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

 

George Harrison – Awaiting On You All (Backing Track – Early Take)

George Harrison – ‘Awaiting On You All’ – Original Audio

Francis Schaeffer in his book HOW SHOULD WE THEN LIVE? gives us some insight into a possible answer to that question WHY WAS DRUG-TAKING AND EASTERN RELIGIONS SO POPULAR IN THE 1960’s IN USA?

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. So the turning to the eastern religions today fits exactly into the modern existential  methodology, the existential thinking of modern man, of trying to find some optimistic hope in the area of nonreason when he has given up hope on a humanistic basis of finding any kind of unifying answer to life, any meaning to life in the answer of reason. 

An article calledHoly Wars” was based on Francis Schaeffer’s writings primarily and it noted:

Then came the Beatles. John Lennon had declared that his group was more popular than Jesus. But they weren’t willing to stop there. They sought to supplant the true God with everything false. After the rock icons returned from India they brought with them not only the music of the Hindu guru Ravi Shankar, but also his religion as taught by the Maharishi Mahesh Yogi. They were so impressed with that guru’s Transcendental Meditation woo woo that they just had to convert the whole Western World to it. The counterculturalists took it all in, hook line and sinker.

George Harrison – Awaiting On You All – Lyrics

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FRIDAY, MAY 10, 2013

Awaiting on You All

On the way home from work one afternoon I listened to the George Harrison song Awaiting on You All that I had copied along with other songs by this artist from his album All Things Must Pass. Hearing this song after so many years (it was on a CD that I had lost and just found again) was an interesting experience, and as often happens when you unearth some part of your past and compare it with your present, I heard it almost with fresh ears. I am not the same person that I was then. I was in my twenties when I followed George Harrison both musically and spiritually. Though the Eastern religious views he espoused most of his public life were similar to mine at that age, it didn’t take long for me to outgrow them. ‘Outgrow’ is not exactly the right word, though. I didn’t really outgrow them. You could say I traded them in, new lamps for old. I never struck a better deal.

Still, listening to the song I was amazed just how spot on he was in much of what he was saying. I can still relate to almost all of it. I don’t think that either of us, George or I, was aware of the fuzzy thinking that made us combine devotion and belief in Krishna and Jesus without noticing the two aren’t the same. I’m not talking about doctrinal or religious differences. Hinduism and Christianity are distinct religions, granted, but anyone who believes in God knows, ‘God is God. There is no thing you can compare to God. God is God.’ We tend to believe that at best other religions are wrong in the details but right in the big picture. This may be true, but no one can say so without denying his faith community. In youth, I think we were bored with dogmatic strongholds, and wanted the freedom to meet God on our terms, not according to those of our ancestors. How little did we understand that ‘the ancestors in stone armor calling for loyalty untrue’ seeking ‘to make a zigzag of the arrow’s flight’ were doing no such thing.

No, they knew that the shortest path between two points is rarely a straight line, though arrows may fly to their mark, being projectiles aimed at a target. Unfortunately people are not projectiles, and our destination is not really a target, no matter how much we wish we could hit the bullseye. We are beings fashioned in the Divine image and likeness. We live in more than three, more even than four, dimensions, and the paths we tread cannot be traced, planned or prophesied by mortal logic or the magic of music. They are no more than mere beginnings, our thoughts and feelings, before we bump into the aweful reality which we glibly like to call ‘God.’ Meet Him on our terms? Hardly possible, unless He allows it, and only as a sign that He is there, hidden behind our wall, waiting for us to…
No, that is also just what we glibly like to think, as George Harrison sings in his song…

You don’t need no love in
You don’t need no bed pan
You don’t need a horoscope or a microscope
To see the mess that you’re in
If you open up your heart
You will know what I mean
We’ve been polluted so long
Now here’s a way for you to get clean

By chanting the names of the Lord, and you’ll be free
The Lord is awaiting on you all to awaken and see…

You don’t need no passport

And you don’t need no visas
You don’t need to designate or to emigrate
Before you can see Jesus
If you open up your heart
You’ll see he’s right there
Always was and will be
He’ll relieve you of your cares

You don’t need no church house
And you don’t need no Temple
You don’t need no rosary beads or them books to read
To see that you have fallen
If you open up your heart
You will know what I mean
We’ve been kept down so long
Someone’s thinking that we’re all green

… The Lord is awaiting on you all to awaken and see
By chanting the names of the Lord, and you’ll be free

I purposely left out the stanza about the pope owning controlling interest in General Motors and not being qualified to quote us anything but the Stock Exchange. This is childish talk and hatchets all the good things he has to say. This, I find, is true of youthful thinkers in every generation. It’s true of otherwise noble and idealistic youth today. It was true of me as a Vietnam War draft resister. We ‘let the cat out of the bag’ about ourselves when we pounce on anyone, especially an authority figure we don’t approve of, and show that, however pure we think our motives, however lofty our ideals, we’re still no better than the fallen heroes we no longer believe in. What George Harrison says in this song I still agree with. Where I have a problem, is what he proposes as a solution to the mess we find ourselves in. As much as I enjoyed chanting Hare Krishna, it didn’t save me, or the world, and it never will.

But the rest is, amazingly, true, as I have found out in the intervening years. The words about Jesus are almost straight out of the Bible. The words about churches and temples, the same. Somebody went to Sunday School as a child. Yes, you’re right. I did.
I know that for sure, and guess what? It stuck. What started out as an incomprehensible religious upbringing somehow became comprehensible when it finally collided with what I was made for.

Yes, my parachute failed to open, and the earth received my bruised and broken body. I was alive for just a moment, just long enough for me to realize I was about to die. Then His gentle hands slipped under my head and shoulders as He lifted me up from what should have been my grave. He had already been there, aeons before I came to birth or leapt to my unintended death. No, this did not literally happen. I’ve never used a parachute. But His hands are real.

Awaiting on You All, a great song,
but He is waiting only from our point of view.
On His side, we are either already with Him, or without Him.

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Featured Artist: Michelle Mackey

By

Editor

01/03/2013Posted in: Featured Artist, Painters

'Fence Climber'. Oil on Canvas. 36"x36".

‘Fence Climber’. 2005. Oil on Canvas. 36″x36″.

Michelle Mackey is a painter who lives and works in Brooklyn, NY and Dallas, TX.  She has exhibited extensively in both of those locations, as well as other places inside of and outside of the United States.  In 1999, she received an MFA from Pratt Institute.  Her work has been featured in several publications, including The Christian Century and New American Paintings.

A variety of everday textures, surfaces and structures make up the visual repository from which Mackey’s paintings emerge.  She describes her process in this way:

The story of my process is embedded in layers of paint (layers of choices) visible on the canvas: a trail of past decisions shutting off certain paths to allow other possibilities. I’m searching, tweaking, scratching, both my mind and the image on the canvas, to uncover what I am really seeing and the process of how I see. On my microcosmic-level, I am looking into a larger system beyond the individual. I do not believe in chance or events without purpose, so I do feel that my search will reveal certain truths or aspects of a larger truth.

How do you paint a memory?  Memory is a constant theme in Mackey’s work.  We all have some idea of what it might mean to paint from our memories, but Mackey’s paintings are more like the memories themselves.

Like a memory, one peers into the amorphous forms that haunt her canvases, and one has the sense of staring backward into time.  These images are often vague and nebulous, and they tantalize us with the distance between what could be and what really is. Her 2011 Black Series (see Intermezzo below) is an excellent example.  Although these paintings are bare and monotone, Mackey achieves a remarkable sense of depth and ambiguity.  Forms emerge and disappear.  Mackey gives us representation with one hand, while she simultaneously takes it away with the other.

Like a memory, viewing one of Mackey’s paintings can be spatially disorienting.  Her collages of textures, surfaces and structures do not obey the laws of the physical universe.  One texture bleeds into another.  What appears, at first glance, to be up may on a second viewing strike us as upside down.  In Fashion Awards (below), the lines and structures that appear are actually old blueprints for television-show scenery.  These plans, which no longer serve any function, are so covered that spatial orientation and dimension is difficult to decipher.  They are the remains of a television image; a memory of a memory.

Like a memory, Mackey’s paintings are layered.  Our deepest memories are colored and warped by the passage of time.   What they mean to us change and shift along with us.  A painting like Blue Spring (below) is suggestive of process of layering that builds up over time.  Although much is covered, there is very little in this painting that seems dispensable.

Memories form an essential component of our sense of identity.  Who we believe our selves to be, and what we believe ourselves to be capable of becoming, is inextricably connected to our own memories and the memories that have been handed down to us.  For many of us, these memories bear the dead weight of regret and failure, and they tell us that history will only ever repeat itself.  Mackey’s process suggests, to the contrary, that we are free to explore our memories and that we are graciously and mysteriously free to imagine new ways of relating to our memories.

Memory is really only one aspect of a very rich body of work.  If you would like to learn more about Mackey’s work, I encourage you to visit her website.  There, you can view online galleries, an artist statement, video of her painting process and more.

'Intermezzo'. Acrylic and Enamel on Resin Coated Panel. 47"x47".

‘Intermezzo’. 2011. Acrylic and Enamel on Resin Coated Panel. 47″x47″.

'Fashion Awards'. 2009. Acrylic and Pencil on Paper, Mounted on Panel. 9.5"x11".

‘Fashion Awards’. 2009. Acrylic and Pencil on Paper, Mounted on Panel. 9.5″x11″.

'Blue Spring'. 2003. Oil on Linen. 24"x24".

‘Blue Spring’. 2003. Oil on Linen. 24″x24″.

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