disassociation between the dogma and belief and the way we scientists approach the search for truth.” (Post includes portion of my 5-15-94 letter to him)

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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

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

Arif AhmedHaroon Ahmed,  Jim Al-Khalili, Sir David AttenboroughMark Balaguer, Horace Barlow, Michael BateSir Patrick BatesonSimon Blackburn, Colin Blakemore, Ned BlockPascal BoyerPatricia ChurchlandAaron CiechanoverNoam Chomsky, Brian CoxPartha Dasgupta,  Alan Dershowitz, Frank DrakeHubert Dreyfus, John DunnBart Ehrman, Mark ElvinRichard Ernst, Stephan Feuchtwang, Robert FoleyDavid Friend,  Riccardo GiacconiIvar Giaever , Roy GlauberRebecca GoldsteinDavid J. Gross,  Brian Greene, Susan GreenfieldStephen F Gudeman,  Alan Guth, Jonathan HaidtTheodor W. Hänsch, Brian Harrison,  Stephen HawkingHermann Hauser, Robert HindeRoald Hoffmann,  Bruce HoodGerard ‘t HooftCaroline HumphreyNicholas Humphrey,  Herbert Huppert,  Gareth Stedman Jones, Steve JonesShelly KaganMichio Kaku,  Stuart KauffmanMasatoshi Koshiba,  Lawrence KraussHarry Kroto, George Lakoff,  Rodolfo LlinasElizabeth Loftus,  Alan MacfarlaneDan McKenzie,  Mahzarin BanajiPeter MillicanMarvin MinskyLeonard Mlodinow,  P.Z.Myers,   Yujin NagasawaAlva NoeDouglas Osheroff, David Parkin,  Jonathan Parry, Roger Penrose,  Saul PerlmutterHerman Philipse,  Carolyn PorcoRobert M. PriceVS RamachandranLisa RandallLord Martin ReesColin RenfrewAlison Richard,  C.J. van Rijsbergen,  Oliver Sacks, John SearleMarcus du SautoySimon SchafferJ. L. Schellenberg,   Lee Silver Peter Singer,  Walter Sinnott-ArmstrongRonald de Sousa, Victor StengerJohn SulstonBarry Supple,   Leonard Susskind, Raymond TallisMax TegmarkNeil deGrasse Tyson,  Martinus J. G. Veltman, Craig Venter.Alexander Vilenkin, Sir John Walker, James D. WatsonFrank WilczekSteven Weinberg, and  Lewis Wolpert,

Origin, Evolution, and the Future of Life on Earth

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Ultimate Reality of Christian de Duve

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The Origin, Evolution & Future of Life (H1150) – Full Video

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Christian de Duve

From Wikipedia, the free encyclopedia
Christian de Duve
Christian de Duve.tif

de Duve lecturing on the origin of the eukaryotic cell in October 2012
Born Christian René Marie Joseph de Duve
2 October 1917
Thames Ditton, Surrey, Great Britain
Died 4 May 2013 (aged 95)
Grez-Doiceau, Belgium
Residence Belgium
Citizenship Belgian
Nationality Belgium
Fields
Institutions
Alma mater
  • Onze-Lieve-Vrouwecollege
  • Catholic University of Leuven
Known for Cell organelles
Notable awards
Spouse Janine Herman (m. 1943; d. 2008)
Children
  • Two sons, two daughters:
  • Thierry de Duve
  • Alain de Duve
  • Anne de Duve
  • Françoise de Duve

Dutch Queen Beatrix meets 5 Nobel Prize winners: Paul Berg, Christian de Duve, Steven Weinberg, Manfred Eigen, Nicolaas Bloembergen (1983)

Christian René Marie Joseph, Viscount de Duve (2 October 1917 – 4 May 2013) was a Nobel Prize-winning Belgian cytologist and biochemist.[2][3] He made serendipitous discoveries of two cell organelles, peroxisome and lysosome, for which he shared the Nobel Prize in Physiology or Medicine in 1974 with Albert Claude and George E. Palade (“for their discoveries concerning the structural and functional organization of the cell”).[4] In addition to peroxisome and lysosome, he invented the scientific names such as autophagy, endocytosis, and exocytosis in a single occasion.[5][6][7][8][9]

A son of Belgian refugees during the First World War, de Duve was born in Thames Ditton, Surrey, Great Britain.[10] His family returned to Belgium in 1920. He was educated by the Jesuits at Onze-Lieve-Vrouwinstituut in Antwerp, and studied medicine at the Catholic University of Leuven. Upon earning his MD in 1941, he joined research in chemistry, working on insulin and its role in diabetes mellitus. His thesis earned him the highest university degree agrégation de l’enseignement supérieur (equivalent to PhD) in 1945. With his work on the purification of penicillin, he obtained an MSc degree in 1946. He went for further training under (later Nobel Prize winners) Hugo Theorell at the Karolinska Institutet in Stockholm, and Carl and Gerti Cori at the Washington University in St. Louis. He joined the faculty of medicine at Leuven in 1947. In 1960 he was invited to the Rockfeller Institute (now Rockefeller University). With mutual arrangement with Leuven, he became professor in both universities from 1962, dividing his time between Leuven and New York. He became emeritus professor of Leuven university in 1985, and of Rockefeller in 1988.

De Duve was decorated with Viscount in 1989 by King Baudouin of Belgium. He was also a recipient of Francqui Prize, Gairdner Foundation International Award, Heineken Prize, and E. B. Wilson Medal. In 1974 he founded the International Institute of Cellular and Molecular Pathology in Brussels, eventually renamed the de Duve Institute in 2005. He was the founding President of the L’Oréal-UNESCO Awards for Women in Science.[11]

He died on 4 May (Saturday) 2013 by self-induced euthanasia in the presence of all of his children.[12]

Early life and education[edit]

De Duve was born of a shopkeeper Alphonse de Duve and wife Madeleine Pungs in the village of Thames Ditton, near London. His parents fled Belgium at the outbreak of the First World War. After the war in 1920, at age three, he and his family returned to Belgium. He was a precocious boy, always the best student (primus perpetuus as he recalled) in school, except for one year when he was pronounced “out of competition” to give chance to other students.[2] He was educated by the Jesuits at Onze-Lieve-Vrouwinstituut in Antwerp, before studying at the Catholic University of Leuven in 1934.[13] He wanted to specialize in endocrinology and joined the laboratory of the Belgian physiologist Joseph P. Bouckaert. During his last year at medical school in 1940, the Germans invaded Belgium. He was drafted to the Belgian army, and posted in southern France as medical officer. There, he was almost immediately taken as prisoner of war by Germans. But fortunate of his ability to speak fluent German and Flemish, he outwitted his captors and escaped back to Belgium. (The adventure he later described as “more comical than heroic”.)[14] He immediately continued his medical course, and obtained his MD in 1941 from Leuven. His primary research was on insulin and its role in glucose metabolism. He made an initial discovery that a commercial preparation of insulin was contaminated with another pancreatic hormone, the insulin antagonist glucagon. However, laboratory supplies at Leuven were in shortage, he therefore enrolled in a programme to earn a degree in chemistry at the Cancer Institute. His research on insulin was summed up in a 400-page book titled Glucose, Insuline et Diabète (Glucose, Insulin and Diabetes) published in 1945, simultaneously in Brussels and Paris. The book was condensed into a technical dissertation which earned him the most advanced degree at the university level agrégation de l’enseignement supérieur (an equivalent of a doctorate – he called it “a sort of glorified Ph.D.”) in 1945.[14] His thesis was followed by a number of scientific publications.[15] He subsequently obtained MSc in chemistry in 1946, for which he worked on the purification of penicillin.[16][17] To enhance his skill in biochemistry, he trained in the laboratory of Hugo Theorell (who later won The Nobel Prize in Physiology or Medicine in 1955) at the Nobel Medical Institute in Stockholm for 18 months during 1946-1947. In 1947 he received a financial assistance as Rockefeller Foundation fellow and worked for six months with Carl and Gerti Cori‘s at Washington University in St. Louis (the husband and wife were joint winners of The Nobel Prize in Physiology or Medicine in 1947).[18]

Career and research[edit]

In March 1947 de Duve joined the faculty of the medical school of the Catholic University of Leuven teaching physiological chemistry. In 1951 he became full professor. In 1960 Detlev Bronk, the then president of the Rockfeller Institute (what is now Rockefeller University) of New York City, met him at Brussels and offered him professorship and a laboratory. The rector of Leuven, afraid of entirely losing de Duve, made a compromise over dinner that de Duve would still be under part-time appointment with a relief from teaching and conducting examinations. The rector and Bronk made an agreement which would intilally last for five years. The official implementation was in 1962, and de Duve simultaneously headed the research laboratories at Leuven and at Rockefeller University, dividing his time between New York and Leuven.[19] In 1969 the Leuven university was split into two separate universities. He joined the French-speaking side of Université catholique de Louvain. He took emeritus status at Université catholique de Louvain in 1985 and at Rockefeller in 1988, though he continued to conduct research. Among other subjects, he studied the distribution of enzymes in rat liver cells using rate-zonal centrifugation. His work on cell fractionation provided an insight into the function of cell structures. He specialized in subcellular biochemistry and cell biology and discovered new cell organelles.[20][21][22][23][24][25][26][27][28][29][30][31][32][33]

Personal life[edit]

De Duve was brought up as a Roman Catholic. In his later years he tended towards agnosticism, if not strict atheism.[67][68] However, de Duve also thought that “Most biologists, today, tend to see life and mind as cosmic imperatives, written into the very fabric of the universe, rather than as extraordinarily improbable products of chance.[69] “It would be an exaggeration to say I’m not afraid of death,” he explicitly said to a Belgian newspaper Le Soir just a month before his death, “but I’m not afraid of what comes after, because I’m not a believer.”[70][71] He strongly supported biological evolution as a fact, and dismissive of creation science and intelligent design, as explicitly stated in his last book, Genetics of Original Sin: The Impact of Natural Selection on the Future of Humanity. He was among the seventy-eight Nobel laureates in science to endorse the effort to repeal Louisiana Science Education Act of 2008.[72]

De Duve married Janine Herman on 30 September 1943. Together they had had two sons, Thierry and Alain, and two daughters, Anne and Françoise. Janine died in 2008, aged 86.[16]

Death[edit]

De Duve died on 4 May 2013, at his home in Nethen, Belgium, at the age of 95. He decided to end his life by legal euthanasia, performed by two doctors before his four children. He had been long suffering from cancer and atrial fibrillation, and his health problems were exacerbated by a recent fall in his home. He is survived by two sons and two daughters; two brothers, Pierre and Daniel; seven grandchildren; and two great-grandchildren.[73][74][75]

De Duve was cremated as he had willed, and his ashes were distributed among family members and friends.[3]

Awards and honours[edit]

De Duve won the Francqui Prize for Biological and Medical Sciences in 1960, and the Nobel Prize for Physiology or Medicine in 1974. King Baudouin of Belgium honoured him to Viscount in 1989.[16] He was the recipient of the Canada Gairdner International Award in 1967, and the Dr H.P. Heineken Prize for Biochemistry and Biophysics in 1973 from the Royal Netherlands Academy of Arts and Sciences. He was elected a foreign associate of the US National Academy of Sciences in 1975. He won the Harden Medal of the Biochemical Society of Great Britain in 1978; the Theobald Smith Award from the Albany Medical College in 1981; the Jimenez Diaz Award in 1985; the Innovators of Biochemistry Award from Medical College of Virginia in 1986; and the E. B. Wilson Medal from the American Society for Cell Biology in 1989.[76] He was also a member of the Royal Academies of Medicine and the Royal Academy of Sciences, Arts, and of Literature of Belgium; the Pontifical Academy of Sciences of the Vatican; the American Academy of Arts and Sciences; the French National Academy of Medicine; the Academy of Sciences of Paris; the Deutsche Akademie der Naturforscher Leopoldina; the American Philosophical Society. He was elected a Foreign Member of the Royal Society (ForMemRS) in 1988.[1] In addition, he received honorary doctorates from eighteen universities around the world.[18]

Legacy[edit]

De Duve founded a multidisciplinary biomedical research institute at Université catholique de Louvain in 1974, called the International Institute of Cellular and Molecular Pathology (ICP), and later renamed “de Duve Institute.”[77] He remained its president until 1991. On his 80th birthday in 1997 it was renamed the Christian de Duve Institute of Cellular Pathology. In 2005 it was further contracted to simply the de Duve Institute.[78]

De Duve was one of the founding members of the Belgian Society of Biochemistry and Molecular Biology, established on 15 September 1951.[79]

De Duve is remembered as an inventor of important scientific terminology. He coined the word lysosome in 1955, peroxisome in 1966, and autophagy, endocytosis, and exocytosis in one instance at the Ciba Foundation Symposium on Lysosomes held in London during 12–14 February 1963, while he, “was in a word-coining mood.”[21][80]

De Duve’s life, including his work resulting in a Nobel Prize, and his passion for biology is the subject of a documentary film Portrait of a Nobel Prize: Christian de Duve (Portrait de Nobel : Christian de Duve), directed by Aurélie Wijnants. It was first aired on Eurochannel in 2012.[81]

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In  the third video below in the 144th 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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Quote from Christian de Duve in the film series “A Further 50 Renowned Academics Speaking About God (Part 3)” and my response below ( Original interview was in 2005 and was conducted by Harry Kroto at the annual Lindau meeting):

Of course, I fully agree with you and I think with most of my fellow scientists. There is a complete disassociation between the dogma and belief and the way we scientists approach the search for truth.   And so obviously as a scientist and being brought up as a Catholic I could not safely continue accepting the teaching of the church. 

Let me make two observations here.

FIRST, I think a person needs to take time examine the historical accuracy of the Bible. If the Bible is true then history and historical records should have something to say about that.

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

SECOND, if there is no lasting meaning to life then CHANCE RULES. Let me discuss that a little more below.

Christian de Duve was very critical of Creationism!!!

Chrisian de Duve was a very sharp critic of creationism even though he grew up in a family that who were committed Catholics. In the Wikipedia article cited above we read these words:

“Most biologists, today, tend to see life and mind as cosmic imperatives, written into the very fabric of the universe, rather than as extraordinarily improbable products of chance.[69] “It would be an exaggeration to say I’m not afraid of death,” he explicitly said to a Belgian newspaper Le Soir just a month before his death, “but I’m not afraid of what comes after, because I’m not a believer.”[70][71] He strongly supported biological evolution as a fact, and dismissive of creation science and intelligent design, as explicitly stated in his last book, Genetics of Original Sin: The Impact of Natural Selection on the Future of Humanity. He was among the seventy-eight Nobel laureates in science to endorse the effort to repeal Louisiana Science Education Act of 2008.[72]

I do want to salute him for at least taking a careful look and seeing that there were clearly two different paths we can take philosophically. We can either realize that the answer to find meaning in life is found in putting your faith and trust in Jesus Christ and the Bible is true from cover to cover and can be trusted. Or we have to say that it is all by CHANCE. Below are the words of Christian de Duve: 

“The answer of modern molecular biology to this much-debated question is categorical: chance, and chance alone, did it all, from primeval soup to man, with only natural selection to sift its effects. This affirmation now rests on overwhelming factual evidence.”

A Guided Tour Of The Living Cell, Volume Two, Page 357
Scientific American Library, 1984

Portion of my 5-15-94 letter to Christian de Duve

On May 15, 1994 on the 10th anniversary of the passing of Francis Schaeffer I attempted to send a letter to almost every living Nobel Prize winner and I believe  Dr.Christian de Duve  was probably among that group and here is a portion of that letter below:

I have enclosed a cassette tape by Adrian Rogers and it includes  a story about  Charles Darwin‘s journey from  the position of theistic evolution to agnosticism. Here are the four bridges that Adrian Rogers says evolutionists can’t cross in the CD  “Four Bridges that the Evolutionist Cannot Cross.” 1. The Origin of Life and the law of biogenesis. 2. The Fixity of the Species. 3.The Second Law of Thermodynamics. 4. The Non-Physical Properties Found in Creation.  

 

Adrian Rogers is pictured below and Francis Schaeffer above.

 

In the first 3 minutes of the cassette tape is the hit song “Dust in the Wind.” Below I have given you some key points  Francis Schaeffer makes about the experiment that Solomon undertakes in the book of Ecclesiastes to find satisfaction by  looking into  learning (1:16-18), laughter, ladies, luxuries,  and liquor (2:1-3, 8, 10, 11), and labor (2:4-6, 18-20).

Schaeffer noted that Solomon took a look at the meaning of life on the basis of human life standing alone between birth and death “under the sun.” This phrase UNDER THE SUN appears over and over in Ecclesiastes. The Christian Scholar Ravi Zacharias noted, “The key to understanding the Book of Ecclesiastes is the term UNDER THE SUN — What that literally means is you lock God out of a closed system and you are left with only this world of Time plus Chance plus matter.”

Here the first 7 verses of Ecclesiastes followed by Schaeffer’s commentary on it:

The words of the Preacher, the son of David, king in Jerusalem. Vanity of vanities, says the Preacher, vanity of vanities! All is vanity. What does man gain by all the toil at which he toils under the sun? A generation goes, and a generation comes, but the earth remains forever. The sun rises, and the sun goes down, and hastens to the place where it rises. The wind blows to the south and goes around to the north; around and around goes the wind, and on its circuits the wind returns. All streams run to the sea, but the sea is not full; to the place where the streams flow, there they flow again.  

Solomon is showing a high degree of comprehension of evaporation and the results of it.  Seeing also in reality nothing changes. There is change but always in a set framework and that is cycle. You can relate this to the concepts of modern man. 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.

Solomon doesn’t place man outside of the cycle. Man doesn’t escape the cycle. Man is in the cycle. Birth and death and youth and old age.

There is no doubt in my mind that Solomon had the same experience in his life that I had as a younger man (at the age of 18 in 1930). I remember standing by the sea and the moon arose and it was copper and beauty. Then the moon did not look like a flat dish but a globe or a sphere since it was close to the horizon. One could feel the global shape of the earth too. Then it occurred to me that I could contemplate the interplay of the spheres and I was exalted because I thought I can look upon them with all their power, might, and size, but they could contempt nothing. Then came upon me a horror of great darkness because it suddenly occurred to me that although I could contemplate them and they could contemplate nothing yet they would continue to turn in ongoing cycles when I saw no more forever and I was crushed.

Watching the film HOW SHOULD WE THEN LIVE? in 1979 impacted my life greatly

Francis Schaeffer in the film WHATEVER HAPPENED TO THE HUMAN RACE?

Francis and Edith Schaeffer

 

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Let me show you some inescapable conclusions if you choose to live without God in the picture. Schaeffer noted that Solomon came to these same conclusions when he looked at life “under the sun.”

  1. Death is the great equalizer (Eccl 3:20, “All go to the same place; all come from dust, and to dust all return.”)
  2. Chance and time have determined the past, and they will determine the future.  (Ecclesiastes 9:11-13 “I have seen something else under the sun:  The race is not to the swift
    or the battle to the strong, nor does food come to the wise or wealth to the brilliant  or favor to the learned; but time and chance happen to them all.  Moreover, no one knows when their hour will come: As fish are caught in a cruel net, or birds are taken in a snare, so people are trapped by evil times  that fall unexpectedly upon them.”)
  3. Power reigns in this life, and the scales are not balanced(Eccl 4:1; “Again I looked and saw all the oppression that was taking place under the sun: I saw the tears of the oppressed—
    and they have no comforter; power was on the side of their oppressors—  and they have no comforter.” 7:15 “In this meaningless life of mine I have seen both of these: the righteous perishing in their righteousness,  and the wicked living long in their wickedness. ).
  4. Nothing in life gives true satisfaction without God including knowledge (1:16-18), ladies and liquor (2:1-3, 8, 10, 11), and great building projects (2:4-6, 18-20).
  5. There is no ultimate lasting meaning in life. (1:2)

By the way, the final chapter of Ecclesiastes finishes with Solomon emphasizing that serving God is the only proper response of man. Solomon looks above the sun and brings God back into the picture in the final chapter of the book in Ecclesiastes 12:13-14, “ Now all has been heard; here is the conclusion of the matter: Fear God and keep his commandments, for this is the whole duty of man.  For God will bring every deed into judgment, including every hidden thing, whether it is good or evil.”

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. In 1978 I heard the song “Dust in the Wind” by Kansas when it rose to #6 on the charts. That song told me that Kerry Livgren the writer of that song and a member of Kansas had come to the same conclusion that Solomon had and that “all was meaningless UNDER THE SUN,” and looking ABOVE THE SUN was the only option.  I remember mentioning to my friends at church that we may soon see some members of Kansas become Christians because their search for the meaning of life had obviously come up empty even though they had risen from being an unknown band to the top of the music business and had all the wealth and fame that came with that.

Livgren wrote, “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.”

Both Kerry Livgren and 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.  Livgren lives in Topeka, Kansas today where he teaches “Diggers,” a Sunday school class at Topeka Bible Church. Hope is the head of Worship, Evangelism and Outreach at Immanuel Anglican Church in Destin, Florida.

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MUSIC MONDAY Rolling Stones 1972 Exile On Main Street full album

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Rolling Stones 1972 Exile On Main Street full album

Exile on Main St

From Wikipedia, the free encyclopedia
Exile on Main St
ExileMainSt.jpg
Studio album by The Rolling Stones
Released 12 May 1972
Recorded October 1970, June 1971 – March 1972
Studio Olympic Studios, London; Nellcôte, France; Sunset Sound Recorders, Los Angeles
Genre Rock and roll, hard rock[1]
Length 67:07
Language English
Label Rolling Stones
Producer Jimmy Miller
The Rolling Stones chronology
Sticky Fingers
(1971)
Exile on Main St
(1972)
Goats Head Soup
(1973)
Singles from Exile on Main St
  1. Tumbling Dice” / “Sweet Black Angel
    Released: 14 April 1972
  2. Happy” / “All Down the Line
    Released: 15 July 1972

Exile on Main St is a double album by English rock band the Rolling Stones, released on 12 May 1972 by Rolling Stones Records. It was their tenth studio album released in the United Kingdom.[2] The album’s music incorporates rock and roll, blues, soul, country, and gospel genres.[3] Although it originally received mixed reviews, Exile on Main St has since been considered to be the Rolling Stones’ best work while being ranked on various lists as one of the greatest albums of all time.

A remastered and expanded version of the album was released in Europe on 17 May 2010 and in the United States on 18 May 2010, featuring a bonus disc with 10 new tracks.[4]

Recording[edit]

Exile on Main St was written and recorded between 1969 and 1972. Mick Jagger said “After we got out of our contract with Allen Klein, we didn’t want to give him [those earlier tracks],” as they were forced to do with “Brown Sugar” and “Wild Horses” from Sticky Fingers (1971). Many tracks were recorded between 1969 and 1971 at Olympic Studios and Jagger’s Stargroves country house in England during sessions for Sticky Fingers.[5]

By the spring of 1971 the Rolling Stones had spent the money they owed in taxes and left Britain before the government could seize their assets. Mick Jagger settled in Paris with his new bride Bianca, and guitarist Keith Richards rented a villa, Nellcôte, in Villefranche-sur-Mer, near Nice. The other members settled in the south of France. As a suitable recording studio could not be found where they could continue work on the album, Richards’ basement at Nellcôte became a makeshift studio using the band’s mobile recording truck.

Nellcôte[edit]

Recording began in earnest sometime near the middle of June. Bassist Bill Wyman recalls the band working all night, every night, from eight in the evening until three the following morning for the rest of the month. Wyman said of that period, “Not everyone turned up every night. This was, for me, one of the major frustrations of this whole period. For our previous two albums we had worked well and listened to producer Jimmy Miller. At Nellcôte things were very different and it took me a while to understand why.” By this time Richards had begun a daily habit of using heroin. Thousands of pounds worth of heroin flowed through the mansion each week, along with visitors such as William S. Burroughs, Terry Southern, Gram Parsons and Marshall Chess (who was running the Rolling Stones’ new label).[6] Parsons was asked to leave Nellcôte in early July 1971, the result of his obnoxious behaviour and an attempt by Richards to clean the house of drug users as the result of pressure from the French police.[7]

Richards’ substance abuse prevented him from attending the sessions that continued in his basement, while Mick Jagger and Bill Wyman were often unable to attend sessions for other reasons. This often left the band in the position of having to record in altered forms. A notable instance was the recording of one of Richards’ most famous songs, “Happy”. Recorded in the basement, Richards said in 1982, “‘Happy’ was something I did because I was for one time early for a session. There was Bobby Keys and Jimmy Miller. We had nothing to do and had suddenly picked up the guitar and played this riff. So we cut it and it’s the record, it’s the same. We cut the original track with a baritone sax, a guitar and Jimmy Miller on drums. And the rest of it is built up over that track. It was just an afternoon jam that everybody said, ‘Wow, yeah, work on it'”.

The basic band for the Nellcôte sessions consisted of Richards, Bobby Keys, Mick Taylor, Charlie Watts, Miller (a skilled drummer in his own right who covered for the absent Watts on the aforementioned “Happy” and “Shine a Light”),[5] and Jagger when he was available. Wyman did not like the ambience of Richards’ villa and sat out many of the French sessions. Although Wyman is credited on only eight songs of the released album, he told Bass Player Magazine that the credits are incorrect and that he actually played on more tracks than that. The other bass parts were credited to Taylor, Richards and session bassist Bill Plummer. Wyman noted in his memoir Stone Alone that there was a division between the band members who freely indulged in drugs (Richards, Miller, Keys, Taylor, engineer Andy Johns) and those who abstained to varying degrees (Wyman, Watts and Jagger).[6]

Los Angeles[edit]

Work on other basic tracks (probably only “Rip this Joint”, “Shake Your Hips”, “Casino Boogie”, “Happy”, “Rocks Off”, “Turd on the Run” and “Ventilator Blues”)[5] began in the basement of Nellcôte and taken to Sunset Sound Recorders in Los Angeles, where overdubs (all piano and keyboard parts, all lead and backing vocals, all guitar and bass overdubs) were added during sessions that meandered from December 1971 until March 1972. Some tracks (such as “Torn and Frayed” and “Loving Cup”) were freshly recorded in Los Angeles.[5] Although Jagger was frequently missing from Nellcôte,[6] he took charge during the second stage of recording in Los Angeles, arranging for the keyboardists Billy Preston and Dr John and the cream of the city’s session backup vocalists to record layers of overdubs.[5] The final gospel-inflected arrangements of “Tumbling Dice”, “Loving Cup”, “Let It Loose” and “Shine a Light” were inspired by Jagger and Preston’s visit to a local evangelical church.[5]

The extended recording sessions and differing methods on the part of Jagger and Richards reflected the growing disparity in their personal lives.[6] During the making of the album, Jagger had married Bianca, followed closely by the birth of their only child, Jade, in October 1971. Richards was firmly attached to his girlfriend Anita Pallenberg, yet both were in the throes of heroin addiction,[6] which Richards would not overcome until the turn of the decade.

Music and lyrics[edit]

Even though the album is often described as being Richards’ finest moment, as Exile is often thought to reflect his vision for a raw, rootsy rock sound, Jagger was already expressing his boredom with rock and roll in several interviews at the time of the album’s release.[6] With Richards’ effectiveness seriously undermined by his dependence on heroin, the group’s subsequent 1970s releases—directed largely by Jagger—would experiment to varying degrees with other musical genres, moving away from the roots-based sound of Exile on Main St.[6] Music biographer John Perry wrote that the Rolling Stones had developed a style of hard rock for the album that was “entirely modern yet rooted in 1950s rock & roll and 1930s-1940s swing“.[8]

According to Robert Christgau, Exile on Main St expanded on the hedonistic themes the band had explored on previous albums such as Sticky Fingers: “It piled all the old themes—sex as power, sex as love, sex as pleasure, distance, craziness, release—on top of an obsession with time that was more than appropriate in men pushing 30 who were still committed to what was once considered youth music.”[9]

Packaging[edit]

For Exile on Main St, Mick Jagger wanted an album cover that reflected the band as “runaway outlaws using the blues as its weapon against the world”, showcasing “feeling of joyful isolation, grinning in the face of a scary and unknown future”.[10] As the band finished the album in Los Angeles, they approached designer John Van Hamersveld and his photographer partner Norman Seeff, and also invited documentary photographer Robert Frank. The same day Seeff photographed the Stones at their Bel Air mansion, Frank took Jagger for night photographs at Los Angeles’ Main Street. Still, Van Hamersveld and Jagger chose the cover image from an already existing Frank photograph, an outtake from his seminal 1958 book The Americans.[10][11] Named “Tattoo Parlor” but possibly taken from Hubert’s Dime museum in New York City, the image is a collage of circus performers and freaks,[12] such as “Three Ball Charlie”, a 1930s sideshow performer from Humboldt, Nebraska who holds three balls (a tennis ball, a golf ball, and a “5” billiard ball) in his mouth;[13] Joe “The Human Corkscrew” Allen, pictured in a postcard-style advertisement, a contortionist with the ability to wiggle and twist through a 13 1/2 inch hoop; [14] and Hezekiah Trambles, “The Congo Jungle Freak”, a man who dressed as an African savage, in a picture taken by the recently deceased Diane Arbus.[15] The Seeff pictures were repurposed as 12 perforated postcards inside the sleeve, while Frank’s Main Street photographs were used in the gatefold and back cover collage made by Van Hamersveld, which features other pictures Frank took of the band and their crew – including their assistant Chris O’Dell, a former acquaintance of Van Hamersveld who brought him to the Stones – and other The American outtakes.[11]

Release and reception[edit]

Professional ratings
Retrospective reviews
Review scores
Source Rating
AllMusic 5/5 stars[3]
The A.V. Club A[16]
Christgau’s Record Guide A+[17]
Encyclopedia of Popular Music 5/5 stars[18]
Entertainment Weekly A+[19]
MusicHound 5/5[20]
NME 10/10[21]
Q 5/5 stars[22]
The Rolling Stone Album Guide 5/5 stars[23]
Uncut 5/5 stars[24]

Preceded by the UK and US Top 10 hit “Tumbling Dice“, Exile on Main St was released in May 1972. It was an immediate commercial success, reaching No. 1 worldwide just as the band embarked on their celebrated 1972 American Tour. Their first American tour in three years, it featured many songs from the new album. “Happy”, sung by Richards, would be a Top 30 US hit later that summer.[citation needed]

Exile on Main St was not well received by most contemporary critics, who found the quality of the songs inconsistent.[18] In a review for Rolling Stone, Lenny Kaye said the record had “a tight focus on basic components of the Stones’ sound as we’ve always known it,” including blues-based rock music with a “pervading feeling of blackness” but, because of the uneven quality of songs, he felt that “the great Stones album of their mature period is yet to come”.[25] Richard Williams from Melody Maker was more enthusiastic and deemed it the band’s best album, writing that it would “take its place in history” as it “utterly repulses the sneers and arrows of outraged put down artists. Once and for all, it answers any questions about their ability as rock ‘n’ rollers.”[26] In a year-end list for Newsday, Christgau named it the year’s best album and wrote that “this fagged-out masterpiece” was the peak of rock music in 1972 as it “explored new depths of record-studio murk, burying Mick’s voice under layers of cynicism, angst and ennui”.[27]

Critics later reassessed Exile on Main St favourably,[18] and by the late 1970s they had come to view Exile on Main St as the Rolling Stones’ greatest record.[28] Bill Janovitz later called it “the greatest, most soulful, rock & roll record ever made” because it seamlessly distills “perhaps all the essential elements of rock & roll up to 1971, if not beyond”.[29] On the response to the album, Richards said, “When [Exile] came out it didn’t sell particularly well at the beginning, and it was also pretty much universally panned. But within a few years the people who had written the reviews saying it was a piece of crap were extolling it as the best frigging album in the world.”[30]

Legal issues with ABKCO[edit]

After the release of Exile on Main St, Allen Klein sued the Rolling Stones for breach of settlement because five songs on the album were composed while Jagger and Richards were under contract with his company, ABKCO: “Sweet Virginia“, “Loving Cup“, “All Down the Line“, “Shine a Light“, and “Stop Breaking Down” (written by Robert Johnson but re-interpreted by Jagger and Richards). ABKCO acquired publishing rights to the songs, giving it a share of the royalties from Exile on Main St, and was able to publish another album of Rolling Stones songs, More Hot Rocks (Big Hits & Fazed Cookies).[31]

Legacy[edit]

Band appraisal[edit]

At the time of Exile’s release, Jagger said, “This new album is fucking mad. There’s so many different tracks. It’s very rock & roll, you know. I didn’t want it to be like that. I’m the more experimental person in the group, you see I like to experiment. Not go over the same thing over and over. Since I’ve left England, I’ve had this thing I’ve wanted to do. I’m not against rock & roll, but I really want to experiment. The new album’s very rock & roll and it’s good. I mean, I’m very bored with rock & roll. The revival. Everyone knows what their roots are, but you’ve got to explore everywhere. You’ve got to explore the sky too.”[5]

In 2003, Jagger said, “Exile is not one of my favourite albums, although I think the record does have a particular feeling. I’m not too sure how great the songs are, but put together it’s a nice piece. However, when I listen to Exile it has some of the worst mixes I’ve ever heard. I’d love to remix the record, not just because of the vocals, but because generally I think it sounds lousy. At the time Jimmy Miller was not functioning properly. I had to finish the whole record myself, because otherwise there were just these drunks and junkies. Of course I’m ultimately responsible for it, but it’s really not good and there’s no concerted effort or intention.” Jagger also stated he did not understand the praise among Rolling Stones fans because the album did not yield many hits.[30] Of the 18 tracks on the album, only “Tumbling Dice”, “Happy” and “All Down The Line” got heavy rotation at concerts. “Sweet Black Angel”, “Ventilator Blues” and “Stop Breaking Down” were each performed live only once, while “Shake Your Hips”, “Casino Boogie”, “Turd on the Run”, “I Just Wanna See His Face”, “Let It Loose” and “Soul Survivor” have never been played live.[32]

Richards said, “Exile was a double album. And because it’s a double album you’re going to be hitting different areas, including ‘D for Down’, and the Stones really felt like exiles. We didn’t start off intending to make a double album; we just went down to the south of France to make an album and by the time we’d finished we said, ‘We want to put it all out.’ The point is that the Stones had reached a point where we no longer had to do what we were told to do. Around the time Andrew Oldham left us, we’d done our time, things were changing and I was no longer interested in hitting Number One in the charts every time. What I want to do is good shit—if it’s good they’ll get it some time down the road.”[30]

Accolades[edit]

Exile on Main St has been ranked on various lists as one of the greatest albums of all time.[33] According to Acclaimed Music, it is the eighth most ranked record on critics’ all-time lists.[34] In 1998, Q magazine readers voted Exile on Main St the 42nd greatest album of all time,[35] while in 2000 the same magazine placed it at number 3 in its list of the 100 Greatest British Albums Ever.[36] In 1987 it was ranked third on Rolling Stone magazine’s list of the best 100 albums of the period 1967–1987.[37] In 1993, Entertainment Weeklynamed it No. 1 on their list of “100 Greatest CDs”.[38] In 2003, Pitchfork Media ranked it number 11 on their Top 100 Albums of the 1970s.[39] In 2001, the TV network VH1 placed it at number 22 on their best albums survey.[40] In 2003, the album was ranked 7th on Rolling Stone magazine’s list of the 500 greatest albums of all time, the highest Rolling Stones album ranked on the list.[41] In 2005, Exile on Main St was ranked number 286 in Rock Hard magazine’s book of The 500 Greatest Rock & Metal Albums of All Time.[42]The album was ranked number 19 on the October 2006 issue of Guitar World magazine’s list of the greatest 100 guitar albums of all time[citation needed]. In 2007, the National Association of Recording Merchandisers (NARM) and the Rock and Roll Hall of Fame placed the album No. 6 on the “Definitive 200” list of albums that “every music lover should own.”[43] Its re-release has a highest normalised rating of 100 on Metacritic based on seven professional reviews, a distinction it shares with other re-releases such as London Callingby The Clash.[44] The album was also included in the book 1001 Albums You Must Hear Before You Die.[45] In 2012, the album was inducted into the Grammy Hall of Fame.[46]

In popular culture[edit]

The album and its title have been referenced several times by other bands. For example, the British acid house group Alabama 3 titled its debut album Exile on Coldharbour Lane. Perhaps the most notable reference comes from indie singer/songwriter Liz Phair‘s debut album Exile in Guyville. Phair herself claims the album to be a direct song-by-song “response” of sorts to Exile on Main St. Confrontational garage-trash noise-rock band Pussy Galore released a complete cover of the album, titled Exile on Main St, that reflected their own personal and musical interpretations of the songs, as opposed to paying tribute to the original sound. Post-grunge band Matchbox Twenty paid homage to this album by titling their 2007 retrospective Exile on Mainstream. Industrial Rock band Chemlab named the leading track from their album East Side Militia, “Exile on Mainline”, in reference to the Rolling Stones album.

The Departed, a 2006 film by Martin Scorsese, features a scene in which Bill Costigan mails Madolyn Madden an Exile on Main St jewel case containing an incriminating recording of Colin Sullivan conspiring with crime boss Frank Costello. The same film also uses the song “Let It Loose” from the album.

On 31 October 2009, American rock band Phish covered Exile on Main St in its entirety as the “musical costume” for their Halloween show in Indio, California.

The first episode of the fourth season of the Showtime program Californication is called “Exile on Main St”. A later episode in the sixth season featured a guest character waking up next to her musician boyfriend who had died from an overdose in the night in room “1009,” a reference to the lyrics of “Shine a Light“. The same song was also played by Tim Minchin‘s character in the following episode.

The first episode of the sixth season of the hit CW show Supernatural is titled “Exile on Main Street”.

Re-release[edit]

In 1994, Exile on Main St was remastered and reissued by Virgin Records, along with the rest of the post-Get Yer Ya-Ya’s Out catalogue, after the company acquired the masters to the band’s output on its own label. This remaster was initially released in a Collector’s Edition CD, which replicated in miniature many elements of the original vinyl album packaging, including the postcards insert.

Universal Music, which remastered and re-released the rest of the post-1970 Rolling Stones catalogue in 2009,[47] issued a new remastering of Exile on Main St in a deluxe package in May 2010.[48] Of the ten bonus tracks, only two are undoctored outtakes from the original sessions: an early version of “Tumbling Dice” entitled “Good Time Women”, and “Soul Survivor”, the last featuring a Richards lead vocal (with dummy/placeholder lyrics).[49] The other tracks received overdubs just prior to release on this package, with new lead vocals by Jagger on all except “I’m Not Signifying”, backing vocals in places by past and current Stones tour singers Cindy Mizelle and Lisa Fischer, and a new guitar part by Mick Taylor on “Plundered My Soul.”[49] On the selection of tracks, Richards said, “Well, basically it’s the record and a few tracks we found when we were plundering the vaults. Listening back to everything we said, ‘Well, this would be an interesting addition.'”.[50] All harmonica heard was added during 2010 sessions by Jagger, and Richards added a new guitar lead on ‘So Divine’. “Title 5” is not an actual outtake from the sessions for Exile, it is an outtake from early 1967 sessions. It features the MRB effect from a Vox Conqueror or Supreme amp, as used by Richards in 1967 and 1968. “Loving Cup” is an outtake from early June 1969, but is actually an edit from two outtakes. The first 2:12 minutes is the well known ‘drunk’ version, as has been available on bootlegs since the early 1990s, but the second part is spliced from a second, previously unknown take. “Following the River” features Jagger overdubs on a previously uncirculated track featuring Nicky Hopkins on piano.

Jimmy Fallon announced on his show, Late Night with Jimmy Fallon, that he would mark the re-release of the album with a week’s worth of musicians performing songs from the album.[51] Phish, who had played the album in its entirety live in concert before, were the first confirmed act to join the salute.

The re-released album entered at number one in the UK charts, almost 38 years to the week after it first occupied that position.[52] The album also re-entered at number two in the US charts selling 76,000 during the first week.[53] The bonus disc, available separately as Exile on Main St Rarities Edition exclusively in the US at Target also charted, debuting at number 27 with 15,000 copies sold.

It was released once again in 2011 by Universal Music Enterprises in a Japanese-only SHM-SACD version.

Track listing[edit]

All songs written by Mick Jagger and Keith Richards, except where noted.

Side one
No. Title Length
1. Rocks Off 4:31
2. Rip This Joint 2:22
3. Shake Your Hips” (Slim Harpo) 2:59
4. Casino Boogie 3:33
5. Tumbling Dice 3:45
Side two
No. Title Length
6. Sweet Virginia 4:27
7. Torn and Frayed 4:17
8. Sweet Black Angel 2:54
9. Loving Cup 4:25
Side three
No. Title Length
10. Happy 3:04
11. “Turd on the Run” 2:36
12. Ventilator Blues” (Jagger/Richards/Mick Taylor) 3:24
13. I Just Want to See His Face 2:52
14. Let It Loose 5:16
Side four
No. Title Length
15. All Down the Line 3:49
16. Stop Breaking Down” (Robert Johnson) 4:34
17. Shine a Light 4:14
18. “Soul Survivor” 3:49

Personnel[edit]

The Rolling Stones

Additional musicians

  • Nicky Hopkins – piano
  • Bobby Keyssaxophone; percussion on “Happy”
  • Jim Pricetrumpet, trombone, organ on “Torn and Frayed”
  • Ian Stewart – piano on “Shake Your Hips”, “Sweet Virginia” and “Stop Breaking Down”
  • Jimmy Miller – drums on “Tumbling Dice” (the outro), “Happy” and “Shine a Light”, percussion on “Sweet Black Angel”, “Loving Cup”, “I Just Want to See His Face” and “All Down the Line”
  • Bill Plummer – upright bass on “Rip This Joint”, “Turd on the Run”, “I Just Want to See His Face” and “All Down the Line”
  • Billy Preston – piano and organ on “Shine a Light”
  • Al Perkinspedal steel guitar on “Torn and Frayed”
  • Richard Washington – marimba on “Sweet Black Angel”
  • Clydie King, Venetta Fields – backing vocals on “Tumbling Dice”, “I Just Want to See His Face”, “Let It Loose” and “Shine a Light”
  • Joe Green – backing vocals on “Let It Loose” and “Shine a Light”
  • Gram Parsons – backing vocals on “Sweet Virginia”
  • Chris Shepard – tambourine on “Turd on the Run”
  • Jerry Kirkland – backing vocals on “I Just Want to See His Face” and “Shine a Light”
  • Mac Rebennack, Shirley Goodman, Tami Lynn – backing vocals on “Let It Loose”
  • Kathi McDonald – backing vocals on “All Down the Line”
  • Glyn – engineer
  • Andy Johns – engineer
  • Joe Zaganno – engineer
  • Jeremy Gee – engineer
  • Doug Sax – mastering
  • Robert Frank – cover photography and concept
  • John Van Hamersveld – layout design
  • Norman Seeff – layout design

Additional personnel on 2010 bonus disc

Charts[edit]

Weekly charts[edit]

Original release
Chart Position
Australian Kent Music Report[54] 2
Canadian RPM Albums Chart[55] 1
Dutch Albums Chart[56] 1
Italian Albums Chart[57] 4
Japanese Albums Chart[58] 7
Norwegian Albums Chart[59] 1
Spanish Albums Chart[60] 1
Swedish Kvällstoppen Chart[61] 2
UK Albums Chart[62] 1
US Billboard 200[63] 1
West German Media Control Albums Chart[64] 2
2010 reissue
Chart Position
Argentine Album Chart[56] 5
Australian ARIA Album Chart[65] 6
Austrian Albums Chart[66] 7
Belgian Albums Chart (Flanders)[67] 8
Belgian Albums Chart (Wallonia)[68] 9
Canadian RPM Albums Chart[55] 3
Czech Albums[63] 42
Finnish Albums[63] 25
French SNEP Albums Chart[69] 2
Danish Albums Chart[70] 5
Dutch Albums Chart[56] 2
Greek Albums Chart[71] 2
Irish Albums Chart[72] 11
Italian Albums Chart[72] 4
Japanese Albums Chart[73] 12
New Zealand Albums Chart[74] 4
Norwegian Albums Chart[59] 1
Scottish Singles and Albums Charts[75] 1
Korean Albums Gaon[63] 8
Spanish Albums Chart[76] 2
Swedish Albums Chart[77] 1
Swiss Albums Chart[78] 8
UK Albums Chart[62] 1
US Billboard 200[63] 2
German Media Control Albums Chart[64] 3

Year-end charts[edit]

Chart (1972) Position
Australian Albums Chart[54] 19
Dutch Albums Chart[79] 11
Italian Albums Chart[57] 36
U.S. Billboard Top Pop Albums[citation needed] 31
Chart (2010) Position
Dutch Albums Chart[80] 66
German Albums Chart[81] 84
Swedish Albums Chart[82] 72
US Billboard 200[83] 176

Certifications[edit]

Region Certification Certified units/Sales
Australia (ARIA)[84]
2010 release
Platinum 70,000^
Italy (FIMI)[85] Gold 50,000*
New Zealand (RMNZ)[86]
2010 release
Gold 7,500^
United Kingdom (BPI)[87]
2010 release
Platinum 300,000^
United States (RIAA)[88] Platinum 1,000,000^
^shipments figures based on certification alone

References[edit]

Footnotes
  1. Jump up^ Janovitz 2005, pp. 1, 61.
  2. Jump up^ “Rolling Stones: defining moments”. The Daily Telegraph. Retrieved 18 June 2015.
  3. ^ Jump up to:a b Erlewine, Stephen Thomas. Exile on Main St at AllMusic. Retrieved 27 June 2004.
  4. Jump up^ Itzkoff, Dave (26 February 2010). “Seen Much Better Days: Rolling Stones Return to ‘Main Street'”. The New York Times. Retrieved 2 May 2010.
  5. ^ Jump up to:a b c d e f g “Exile on Main St”. timeisonourside.com. Retrieved 6 July 2006.
  6. ^ Jump up to:a b c d e f g Greenfield, Robert (21 September 2006). “Making Exile on Main St“. Rolling Stone (1009). p. 72. Posted on 8 September 2006 at “Making ‘Exile on Main St'”. rollingstone.com. Archived from the original on 1 October 2007. Retrieved 7 July 2007.
  7. Jump up^ Richards, Keith; Fox, James (2010). Life. London: Weidenfeld & Nicolson. ISBN 978-0-297-85439-5.
  8. Jump up^ Perry, John (2000). Exile on Main Street: The Rolling Stones. Schirmer Books. p. 27. ISBN 0825671809.
  9. Jump up^ Christgau, Robert (1998). Grown Up All Wrong: 75 Great Rock and Pop Artists from Vaudeville to Techno. Harvard University Press. p. 81. ISBN 0674443187. Retrieved 5 October 2014.
  10. ^ Jump up to:a b Robert Frank: The Photographer Behind ‘Exile On Main St.’
  11. ^ Jump up to:a b Cover Story – The Rolling Stones’ “Exile on Main Street”, with artwork by John Van Hamersveld
  12. Jump up^ Tattoo Parlor
  13. Jump up^ Sideshow World, Sideshow Performers from around the world
  14. Jump up^ Pittsburgh Post-Gazette – Google News Archive Search
  15. Jump up^ I Put a Spell on You
  16. Jump up^ Hyden, Steven (25 May 2010). “The Rolling Stones: Exile On Main Street”. The A.V. Club. Chicago. Retrieved 9 July 2013.
  17. Jump up^ Christgau, Robert (1981). Christgau’s Record Guide: Rock Albums of the ’70s. Da Capo Press. p. 327. ISBN 0-306-80409-3.
  18. ^ Jump up to:a b c Larkin, Colin (2011). “Rolling Stones”. The Encyclopedia of Popular Music (5th ed.). Omnibus Press. pp. 2515, 2525. ISBN 0857125958.
  19. Jump up^ Collis, Clark (21 May 2010). “Exile on Main Street Review”. Entertainment Weekly (1103). Retrieved 9 July 2013.
  20. Jump up^ Rucker, Leland (1996). “The Rolling Stones”. In Graff, Gary. MusicHound Rock: The Essential Album Guide. Detroit: Visible Ink Press. ISBN 0787610372.
  21. Jump up^ NME. London: 43. 9 July 1994.
  22. Jump up^ Q. London: 137. June 2010.
  23. Jump up^ “The Rolling Stones > Album Guide”. rollingstone.com. Archived from the original on 12 April 2011. Retrieved 2 December 2011.
  24. Jump up^ Uncut. London: 104. June 2010.
  25. Jump up^ Kaye, Lenny (6 July 1972). “The Rolling Stones Exile on Main St > Album Review”. Rolling Stone (112). Archived from the original on 21 October 2006. Retrieved 15 June 2006. Posted on 21 January 1997.
  26. Jump up^ The Rolling Stones – Off The Record by Mark Paytress, Omnibus Press, 2005, page 211. ISBN 1-84449-641-4
  27. Jump up^ Christgau, Robert (31 December 1972). “Choice Bits From a “Sorry” Year”. Newsday. Retrieved 9 July 2013.
  28. Jump up^ Christgau, Robert (25 April 1977). “Too Strait Are the Gates of Eden: Morris Dickstein’s ‘Gates of Eden'”. The Village Voice. New York. Retrieved 21 June 2013.
  29. Jump up^ Janovitz 2005, p. 1.
  30. ^ Jump up to:a b c Loewenstein, Dora; Philip Dodd (2003). According to the Rolling Stones. San Francisco: Chronicle Books. ISBN 0-8118-4060-3.
  31. Jump up^ Goodman, Fred (2015). Allen Klein: The Man Who Bailed Out the Beatles, Made the Stones, and Transformed Rock & Roll. Boston, New York: Houghton Mifflin Harcourt. pp. 235–236. ISBN 978-0-547-89686-1.
  32. Jump up^ Live debuts of each Rolling Stones song
  33. Jump up^ “‘Exile On Main St’ Concert Information”. CBS Pittsburgh. 20 April 2012. Retrieved 12 January 2014.
  34. Jump up^ http://www.acclaimedmusic.net/Current/genre420.htm
  35. Jump up^ ‘Q Readers All Time Top 100 Albums’. Q. February 1998. Retrieved 8 July 2007.
  36. Jump up^ Greatest British Albums “100 Greatest British Albums”. Q. June 2000. Retrieved 8 July 2007.
  37. Jump up^ DeCurtis, Anthony; M. Coleman (27 August 1987). “The Best 100 Albums of the Last Twenty Years”. Rolling Stone (507). p. 45. List posted at “Rolling Stone Top 100 Albums of the Last 20 Years”. rocklistmusic.co.uk. Retrieved 8 July 2007.
  38. Jump up^ “ENTERTAINMENT WEEKLY’S 100 Greatest CDs”. Entertainment Weekly. 1993 (Retrieved 16 May 2010).
  39. Jump up^ “Top 100 Albums of the 1970s”. Pitchfork. 23 June 2004. Retrieved 8 July 2007.
  40. Jump up^ “Greatest Albums of Rock and Roll”. VH1. 23 June 2001. Retrieved 8 July 2007.
  41. Jump up^ Rolling Stone’s 500 Greatest Albums of All Time. Rolling Stone. Retrieved on 4 September 2012.
  42. Jump up^ […], Rock Hard (Hrsg.). [Red.: Michael Rensen. Mitarb.: Götz Kühnemund] (2005). Best of Rock & Metal die 500 stärksten Scheiben aller Zeiten. Königswinter: Heel. p. 98. ISBN 3-89880-517-4.
  43. Jump up^ “The ‘Definitive 200′”. MacVolPlace. March 2007. Retrieved 25 November 2010.
  44. Jump up^ Exile on Main St [Reissue] – The Rolling Stones”. metacritic. Retrieved 3 December 2011. The Rolling Stonereview is actually of the 1994 Deluxe Edition not the Reissue.
  45. Jump up^ Robert Dimery; Michael Lydon (23 March 2010). 1001 Albums You Must Hear Before You Die: Revised and Updated Edition. Universe. ISBN 978-0-7893-2074-2.
  46. Jump up^ “Grammy Hall of Fame Award”. Grammy.org. Retrieved 21 December 2012
  47. Jump up^ Cavanagh, David. “Album reviews: the rolling stones reissues”. Uncut. IPC Media. Retrieved 17 May 2010.
  48. Jump up^ “Rolling stones reissue ‘exile on main street'”. Uncut. IPC Media. Retrieved 30 March 2010.
  49. ^ Jump up to:a b Sexton, Paul (9 May 2010). “Behind the bonus tracks on ‘exile on main street'”. The Sunday Times. London: Times Newspapers Ltd. Posted at “Behind the bonus tracks on Exile on Main St”. entertainment.timesonline.co.uk. Archived from the original on 15 June 2011. Retrieved 8 June 2010.
  50. Jump up^ Greene, Andy (9 March 2010). “The Secrets Behind the Rolling Stones’ “Exile on Main Street” Reissue”. rollingstone.com. Retrieved 30 March 2010.
  51. Jump up^ Collis, Chris (30 March 2010). “Phish to appear on Jimmy Fallon’s Exile on Main St tribute week”. music-mix.EW.com. Entertainment Weekly Inc. Music Mix. Retrieved 30 March 2010.
  52. Jump up^ “Archive Chart”. Theofficialcharts.com. 29 May 2010. Retrieved 13 March 2011.
  53. Jump up^ “‘Glee’ Stops the Show at No. 1, Stones Come in Second On Billboard 200”. Billboard.com. 14 September 2009. Retrieved 13 March 2011.
  54. ^ Jump up to:a b Kent, David (1993). Australian Chart Book 1970–1992. St Ives, NSW: Australian Chart Book. ISBN 0-646-11917-6.
  55. ^ Jump up to:a b “Top Albums/CDs – Volume 17, No. 20”. RPM. 1 July 1972. Retrieved 5 May 2013.
  56. ^ Jump up to:a b c “dutchcharts.nl The Rolling Stones – Exile on Main St(ASP). Hung Medien (in Dutch). MegaCharts. Retrieved 1 May2012.
  57. ^ Jump up to:a b “Hit Parade Italia – Gli album più venduti del 1972” (in Italian). hitparadeitalia.it. Retrieved 1 May 2012.
  58. Jump up^ Oricon Album Chart Book: Complete Edition 1970–2005. Roppongi, Tokyo: Oricon Entertainment. 2006. ISBN 4-87131-077-9.
  59. ^ Jump up to:a b “norwegiancharts.com The Rolling Stones – Exile on Main St” (ASP). Retrieved 1 May 2012.
  60. Jump up^ Salaverri, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (1st ed.). Spain: Fundación Autor-SGAE. ISBN 84-8048-639-2.
  61. Jump up^ “Swedish Charts 1969–1972 / Kvällstoppen – Listresultaten vecka för vecka > Juni 1972 > 13 Juni” (PDF). hitsallertijden.nl(in Swedish). Retrieved 13 February 2014.Note: Kvällstoppencombined sales for albums and singles in the one chart; Exile on Main St peaked at the number-three on the list, behind Sven-Bertil Taube’s “frihetEn sång om frihet” and Gilbert O’Sullivan’s Himself.
  62. ^ Jump up to:a b “The Rolling Stones > Artists > Official Charts”. UK Albums Chart. Retrieved 1 May 2013.
  63. ^ Jump up to:a b c d e “Allmusic: Exile on Main St : Charts & Awards : Billboard Albums”. allmusic.com. Retrieved 1 May 2013.
  64. ^ Jump up to:a b “Album Search: The Rolling Stones – Exile on Main St(ASP) (in German). Media Control. Retrieved 1 May 2013.
  65. Jump up^ “australian-charts.com The Rolling Stones – Exile on Main St” (ASP). Australian Recording Industry Association. Retrieved 8 May 2013.
  66. Jump up^ “austriancharts.at The Rolling Stones – Exile on Main St(ASP). Hung Medien (in German). Retrieved 8 May 2013.
  67. Jump up^ “ultratop.be The Rolling Stones – Exile on Main St (ASP). Hung Medien (in Dutch). Ultratop. Retrieved 8 May 2013.
  68. Jump up^ “ultratop.be The Rolling Stones – Exile on Main St (ASP). Hung Medien (in French). Ultratop. Retrieved 8 May 2013.
  69. Jump up^ “InfoDisc : Tous les Albums classés par Artiste > Choisir Un Artiste Dans la Liste” (in French). infodisc.fr. Retrieved 1 June2013.Note: user must select ‘The Rolling Stones’ from drop-down.
  70. Jump up^ “danishcharts.com The Rolling Stones – Exile on Main St. danishcharts.com. Retrieved 8 May 2013.
  71. Jump up^ “greekcharts.com The Rolling Stones – Exile on Main St(ASP). Hung Medien. Retrieved 13 May 2011.
  72. ^ Jump up to:a b “irma.com The Rolling Stones – Exile on Main St. irma.com. Retrieved 14 January 2014.
  73. Jump up^ “ザ・ローリング・ストーンズ-リリース-ORICON STYLE-ミュージック” [Highest position and charting weeks of Exile on Main St by The Rolling Stones]. oricon.co.jp (in Japanese). Oricon Style. Retrieved 8 May 2013.
  74. Jump up^ “charts.org.nz The Rolling Stones – Exile on Main St (ASP). Hung Medien. Recording Industry Association of New Zealand. Retrieved 11 January 2014.
  75. Jump up^ “scotishcharts.com The Rolling Stones – Exile on Main St(ASP). Hung Medien. Retrieved 8 May 2013.
  76. Jump up^ “spanishcharts.com The Rolling Stones – Exile on Main St(ASP). Hung Medien. Retrieved 8 May 2013.
  77. Jump up^ “swedishcharts.com JThe Rolling Stones – Exile on Main St(ASP) (in Swedish). Retrieved 8 May 2013.
  78. Jump up^ “The Rolling Stones – Exile on Main St – hitparade.ch” (ASP). Hung Medien (in German). Swiss Music Charts. Retrieved 8 May2013.
  79. Jump up^ “Dutch charts jaaroverzichten 1972” (ASP) (in Dutch). Retrieved 2 April 2014.
  80. Jump up^ “Jaaroverzichten – Album 2010” (in Dutch). Retrieved 2 May2013.
  81. Jump up^ [1] Archived 8 January 2011 at the Wayback Machine.
  82. Jump up^ “Årslista Album – År 2010” (in Swedish). Hitlistan.se. Sverigetopplistan. Retrieved 17 January 2013.
  83. Jump up^ “Best of 2010 – Billboard Top 200”. Billboard. Nielsen Business Media, Inc. Retrieved 31 December 2010.
  84. Jump up^ “ARIA Charts – Accreditations – 2010 Albums”. Australian Recording Industry Association. Retrieved 1 May 2012.
  85. Jump up^ “Italian album certifications – The Rolling Stones – Exile on Main St” (in Italian). Federazione Industria Musicale Italiana. Retrieved 27 June 2014. Select Album e Compilation in the fieldSezione. Enter The Rolling Stones in the field Filtra. Select 2014 in the field Anno. The certification will load automatically
  86. Jump up^ “New Zealand album certifications – The Rolling Stones – Exile on Main St”. Recorded Music NZ. Retrieved 1 May 2012.
  87. Jump up^ “British album certifications – The Rolling Stones – Exile on Main St”. British Phonographic Industry. Retrieved 1 May2012. Enter Exile on Main St in the field Keywords. Select Title in the field Search by. Select album in the field By Format. Select Platinum in the field By Award. Click Search
  88. Jump up^ “American album certifications – The Rolling Stones – Exile on Main St”. Recording Industry Association of America. Retrieved 1 May 2012. If necessary, click Advanced, then click Format, then select Album, then click SEARCH

Bibliography

External links[edit]

Preceded by
Bolan Boogie by T.Rex
UK Albums Chart number-one album
10–17 June 1972
Succeeded by
20 Dynamic Hits
by Various artists
Preceded by
Night Train by Keane
UK Albums Chart number-one album
23–30 May 2010
Succeeded by
Immersion by Pendulum
Preceded by
Thick as a Brick by Jethro Tull
Billboard 200 number-one album
17 June – 14 July 1972
Succeeded by
Honky Château by Elton John

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Tuesday, September 20, 2016

Milton Friedman’s Morals

As Trump and Clinton bang the drums for tariffs and renegotiated deals, where’s the popular voice for trade?

By William McGurn

The Wall Street Journal

September 20, 2016

Whether it’s Donald Trump complaining “we don’t win on trade” or Hillary Clinton vowing to appoint a “chief trade prosecutor,” our two main candidates for president are both campaigning on the idea that government needs to protect us from any foreigner who would sell us something at a better price than we could get at home.

Where’s Milton Friedman when you need him?

In 1980, the Nobel Prize-winning economist brought the message of free markets and free trade into the homes of ordinary Americans via an extraordinary public television series called “Free to Choose.” He did so without apology, without a prepared script and in plain language—moral as well as practical—that you didn’t have to be an economist to understand.

He also did it against the prevailing mood that while free markets might be nice in theory, in reality what America needed was a healthy shot of protectionism: e.g., “voluntary” restrictions on Japanese cars, stronger anti-dumping statutes and greater enforcement of state “buy American” laws.

Is it so much different today? In an age when the global economy has helped lift billions out of abject poverty and put in the pockets of our children iPhones with more processing power than the computers NASA used to put a man on the moon, trade has become a dirty word.

The negatives of trade seemed to be confirmed by a now-famous 2012 graphic by economist Branko Milanovic, which plots how much real income has grown between 1988 and 2008 by income percentiles of the global population. Called the “elephant chart” because of its shape, it appears to prove the Trump-Clinton critique: that the winners from trade are foreigners and our top 1%, while the losers are the working and middle class in the developed West, including the U.S.

But the London-based Resolution Foundation has now re-crunched the numbers to adjust for factors including population growth and the collapse of the U.S.S.R. When it did, it found that though income growth for the U.S. working and middle classes was smaller than for their peers in other Western economies, it was not stagnant.

In a recent Financial Times story, Resolution Foundation director Torsten Bell sounded a distinctly Friedmanite note: “Although globalisation brings a range of challenges for lower income families, we need to be clear that weak income growth generally is rooted in domestic policy, and blaming globalisation takes the pressure off governments.”

What might such pressure look like? Well, Harvard economist Edward Glaeser suggests we might, for example, consider the way well-intentioned government programs can boomerang by discouraging work—everything from minimum-wage hikes that make low-skilled young men more expensive to hire to the huge marginal tax rates that kick in when, say, a single mom using some government benefit gets a job.

No one denies that Americans can lose jobs when an industry abroad is selling a good or service at a better price. But the high-employment, mass-manufacturing economy of the postwar years is not coming back no matter how high tariffs are or what we do to countries who manipulate their currencies. Even more interesting, the Resolution Foundation study reports average real income growth for lower- and middle-class workers in the U.K. was much higher than for their American counterparts, even though the U.K. has an economy that is more, not less, dependent on trade.

For his part, Friedman would ask by what right should an American be prevented from buying a lawful good or service if he found a better price from someone overseas? Where’s the morality of keeping a worker from selling the product of his labor to someone who happens to live in another country? And the following was Friedman’s response on “Free to Choose” when a union official challenged him on his bid to eliminate all tariffs over five years:

“The social and moral issues are all on the side of free trade. And it is you, and people like you, who introduce protection who are the ones who are violating fundamental moral and social issues.

“Tell me, what trade union represents the workers who are displaced because high tariffs reduce exports from this country, because high tariffs make steel and other goods more expensive, and as a result, those industries that use steel have to charge higher prices, they have fewer employees, the export industries that would grow up to balance the imports, tell me what union represents them? What moral and ethical view do you have about their interests?”

It’s still a good question. Because here we are, seven weeks out from an election in which the Republican and the Democratic nominee are trying to outdo each other in their opposition to trade. And neither appreciates the irony that the very definition of a bad trade deal is one that inserts the heavy hand of government between a voluntary exchange that leaves both Citizen of Country A and Citizen of Country B better off.

 

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By Everette Hatcher III | Also posted in Current Events | Tagged , , , , | Edit | Comments (0)

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)

SGT. PEP’S was put together to look at what the lonely people hung their hopes on and athletes were one of those hopes. As little kids in Liverpool the Beatles all were  soccer fans and the League Championship returned to Liverpool after a 24 year absence in 1947 with the leadership of the player Albert Stubbins.  Some say that John Lennon picked him because of his unusual name.

In that video Schaeffer noted,  ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world.”

Francis Schaeffer – How Should We then Live – 07.The Age of Non Reason

 

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Now You Can Name the Athletes On the Cover Of Sgt. Pepper’s Lonely Hearts Club Band

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BY BRYAN ARMEN GRAHAM  Posted: Fri May. 31, 2013

You can try to deny it in some sort of misguided pursuit of individuality. You can point to a lot of other groups that are just as important. But I defy you to press play on Sgt. Pepper’s Lonely Hearts Club Band, which hit shelves 46 years ago this weekend, and then argue that anyone has ever done it better.

Perhaps even more famous than the music itself is the record’s iconic, Grammy Award-winning cover. The legend is that each band member chose roughly 10 people they wanted (or would have wanted) to perform for. The roster includes writers, artists, film stars, musicians, Indian gurus — and these three athletes. (Save it in your back pocket for the next time you want to win a bar bet.)


Sonny Liston

Where he appears: Front row all the way to the left next to the wax model of George Harrison.

Sporting résumé: Knocked out Floyd Patterson in one round for the heavyweight title in 1962 (at a time when it really meant something); twice stopped by Muhammad Ali; only undisputed heavyweight champion to quit on his stool.

Cultural cache: Enigmatic, tortured figure; died under mysterious circumstances less than five years after Sgt. Pepper’s was released.

Beatles connection: Ali’s 1964 meeting with the Fab Four while training for the first Liston fight is considerably more famous, but the Big Bear actually went to a Beatles concert that same year, though he was kind of a hater. “Is them bums what all this fuss is about?” he was quoted as saying. “Sheet, man, mah dawg play better drums than that kid with the big nose.”

Cover story: Word is that John Lennon was a big fan.


Albert Stubbins

Where he appears: Second row northeast of Harrison and to the left of Marlene Dietrich.

Sporting résumé: Powerfully built English footballer who signed with Liverpool in 1946 for £12,500, then a club record; scored 28 goals in first season with Reds to lead team to first league title in 24 years; retired in 1953 with 83 goals in 178 appearances.

Cultural cache: Moved into sportswriting after retirement from playing career; appeared as a minor character in Stephen Baxter’s 1995 novel The Time Ships.

Beatles connection: While it’s true Stubbins was banging them in for the Fab Four’s hometown side during their formative years, the truth — according to Hunter Davies’ authorized biography — is none of the Beatles were massive soccer fans. (Though, McCartney was born into an Everton family.)

Cover story: The striker was one of Lennon’s choices, as his name had apparently amused him as a child. Stubbins had no idea he was on the cover until the record arrived on his doorstep shortly after its release, signed by all four with McCartney’s handwritten note: Well done, Albert, for all those glorious years of football. Long may you bob and weave.


Johnny Weissmuller

Where he appears: Second row center behind Ringo.

Sporting résumé: Won five Olympic gold medals for swimming and one bronze for water polo during the 1920s; set 67 world records; reportedly undefeated in official competition for the entirety of his competitive career.

Cultural cache: Played Tarzan in 12 motion pictures from 1932 through ’48.

Beatles connection: None, apparently.

Cover story: McCartney said he was chosen because they liked the sound of his name, replacing an image of Adolf Hitler (Lennon’s pick) present in early photographs of the montage.

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Liverpool Legend – Albert Stubbins

Uploaded on May 13, 2011

Liverpool Legend – Albert Stubbins

Willie Fagan, Albert Stubbins and Billy with their medals presented to them prior to a game against Stoke at Anfield on 3 January 1948 by William C. Cuff,

Albert Stubbins

From Wikipedia, the free encyclopedia
Albert Stubbins
Personal information
Date of birth 17 July 1919
Place of birth Wallsend, England
Date of death 28 December 2002 (aged 83)
Playing position Centre forward
Youth career
Whitley & Monkseaton
Sunderland
Senior career*
Years Team Apps (Gls)
1937–1946 Newcastle United 27 (5)
1946–1953 Liverpool 159 (75)
1953–1954 Ashington
* Senior club appearances and goals counted for the domestic league only.

† Appearances (goals)

Albert Stubbins (13 July 1919 – 28 December 2002) was an English footballer. He played in the position of centre forward, although his career was limited by the onset of World War II. He gained most of his fame and success playing for Liverpool where he won the League Championship in 1947. His later claim to fame was an appearance on the front cover of The BeatlesSgt. Pepper’s Lonely Hearts Club Band album.

Dr Toon Albert Stubbins

Life and playing career[edit]

Born in Wallsend, Tyne and Wear, England, he spent his early years in the United States, returning to Wallsend, where he attended Carville School, in 1929. Stubbins first played for Newcastle United in 1937, appearing in official games 30 times and scoring six goals for the team. In wartime games (classified as friendlies) he scored 188 goals in just 231 appearances.

In 1946 he was signed by Liverpool for a then club record of £12,500. Stubbins had also been approached by Liverpool’s closest rivals, Everton, and he settled the decision with a toss of the coin. The coin should have been framed by manager George Kay as he made an immediate impact at the club, making his debut on 14 September 1946 in a league match at Burnden Park he scored an 82nd-minute goal as the Reds left it late to claim all the spoils in a 3–1 victory over Bolton Wanderers.

His move to Liverpool gained him most of his fame and success; Stubbins scored 28 goals (24 league goals) in the 1946–7 season (making him joint top scorer with Jack Balmer) helping Liverpool to win the League Championship, the first time in 24 years.

Stubbins also scored 24 goals the following season. Although a contractual dispute in the 1948–9 season limited his appearances for the Merseyside club, he then helped Liverpool reach the 1950 FA Cup Final, the first time Liverpool had ever appeared at Wembley. However, they lost to Arsenal by two goals to nil.

On 18 October 1950, at Blackpool‘s Bloomfield Road, Stubbins netted five goals in the Football League‘s 6–3 victory over the Irish League in an exhibition match.[1]

Injuries forced him to retire in 1953, having scored 83 goals in 178 appearances, or 1 every 2.1 games. For a player with such an impressive goal ratio, it is astonishing that he was constantly overlooked by Walter Winterbottom, the England manager at the time. He played for the England once in an unofficial ‘victory’ international against Wales in 1945, a game England lost 1–0.

Following his retirement, Stubbins entered a full-time career in sports journalism, although he briefly coached an American semi-professional side, the New York Americans in 1960.

Stubbins’ later claim to fame was an appearance on the front cover of The BeatlesSgt. Pepper’s Lonely Hearts Club Band album, the only footballer to be given that honour. He also has a Liverpool FC fan club named in his honour. He also featured as a minor character in Stephen Baxter’s time-travelling novel The Time Ships. He died in 2002, aged 82, after a short illness.

Career details[edit]

  • Wartime guest games (1939–1946) – 231 appearances, 188 goals
  • Liverpool FC (1946–1953) – 178 appearances, 83 goals, Football League First Division (Level 1) championship winners medal (1947), F.A Cup runners-up medal (1950)

Statistics[edit]

Club performance
Club Season League FA Cup League Cup Europe Others Total
App Goals App Goals App Goals App Goals App Goals App Goals
Liverpool 1952–53 5 0 0 0 0 0 5 0
1951–52 12 5 0 0 0 0 12 5
1950–51 23 6 1 0 0 0 24 6
1949–50 28 10 7 1 0 0 35 11
1948–49 15 6 3 1 0 0 18 7
1947–48 40 24 2 2 0 0 42 26
1946–47 36 24 6 4 0 0 42 28
Total 159 75 19 8 0 0 178 83

References[edit]

  1. Jump up^ Gillatt, Peter (30 November 2009). Blackpool FC On This Day: History, Facts and Figures from Every Day of the Year. Pitch Publishing Ltd. ISBN 1-905411-50-2.

External links[edit]

Tribute to Liverpool FC (1892-1959)

Did the Beatles like football?

Also in this week’s Knowledge: Steve Archibald on Top of the Pops and football references in Spinal Tap (reprise). Send your questions and answers toknowledge@guardianunlimited.co.uk
The Beatles

The Beatles: big football fans?

Did any of the Beatles ever express an interest in football, in particular whether they favoured Liverpool or Everton,” asks Steven Draper, “or did they steer clear of the subject for fear of alienating potential fans?”

The answer, James, is ambiguous at best. The Beatles were never regulars at either Anfield or Goodison Park – so it really depends on which titbit of folklore you choose to swallow.

Donald Philips is among many who think that the Sergeant Pepper cover is the killer giveaway. Standing just on Marlene Dietrich’s shoulder grinning madly is Albert Stubbins, the red-haired Liverpool centre forward – and the only player to make the many-faced cover.

While there are those who claim, rather mean-spiritedly, that Stubbins only made the cover because John Lennon liked his name, many more are determined to prove that the Beatles worshiped at the Kop when not hopping across the continents for a visit to the Maharishi.

Karl Coppack comes up with Paul McCartney trying to get the 1977 Liverpool v Man United FA Cup final on the radio while on his boat in the Caribbean, while the words clutching at straws come to mind for both Stephen Pepper – who recalls the Beatles wearing a huge red-and-white scarf in a skiing scene of Help! – and Ian Gresham, who remembers snaps from 1968’s Mad Day Out photo session of McCartney wearing a red-and-white rosette.

A number of you with a worrying knowledge of Beatles lyrics also point out that Matt Busby – an ex-Liverpool player – gets a namecheck on Dig It.

But there are equally tenuous claims for a link between McCartney and Everton. Paul has been known to mention that his uncles used to support the Toffees – and that every now and then he would tarry along with them.

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And then there was the rumour that warmed Everton hearts a couple of years back that McCartney was about to invest a lot of money with the club. They’re still waiting for that investment.

The real answer seems to be that the Beatles did not have any great love of football – unusual in four lads from a footballing city, as Karl Naden points out, but not impossible. Indeed, the only positive sighting of a Beatle at a sporting event comes from Iain Saunders, who sat behind McCartney at a New York Yankees baseball game.

Finally George Harrision’s reply to those impertinent enough to ask which club he supported was the obtuse: “There are three teams in Liverpool and I prefer the other one.” Which leaves us very much where we started.

STEVE ARCHIBALD: THE FIRST MAN TO APPEAR TWICE ON TOP OF THE POPS?

“Was Steve Archibald the first man to appear on Top Of The Pops twice in the same night with two different groups (Spurs and Scotland) in 1982?” asks someone whose name we have misplaced.

No he wasn’t, Mr/Ms Anonymous. With eagle-eyed chart knowledge, Knowledge reader Brian Spurrell flamboyantly trumps Steve Archibald with, wait for it, session singer Tony Burrows.

Burrows, Spurrell remembers, once appeared on TOTP three times with three separate bands. “That was in early 1970 when his session career was at its peak and records by the Brotherhood of Man – United We Stand, White Plains – My Baby Loves Loving, Edison Lighthouse – Love Grows Where My Rosemary Goes, and The Pipkins – Gimme Dat Ding, were all in the charts together. All of them feature him on vocals.”

But it was downhill all the way after that. After the triple-starring show, Burrows was collared by a member of the production staff and told he’d been unofficially blacklisted from the show – apparently it was starting to look like a bit of a fix – and Burrows did not appear on TV for another four years despite singing on countless hits.

Nor were his own records played on the radio until First Class recorded Beach Baby in 1974 – a record which reached No4 in the UK charts.

Steve Archibald went on to play for Barcelona.

FOOTBALL IN SPINAL TAP: REPRISE

“In the legendary rockumentary, This Is Spinal Tap, bass player Derek Smalls wears an early 80s Umbro football shirt in several scenes, including the famous airport security scene. Who did he support? It looks a bit like Bradford City to me, but I thought he was from the West Midlands,” expounds Mark Meadowcroft while adjusting his spandex strides, strapping on his axe and turning his amp up to 11.

We’ve dealt with this enquiry before Mark, back in the day when money didn’t matter and it was just about the music. The garment you speak of was in fact a Shrewsbury Town replica shirt.

“Speaking of Derek Smalls in his Shrewsbury shirt, only a true Tap obsessive will have spotted David St Hubbins’s favourite team: Wolverhampton Wanderers,” says Stephen Buckland, going one louder. “As the band arrive in New York for their very first gig, the guitarist and vocalist can be seen sporting the familiar gold and black scarf behind manager Ian Faith. It’s only a few frames, but it’s there. Buy the video, folks.”

Meanwhile Andy Barnes says that “while watching Spinal Tap again, I noticed Derek Smalls sporting a claret and blue baseball cap a lot through the first half of the film. The writing is difficult to make out, but as they go barbers shop at the grave of The King, you can just make out the words West Ham across the front. A pretty good reference to their supposed east-end roots, but a bit odd considering he’s got his Shrewsbury Town shirt on at the same time.”

For even more football-related Tap references and a whole host of other useless but compelling information, why not visit The Knowledge ArchiveThe Knowledge archive.

CAN YOU HELP?

“In the recent Madrid derby Athletico were captained by 19-year-old Fernando Torres. It lead to a discussion about other players who’d taken the armband so young with Tony Adams being widely suggest as the youngest top flight captain in recent history,” says Crispin O’Brien. “Is this true? Also who’s the youngest player to have been given the honour of leading out his country and who’s the youngest skipper to have got his mitts on any silverware?”

“Before Michael Owen and Wayne Rooney started a game up front for England, had a Liverpool-Everton strike pair ever started for England, or any other country?” asks Henry Killworth.

“A friend and I have been arguing about whether his southern English Premiership team or my northern Premiership team has to travel the most during an average football season,” says Anna B. “Has anyone ever calculated whether, say, Southampton travel more miles than, say, Newcastle? Which Premiership club clocks up the most air miles? And does travelling the furthest have an adverse effect on a team’s overall performance?”

“I support Swindon Town, my wife supports Liverpool,” says Tim Beaumont. “Very occasionally both win but more usually one or other loses. This set me wondering: have there ever been any matchdays of maximum happiness for our household? This would involve Swindon and Liverpool winning AND Everton, Manchester United, Oxford United and Bristol City ALL losing, preferably heavily. Is there any way of finding this out?”

“Have two players from the same team ever been sent off for simultaneous challenges on a rival player?” asks Caleb Marwick. “For example, a player chasing back and a closing-down player ever both tackling high on the same man?”

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Understanding contemporary art

_____________

Richard Long’s work is highlighted at the 12:00 minute mark in the above film.

Richard Long (artist)

From Wikipedia, the free encyclopedia
Jump to: navigation, search

Detail of Riverlines installed in the lobby of the Hearst Tower (2006)

Richard Long CBE (born 2 June 1945) is an English sculptor, photographer and painter, one of the best known British land artists. Lin 1972 there was ong is the only artist to be shortlisted for the Turner Prize four times, and he is reputed to have refused the prize in 1984. He was nominated in 1984, 1987, 1988 and he then won the award in 1989 for White Water Line.[1] He currently lives and works in Bristol.[2]

Early life and education

Born in Bristol, England; Long studied at the University of the West of England‘s College of Art during the years of 1962–5, then to Saint Martin’s School of Art, London during 1966–68.[3] At Saint Martin’s, he studied under Anthony Caro and Phillip King, and he became closely associated with fellow student Hamish Fulton.[2] Within a year after he graduated from St Martin’s, the artist became closely associated with the emergence of Land Art; he also participated in the first international manifestations of both Arte Povera, in Amalfi, Italy in 1968, and Earth Art, at Cornell University, New York in 1969.[4]

Work

South Bank Circle by Richard Long, Tate Liverpool, England. (1991)

Long made his international reputation during the 1970s, but already with sculptures made as the result of epic walks, these take him through rural and remote areas in Britain, or as far afield as the plains of Canada, Mongolia and Bolivia.[5] He walks at different times for different reasons. At times, these are predetermined courses and concepts; yet equally, the idea of the walk may assert itself in an arbitrary circumstance.[4] Guided by a great respect for nature and by the formal structure of basic shapes, Long never makes significant alterations to the landscapes he passes through. Instead he marks the ground or adjusts the natural features of a place by up-ending stones for example, or making simple traces. He usually works in the landscape but sometimes uses natural materials in the gallery. Different modes of presentation, sometimes combined, were used to bring his experience of nature back into the museum or gallery. From 1981, Long also alluded to the terms of painting by applying mud in a very liquid state by hand to a wall in similar configurations, establishing a dialogue between the primal gesture of the hand-print and the formal elegance of its display. He stressed that the meaning of his work lay in the visibility of his actions rather than in the representation of a particular landscape.[5] Nearly forty years on, his work continues the dialectic between working freely and ephemerally wherever in the wide world, and bringing it back into the public domain of art spaces and books in the form of sculptures of raw materials such as stones, mud and water and photographic and text works.[4] In 2012 the artist was on view at the exhibition “Ends of the Earth: Land Art bis 1974” with the conceptual and rarely shown work entitled A Walking Line in the Berner Oberland.[6]

A Line Made by Walking (1967)

Small White Pebble Circles Date, Tate Modern, London (1987)

Richard Long, then 22 years old and a student at Saint Martin’s School of Art in London, walked back and forth along a straight line in the grass in the English countryside, leaving a track that he then photographed in black and white.[7] The work, taken as the milestone in contemporary art, balances on the fine line between the performance (action) and the sculpture (object).[8]

Nature has always been a subject of art, from the first cave paintings to twentieth-century landscape photography. I wanted to use the landscape as an artist in new ways. First I started making work outside using natural materials like grass and water, and this led to the idea of making a sculpture by walking. This was a straight line in a grass field, which was also my own path, going ‘nowhere’. In the subsequent early map works, recording very simple but precise walks on Exmoor and Dartmoor, my intention was to make a new art which was also a new way of walking: walking as art. Each walk followed my own unique, formal route, for an original reason, which was different from other categories of walking, like travelling. Each walk, though not by definition conceptual, realised a particular idea. Thus walking – as art – provided a simple way for me to explore relationships between time, distance, geography and measurement. These walks are recorded in my work in the most appropriate way for each different idea: a photograph, a map, or a text work. All these forms feed the imagination.

—Richard Long[9]

Forms

The consistent employment of archetypal shapes, mostly circle, line, cross and spiral, is immediately noticeable in the artist’s body of work. Much as the appearance could evoke ancient monumental connotation, the force of Long’s oeuvre lies in its conceptual simplicity. The work is just as it is staged. Nonetheless, Long does not withdraw himself from believing his actions of connecting simple geometric structures such as circles with organic elements, may reach across cultural and generational boundaries:

“I think circles have belonged in some way or other to all people at all times. They are universal and timeless, like the image of a human hand. For me, that is part of their emotional power, although there is nothing symbolic or mystical in my work.” —Richard Long[10]

Stone, driftwood and mud

Long works with indigenous materials, such as stone, wood and mud, collected from his numerous walks around the world. Stone is one of the earliest material used by man to fashion tools; and one of his preferred materials. Delabole Slate Circle, a solid circle made on the floor with slate from the Delabole quarry in Cornwall, was constructed by slate roughly cut to retain as much of its natural character as possible. The circular arrangement is an imposed order, but the flatness of each piece is characteristic of slate, representing a natural order.[11] River Avon Driftwood (1976) seemed to hold chance and order in equal sway, as in much of Long’s work. It is made up of bits of driftwood which he gathered from the banks of the River Avon below Leigh Woods, near the Clifton Suspension Bridge, Bristol. These are used randomly, and spaced approximately but within the precise form of an anti-clockwise spiral. Objects which arrived at a given point by chance, through the flow of the river, are organised into a logical, and ancient, pattern.[12]

From 1981, he also alluded to the terms of painting by applying mud in a very liquid state by hand to a wall in similar configurations. Long applies the mud with his hands — throwing it, drawing with his fingers or using the imprint of his palms. While he may allow people to watch him place stones, he paints in private. The mud circles, the most impermanent parts of his shows -when the exhibitions are over, the circles are painted over — hold everything together.[13] Mud has represented the ground he stepped through his walks and the realisation of these “murals” establishes a dialogue between the primal gesture of the hand-print and the formal elegance of its display. He stressed that the meaning of his work lay in the visibility of his actions rather than in the representation of a particular landscape.[14]

Bringing together the unevenly shaped raw materials in the geometric structure, Long’s works illustrate a recurrent theme, the relationship between man and nature, as he has explained, “You could say that my work is a balance between the patterns of nature and the formalism of human, abstract ideas like lines and circles. It is where my human characteristics meet the natural forces and patterns of the world, and that is really the kind of subject of my work.”

Nature vs. gallery

Long usually works in the landscape but sometimes uses natural materials in the gallery. The scale of his sculptures is determined by his response to each particular place or landscape locality. In 2000, for the first time, he also presented discrete, modest-sized works that hang on the wall like paintings. They are portable and permanent, a deviation from his typical practice of enacting temporary installations on site.[15]

The outdoor and indoor works are complementary, although I would have to say that nature, the landscape, the walking, is at the heart of my work and informs the indoor works. But the art world is usually received ‘indoors’ and I do have a desire to present real work in public time and space, as opposed to photos, maps and texts, which are by definition ‘second hand’ works. A sculpture feeds the senses at a place, whereas a photograph or text work (from another place) feeds the imagination. For me, these different forms of my work represent freedom and richness – it’s not possible to say ‘everything’ in one way.

I like the fact that every stone is different, one from another, in the same way all fingerprints, or snowflakes (or places) are unique, so no two circles can be alike. In the landscape works, the stones are of the place and remain there. With an indoor sculpture there is a different working rationale. The work is usually first made to fit its first venue in terms of scale, but it is not site-specific; the work is autonomous in that it can be re-made in another space and place. When this happens, there is a specific written procedure to follow. The selection of the stones is usually random; also individual stones will be in different places within the work each time. Nevertheless, it is the ‘same’ work whenever it is re-made.

—Richard Long[5]

At Houghton Hall in Norfolk, the Marquess of Cholmondeley commissioned a folly to the east of the house. Long’s land art consists of a circle of Cornish slate at the end of a path mown through the grass.[16]

A permanent installation is on view in the main lobby of Hearst Tower entitled Riverlines. Completed during the summer of 2006 and the biggest wall work he had ever made – about 35 x 50 feet (11 x 15 meters).[17]

Another permanent installation, Planet Circle (1991), can be seen in Museum De Pont in Tilburg, The Netherlands, or in the Hallen für Neue Kunst Schaffhausen, Switzerland.

Solo exhibitions

Books

  • 2012 South America. Zédélé éditions, Brest, France. First edition: 1972, Konrad Fischer, Düsseldorf.

Group exhibitions

Selected honours and awards

  • 1976 Represented Britain in the British Pavilion at the Venice Biennale, Venice, Italy
  • 1989 Turner Prize, Tate Gallery, London, UK
  • 1990 Chevalier de l’Ordre des Arts et des Lettres, French Ministry of Culture, Paris, France
  • 2001 Elected to the Royal Academy of Arts
  • 2005 California Residency Award, For-Site Foundation, USA

Long was appointed Commander of the Order of the British Empire (CBE) in the 2013 New Year Honours for services to art.[21][22]

Art market

Long’s Whitechapel Slate Circle (1981) brought a record price price for the artist in 1989 when it sold for $209,000 at Sotheby’s in New York. At another auction in 1992, the piece was estimated far more modestly at $120,000 to $160,000, but bidding never exceeded $110,000;[23] instead, the National Gallery of Art, Washington, D.C. purchased it in 1994 through dealer Anthony d’Offay.

Long is represented by the James Cohan Gallery, located in New York City. He has in the past also shown with Sperone Westwater Gallery, New York, and Haunch of Venison, London.

See also

External links

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RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 125 Ken Edwards, Leicester, Genetics Dept, “As a biologist, having lived through Darwinism and the DNA revolution, it is now so clear to me that EVOLUTION and natural selection is a perfectly adequate explanation for the diversity of living form that we have; they clearly all share the same kind of information system and metabolic system; I don’t see any need to invoke a GOD who is active…but I may be wrong”

 

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

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

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

Harry Kroto

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

Arif AhmedHaroon Ahmed,  Jim Al-Khalili, Sir David AttenboroughMark Balaguer, Horace Barlow, Michael BateSir Patrick BatesonSimon Blackburn, Colin Blakemore, Ned BlockPascal BoyerPatricia ChurchlandAaron CiechanoverNoam Chomsky, Brian CoxPartha Dasgupta,  Alan Dershowitz, Frank DrakeHubert Dreyfus, John DunnBart Ehrman, Mark ElvinRichard Ernst, Stephan Feuchtwang, Robert FoleyDavid Friend,  Riccardo GiacconiIvar Giaever , Roy GlauberRebecca GoldsteinDavid J. Gross,  Brian Greene, Susan GreenfieldStephen F Gudeman,  Alan Guth, Jonathan HaidtTheodor W. Hänsch, Brian Harrison,  Stephen HawkingHermann Hauser, Robert HindeRoald Hoffmann,  Bruce HoodGerard ‘t HooftCaroline HumphreyNicholas Humphrey,  Herbert Huppert,  Gareth Stedman Jones, Steve JonesShelly KaganMichio Kaku,  Stuart KauffmanMasatoshi Koshiba,  Lawrence KraussHarry Kroto, George Lakoff,  Rodolfo LlinasElizabeth Loftus,  Alan MacfarlaneDan McKenzie,  Mahzarin BanajiPeter MillicanMarvin MinskyLeonard Mlodinow,  P.Z.Myers,   Yujin NagasawaAlva NoeDouglas Osheroff, David Parkin,  Jonathan Parry, Roger Penrose,  Saul PerlmutterHerman Philipse,  Carolyn PorcoRobert M. PriceVS RamachandranLisa RandallLord Martin ReesColin RenfrewAlison Richard,  C.J. van Rijsbergen,  Oliver Sacks, John SearleMarcus du SautoySimon SchafferJ. L. Schellenberg,   Lee Silver Peter Singer,  Walter Sinnott-ArmstrongRonald de Sousa, Victor StengerJohn SulstonBarry Supple,   Leonard Susskind, Raymond TallisMax TegmarkNeil deGrasse Tyson,  Martinus J. G. Veltman, Craig Venter.Alexander Vilenkin, Sir John Walker, James D. WatsonFrank WilczekSteven Weinberg, and  Lewis Wolpert,

Ken Edwards is a former genetics lecturer at Cambridge, where he was Head of the Genetics Department and Secretary General to the Faculties, Dr Kenneth Edwards was Vice-Chancellor of the University from 1987 to 1999 and was also President of the Association of European Universities. The building that houses our School of Management bears his name.

In  the third video below in the 136th 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 my July 9, 2016 letter to Dr. Edwards and I address his quote in the letter.

Francis Schaeffer (30 January 1912 – 15 May 1984[1])  and his wife Edith  (November 3, 1914 – March 30, 2013)

James Watson (1928-) and Francis Crick  (8 June 1916 – 28 July 2004)

Michael Polanyi, FRS[1] (11 March 1891 – 22 February 1976)

John Charles Polanyi,  (born 23 January 1929)

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John Scott Haldane (2 May 1860 – 14/15 March 1936)

J. B. S. Haldane
J. B. S. Haldane.jpg

Haldane in 1914

(5 November 1892 – 1 December 1964)

Maurice Wilkins (15 December 1916 – 5 October 2004)

Erwin Schrödinger (12 August 1887 – 4 January 1961)

Sir Peter Medawar ( 28 February 1915 – 2 October 1987)

Barry Commoner (May 28, 1917 – September 30, 2012)

Enjoy the pictures of an amazing life

dadnmeinboat jpg

Harry Kroto with his father above

Marg and Steve and David

Margaret with David and Stephen

Image21 (2)
leaving Liverpool for Canada 1964

Kroto and his wife, Margaret.

Kroto and his wife, Margaret.

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July 9, 2016

Professor Ken Edwards, Head of Genetics Department, The University of Leicester,

Dear Dr. Edwards,

I was very sad to learn of the passing of the great scientist Harry Kroto. Judging from comments of his close friends, Kroto was not only a great scientist but an even better man personally.

Tim Logan, chair of Chemistry and Biochemistry at Florida State“What always brought out the best in Harry was his wife, Margaret. Margaret and Harry were always together, until the end of Harry’s life. She served as his business manager, scheduling his many speaking engagements around the world, organizing the travel, and supporting him in many, many ways. What I found so remarkable is that even after 57 years together, they were so obviously in love. Harry would include photos and sketches he made of her in his lectures, and he always acknowledged her as his moral compass.” 

HAVE YOU EVER WONDERED WHY I WAS PROMPTED ORIGINALLY TO WRITE YOU? It was because Harry Kroto took the time in 2014 to correspond with me. After I wrote him in  the spring and summer of 2014 he emailed me twice and then sent me a letter in November of 2014. In that letter he referred me to a film series  Renowned Academics talk about God that featured your comments. 

I have always been fascinated by brilliant individuals and recently I had the opportunity to come across a very interesting article by Michael Polanyi, LIFE TRANSCENDING PHYSICS AND CHEMISTRY, in the magazine CHEMICAL AND ENGINEERING NEWS, August 21, 1967, and I also got hold of a 1968 talk by Francis Schaeffer based on this article. ISN’T IT AMAZING THAT JUST LIKE KROTO’S FAMILY POLANYI HAD TO FLEE EUROPE BECAUSE OF HITLER’S INSANE GRUDGE AGAINST THE JEWS!!!!I know you don’t believe in God or the Devil but if anyone was demon-possessed it had to be Hitler.

Polanyi’s son John actually won the 1986 Nobel Prize for Chemistry. This article by Michael Polanyi concerns Francis Crick and James Watson and their discovery of DNA in 1953. Polanyi noted:

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

I am sending you this two CD’s of this talk because I thought you may find it very interesting. It includes references to not only James D. Watson, and Francis Crick but also  Maurice Wilkins, Erwin Schrodinger, J.S. Haldane (his son was the famous J.B.S. Haldane), Peter Medawar, and Barry Commoner.

Adrian Rogers noted that Evolution has no answer for these three points:

1. The fossil record. Not only is the so-called missing link still missing, all of the transitional life forms so crucial to evolutionary theory are missing from the fossil record. There are thousands of missing links, not one!

2. The second law of thermodynamics. This law states that energy is winding down and that matter left to itself tends toward chaos and randomness, not greater organization and complexity. Evolution demands exactly the opposite process, which is observed nowhere in nature.

3. The origin of life. Evolution offers no answers to the origin of life. It simply pushes the question farther back in time, back to some primordial event in space or an act of spontaneous generation in which life simply sprang from nothing. 

Let me start off by saying that this is not the first time that I have written you. Earlier I shared several letters of correspondence I had with Carl Sagan, and Antony Flew. Both men were strong believers in evolution as you are today. Instead of talking to you about their views today I wanted to discuss the views of you and Charles Darwin. 

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

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

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

Your QUOTE from your interview with Alan Macfarlane: 

ON RELIGION,  I don’t have a belief; I hesitate to say I am an atheist as it sounds too positive and puts me in the Dawkins camp; my reasoning is that I don’t see anything in what we know about the universe and the way it operates any need to invoke anybody who changes things from time to time; once a rule had been set up it continued to operate for the last 13.7 billion years; as a biologist, having lived through Darwinism and the DNA revolution, it is now so clear to me that EVOLUTION and natural selection is a perfectly adequate explanation for the diversity of living form that we have; they clearly all share the same kind of information system and metabolic system; I don’t see any need to invoke a GOD who is active, nor have I had any direct personal experience which I could say was religious; how it was all set up, what created it in the first place, whether there are parallel universes, I don’t know, but I am not a believer; in my childhood I used to go to CHURCH; my parents came from different denominations, my mother was a Methodist and my father Church of England; they couldn’t agree on where to go to church so didn’t go very often, but insisted that I did; I was CONFIRMED and was a believer for a time; gradually came to my present views in my mid-twenties, but I may be wrong;

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

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

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

Francis Schaeffer noted:

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

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

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

Francis Schaeffer commented:

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

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

Francis Schaeffer asserted:

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

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

Francis Schaeffer remarked:

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

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

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

Francis Schaeffer observed:

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

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

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

Francis Schaeffer summarized :

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

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

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

Francis Schaeffer remarked:

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

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

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

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

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

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

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

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

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

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

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