——
Johnny Cash – Cocaine Blues Lyrics
————
630 × 400Images may be subject to copyright. Learn More
In his book HOW SHOULD WE THEN LIVE? Francis Schaeffer noted:
The man who followed on from that point was English–Aldous Huxley (1894-1963). He proposed drugs as a solution. We should, he said, give healthy people drugs and they can then find truth inside their own heads. All that was left for Aldous Huxley and those who followed him was truth inside a person’s own head. With Huxley’s idea, what began with the existential philosophers – man’s individual subjectivity attempting to give order as well as meaning, in contrast to order being shaped by what is objective or external to oneself – came to its logical conclusion. Truth is in one’s own head. The ideal of objective truth was gone.
This emphasis on hallucinogenic drugs brought with it many rock groups–for example, Cream, Jefferson Airplane, Grateful Dead, Incredible String Band, Pink Floyd, and Jimi Hendrix. Most of their work was from 1965-1958. The Beatles’Sergeant Pepper’s Lonely Hearts Club Band (1967) also fits here. This disc is a total unity, not just an isolated series of individual songs, and for a time it became the rallying cry for young people throughout the world. As a whole, this music was the vehicle to carry the drug culture and the mentality which went with it across frontiers which were almost impassible by other means of communication.
Here is a good review of the episode 016 HSWTL The Age of Non-Reason of HOW SHOULD WE THEN LIVE?, December 23, 2007:
Together with the advent of the “drug Age” was the increased interest in the West in the religious experience of Hinduism and Buddhism. Schaeffer tells us that: “This grasping for a nonrational meaning to life and values is the central reason that these Eastern religions are so popular in the West today.” Drugs and Eastern religions came like a flood into the Western world. They became the way that people chose to find meaning and values in life. By themselves or together, drugs and Eastern religion became the way that people searched inside themselves for ultimate truth.
Along with drugs and Eastern religions there has been a remarkable increase “of the occult appearing as an upper-story hope.” As modern man searches for answers it “many moderns would rather have demons than be left with the idea that everything in the universe is only one big machine.” For many people having the “occult in the upper story of nonreason in the hope of having meaning” is better than leaving the upper story of nonreason empty. For them horror or the macabre are more acceptable than the idea that they are just a machine.
Francis Schaeffer has correctly argued:
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.
Johnny Cash – Cocaine Blues Lyrics
Cocaine Blues
For the Kerry Greenwood novel, see Cocaine Blues (novel). For the Escort song, see Escort (band).
Not to be confused with Cocaine (song).
“Cocaine Blues” is a Western swing song written by Troy Junius Arnall, a reworking of the traditional song “Little Sadie“. Roy Hogsed recorded a well known version of the song in 1944.
| “Cocaine Blues” | |
|---|---|
| Single by Roy Hogsed | |
| Recorded | 1944[1] |
| Genre | Western swing, murder ballad |
| Label | S&G |
| Songwriter(s) | Troy Junius Arnall |
BackgroundEdit
The song is the tale of a man, Willy Lee, who murders his unfaithful girlfriend while under the influence of whiskey and cocaine. He flees to Mexico and works as a musician to fund his continued drug use. Willy is apprehended by a sheriff from Jericho Hill, tried, and promptly sentenced to “ninety-nine years in the San Quentin Pen“. The song ends with Willy imploring the listener:
Come on you hypes listen unto me,
lay off that whiskey, and let that cocaine be.
Early recordingsEdit
Lyrically based upon the turn of the century, traditional, folk song “Little Sadie,” the popular version of this song was originally recorded by W. A. Nichol’s Western Aces (vocal by “Red” Arnall) on the S & G label, probably in 1947, and by Roy Hogsedand the Rainbow Riders May 25, 1947, at Universal Recorders in Hollywood, California. Hogsed’s recording was released on Coast Records (262) and Capitol (40120), with the Capitol release reaching number 15 on the country music charts in 1948.[2]
Johnny Cash versionsEdit
| “Cocaine Blues” | |
|---|---|
| Song by Johnny Cash | |
| from the album At Folsom Prison | |
| Released | May 1968 |
| Recorded | January 13, 1968 |
| Genre | Rockabilly |
| Length | 3:01 |
| Label | Columbia |
| Songwriter(s) | T.J. Arnall |
| Producer(s) | Bob Johnston |
Johnny Cash famously performed the song at his 1968 Folsom Prison concert. He replaced the lyric “San Quentin” with “Folsom”, and changed “C’mon you hypes…” to “C’mon you gotta listen unto me…”, as well as using the then-provocative lyric “I can’t forget the day I shot that bad bitch down.” Cash also altered the last line to “Lay off the whiskey…” instead of “Drink all you want…”. During the performance, which was released uncensored by Columbia Records in 1968 (though other language is censored), Cash can be heard coughing occasionally; later in the concert recording, he can be heard noting that singing the song nearly did his voice in.
The song was also featured on Cash’s 1960 Columbia album Now, There Was a Song! under the title “Transfusion Blues” substituting the line “took a shot of cocaine” with “took a transfusion” along with some other minor lyrical changes (and a tamer version of the climactic lyric “I can’t forget the day I shot my woman down”). Cash later recorded “Cocaine Blues” for his 1979 album Silver. Cash chose not to use the word “bitch” in this version.
Cocaine Blues excerpt as performed by Johnny Cash
Taken from the album At Folsom Prison
Problems playing this file? See media help.
Cash also performed the song – with original lyrics and the use of the word “bitch” – for his December 1969 performance at Madison Square Garden, which was recorded but withheld from release until Johnny Cash at Madison Square Garden was released by Columbia Records in 2002.
Cash’s Folsom Prison performance of “Cocaine Blues” was portrayed by Joaquin Phoenix in the 2005 Cash biographical film Walk the Line. The film version, edited down to make it shorter, fades into the next scene before the line “I can’t forget the day I shot that bad bitch down” is sung. The DVD specials include an extended version of the song with the lyric, and the full, unedited version (apparently a different “take”) is found on the soundtrack CD.
Other versions
Other songs titled “Cocaine Blues”
See also
References
Bibliography
External links
—
Billy Graham, hippies, and the rock concert →
Billy Graham and Johnny Cash: An Unlikely Friendship
Posted on March 2, 2018 by Steve-O
Image: SLADE Paul / Getty Images
By Tony Carnes
Billy Graham and Johnny Cash were the best of friends, mutual confessors, and fishing buddies. Their wives, Ruth Bell and June Carter, were prayer partners. The two men could sit for hours in the same room without saying a word—Billy working on a book and Johnny on his songs. Once in a while, Johnny would interrupt and try out a song on Billy or ask a question about the Bible. At mealtimes, the families would gather to pray, sing, and eat. Usually the subject moved quickly to family and friends, problems and challenges. Johnny always had a list of friends he wanted Billy to call, while Billy would ask Johnny for advice and prayer for his loved ones.
***
Billy and Johnny had a superficial connection based on their roots in the hardscrabble rural South. They grew up around Baptist churches and barns. Barbecue, cornbread, and pork and beans would set their mouths watering.
On a deeper level, though, their backgrounds couldn’t have been more different. “Johnny came from the wild side, while Billy had never been through that phase. Billy walked the straight and narrow,” observes [Steve] Turner.
Even after his return to faith in 1967, Johnny’s life was pretty bumpy with what he called his “goof-ups.” And when he slipped back into amphetamine usage, he could get out of control. Johnny also felt let down by some of the ministries that he had latched on to for help. Turner says Johnny felt that “some failed him, some exploited him.”
***
So it was Billy’s faithfulness and integrity that Johnny gravitated toward. Billy was constant through the years, both in his personal relationship with Johnny and in his theology. Billy didn’t seem to go off on theological tangents at the drop of a dime. “Billy was a beacon to Cash who didn’t change,” says Turner. “Billy remained a stable character.”
When Johnny fell off the wagon, he likely didn’t confide that to Billy, though June may well have shared it with Ruth. The two wives constantly prayed with each other over their husbands and children. Johnny told Turner that in 1977 he was embarrassed that Billy would talk about the biography of the apostle Paul that Johnny was writing, because he was too stoned to even write. In the 1980s, there was a tabloid uproar over claims that Johnny was having an affair and too stoned to appear at two Graham crusades. Johnny denied the drug usage and said no one could separate him and June. However, Johnny checked into a drug rehabilitation program.
Whether Billy knew all the details of Johnny’s “goof-ups,” his response to Johnny was as a loving friend, loyal through thick and thin. “Daddy stayed his friend, that’s all,” Franklin says. Johnny’s faith didn’t change, but his closeness to God did. “Johnny never had problems with his faith, but he had problems with his life,” Franklin observes. Billy continued to invite Johnny to his crusades and, after Johnny got clean from drugs, encouraged him to finally finish his book on Paul, Man in White, in 1986.
When Johnny and Billy were together, it was like two brothers picking cotton together—one pretty steady and the other occasionally cutting up.
Read entire Christianity Today article HERE.Or below:
Billy Graham and Johnny Cash: An Unlikely Friendship
The evangelist originally sought out the singer for the sake of his son.
TONY CARNES|
Image: SLADE Paul / Getty Image
Billy Graham and Johnny Cash were the best of friends, mutual confessors, and fishing buddies. Their wives, Ruth Bell and June Carter, were prayer partners. The two men could sit for hours in the same room without saying a word—Billy working on a book and Johnny on his songs. Once in a while, Johnny would interrupt and try out a song on Billy or ask a question about the Bible. At mealtimes, the families would gather to pray, sing, and eat. Usually the subject moved quickly to family and friends, problems and challenges. Johnny always had a list of friends he wanted Billy to call, while Billy would ask Johnny for advice and prayer for his loved ones.
Billy and Johnny’s connection originated with Billy’s desire to connect with his son Franklin and the boy’s teenage peers. Franklin says that even as a little boy, “I loved Johnny Cash’s music.” He recalls that in 1969, Billy called the governor of Tennessee to ask for help in setting up an appointment with Johnny. Billy was observing his son slip into smoking, drinking, drugs, and girls. Franklin left one school after another, sometimes after being expelled. In his autobiography, Just as I Am, Billy explained that Franklin believed he was successfully hiding these things from his dad—“or so he thought,” Billy wrote.
Both father and son later agreed that Billy had approached Johnny with the goal of connecting with Franklin. “My favorite song was ‘Ring of Fire,’” says Franklin. “Father wanted to connect to me by connecting to Johnny Cash.” The elder Graham framed the matter in more global terms while visiting the singer’s home near Nashville.
Johnny told Country Music magazine that he was curious about why Billy had come to see him. Johnny had only recently gotten off drugs, started attending church, and married June. “We had a big meal and we sat around and talked a long time. I kept waiting for him to say what he came to see me about.” Billy said he just wanted to talk about music, a conversational topic Billy’s friends might have found surprising coming from the evangelist.
Then Billy obliquely mentioned his real concern: “He said the kids were not going to church, that they were losing interest in religion, and he said he thought that the music had a lot to do with it, because there was nothing in the church house that they heard that they liked,” Johnny recalled. Billy admitted that the music in church sounded old. His own crusades mainly used older hymns. “The latest thing the kids can hear in the church is ‘Bringing in the Sheaves’ and ‘How Great Thou Art,’” the evangelist told the singer.
By this time Billy seemed to have shrewdly read Johnny as a man who liked a challenge and maintained his own spiritual direction by having his friends gather around to move him in the right direction through rough spots. Johnny recalled how Billy pricked his interest: “He kind of challenged me to challenge others, to try to use what talent we have to write something inspiring.” According to Steve Turner, a Christian journalist who began collaboration with Johnny on an autobiography just before the singer’s death in 2003, Johnny was taken by this pastor who was as charismatic as Johnny, yet was humble and quietly confident in God.
Johnny had found a friend, confidant, and inspiration—a down-home boy like himself, but one who plowed his rows straight. “Well, first thing that happened,” Johnny described, “the night after [Billy] left, I wrote ‘What Is Truth?’ Just him coming to the house inspired me to write that, if you want to call it inspiration.” Johnny then talked to June about producing a film in Israel about Jesus. The singer also appeared at a crusade in Knoxville, Tennessee, in 1970, the first of his 30 crusade appearances.
The evangelist was intrigued by Johnny’s honesty about his troubles and his faith, and how that honesty connected with the non-churchgoing crowd. Billy invited Johnny to his May 24, 1970, crusade in Knoxville, Tennessee, causing some concern among Billy’s staff. “There was an uproar in Dad’s organization,” Franklin recalls. “It was like he had invited Elvis Presley!”
Billy told people that Johnny was the type of person he wanted to reach. Franklin describes his dad’s thinking as a way to minister to Johnny while also reaching new people. “Daddy saw the type of people Johnny would bring. And Johnny and June themselves came knowing they would hear the gospel.” Graham’s music director, Cliff Barrows, said that he knew Johnny was adding a new dimension to the crusades: “All the guys that drove pickups and were in the ‘rough and ready’ crowd would come. We could always count on a larger percentage of unconverted folks to come who needed the Lord.”
At the Knoxville crusade, Billy and Johnny teamed up to meet the Jesus Revolution of the early 1970s. Billy preached on the Jesus who could revolutionize someone’s life, while Johnny testified to Jesus’ power to bring him off drugs, which he said “ain’t worth it.” Johnny was entering a new phase of spiritual depth. Before, Jesus was his lifesaver—now he started to see Jesus as someone who could mature him. He characterized this change as a move from careerism to ministry. “I’ve lived all my life for the devil up until now,” the singer told church audiences, “and from here on I’m going to live it for the Lord.” Although Johnny partnered with a number of ministries and was pastored by Jimmy Lee of Nashville, his personal relationship with Billy continued to grow.
In a bit of Nashville legend, Billy did a cameo role reciting a Bible verse in one of Johnny’s songs, “The Preacher Said, ‘Jesus Said.’” Johnny was inspired by Billy and his wife to film the life of Christ in Israel. The Gospel Road was bought by the Billy Graham Evangelistic Association in 1972 and was used with great evangelistic success.
In 1972, Billy Graham and Bill Bright of Campus Crusade for Christ put on their evangelistic Jesus Revolution extravaganza, Explo ’72, in Dallas, Texas. With 150,000 in attendance, Billy addressed what he called “a religious Woodstock” with Johnny and Johnny’s friend Kris Kristofferson as key performers. Johnny sang “I’ve Seen Men Like Trees Walking,” “A Thing Called Love,” and “Supper Time.” Billy and Johnny also continued to grow closer, though Johnny was still sporadically living out a painful legacy of depravity and despair. The golden-haired evangelist and the man in black seemed such an unlikely pair of friends.
Constant Companion
Billy and Johnny had a superficial connection based on their roots in the hardscrabble rural South. They grew up around Baptist churches and barns. Barbecue, cornbread, and pork and beans would set their mouths watering.
On a deeper level, though, their backgrounds couldn’t have been more different. “Johnny came from the wild side, while Billy had never been through that phase. Billy walked the straight and narrow,” observes Turner.
Even after his return to faith in 1967, Johnny’s life was pretty bumpy with what he called his “goof-ups.” And when he slipped back into amphetamine usage, he could get out of control. Johnny also felt let down by some of the ministries that he had latched on to for help. Turner says Johnny felt that “some failed him, some exploited him.”
So it was Billy’s faithfulness and integrity that Johnny gravitated toward. Billy was constant through the years, both in his personal relationship with Johnny and in his theology. Billy didn’t seem to go off on theological tangents at the drop of a dime. “Billy was a beacon to Cash who didn’t change,” says Turner. “Billy remained a stable character.”
When Johnny fell off the wagon, he likely didn’t confide that to Billy, though June may well have shared it with Ruth. The two wives constantly prayed with each other over their husbands and children. Johnny told Turner that in 1977 he was embarrassed that Billy would talk about the biography of the apostle Paul that Johnny was writing, because he was too stoned to even write. In the 1980s, there was a tabloid uproar over claims that Johnny was having an affair and too stoned to appear at two Graham crusades. Johnny denied the drug usage and said no one could separate him and June. However, Johnny checked into a drug rehabilitation program.
Whether Billy knew all the details of Johnny’s “goof-ups,” his response to Johnny was as a loving friend, loyal through thick and thin. “Daddy stayed his friend, that’s all,” Franklin says. Johnny’s faith didn’t change, but his closeness to God did. “Johnny never had problems with his faith, but he had problems with his life,” Franklin observes. Billy continued to invite Johnny to his crusades and, after Johnny got clean from drugs, encouraged him to finally finish his book on Paul, Man in White, in 1986.
When Johnny and Billy were together, it was like two brothers picking cotton together—one pretty steady and the other occasionally cutting up. Franklin says it was this Southern sensibility that drew their relationship together once a foundation in Christ was set. “Johnny never lost his love of country, and neither had my father. The food they liked, the tastes they had,” says Franklin. Johnny liked to bring the Grahams to his fishing cabin at Port Richey on the Pithlachascotee River and to his old-style Jamaican house on Montego Bay. In the spring of 1976, after Johnny had reportedly brewed coffee so strong you could barely drink it, Billy and Johnny headed out to fish. They picked up shrimp, mullet, and squid for bait at Des Little’s Fish Camp and spent the day casting lines, Scriptures, and songs.
These trips were a little primitive for the women. Ruth was always a little relieved to get back to the hotel in Jamaica after time at Johnny’s ramshackle place with creepy crawlies and loose boards. But wherever they were, the Grahams and Cashes were like family.
In their later years, the couples talked to each other every week, sometimes every day. Billy was something of a hypochondriac and would get on the phone to update Johnny on all the ailments that he had or might have. Johnny would meet ailment for ailment until they would laugh together and pray for each other. When Ruth fell deathly sick one time, June spent six hours praying over her bedside. Johnny’s phone calls to Billy were often peppered with questions about the Bible, some so difficult that the evangelist just counseled Johnny to ask God when he got to heaven.
Billy wrote Johnny a note after their first Christmas together in 1974 that summarizes the many aspects of their relationship: “When we left, Ruth and I had tears in our eyes. … We have come to love you all as few people we have ever known. The fun we had, the delicious food we ate, the stimulating conversation, lying in the moonlight at night, the prayer meetings, the music we heard, etc. There has been running over and over in my mind ‘Matthew 24 is knocking at the door.’ I have a feeling this could be a big hit.” Their friendship in Christ certainly was.
Tony Carnes is a former senior writer for Christianity Todayand is now publisher and editor of A Journey through NYC religions.
Billy Graham, hippies, and the rock concert
Posted on March 5, 2018 by Steve-O
The 1969 Miami Rock Music Festival featured the Grateful Dead, Santana, Canned Heat, Johnny Winter, Vanilla Fudge and, interestingly enough, Billy Graham.
What follows is Billy Graham’s description of his countercultural gospel message at the Miami Rock Music Festival found in his autobiography Just As I Am.
It was eleven o’clock on a Sunday morning, but I was most definitely not in church. Instead, to the horror of some, I was attending the 1969 Miami Rock Music Festival.
America in 1969 was in the midst of cataclysmic social upheaval. Stories of violent student protests against the Vietnam War filled the media. Images from the huge Woodstock music festival that took place just six months before the Miami event near Bethel, New York – for many a striking symbol of the anti-establishment feelings of a whole generation of rebellious youth – were still firmly etched in the public’s memory.
Concert promoter Norman Johnson perhaps hoped my presence would neutralize at least some of the fierce opposition he had encountered from Miami officials. Whatever his reasons, I was delighted for the opportunity to speak from the concert stage to young people who probably would have felt uncomfortable in the average church, and yet whose searching questions about life and sharp protests against society’s values echoed from almost every song.
“I gladly accept your kind invitation to speak to those attending the Miami Rock Festival on Sunday morning, December 28,” I wired him the day before Christmas. “They are the most exciting and challenging generation in American history.”
As I stepped onto the platform that Sunday morning, several thousand young people were lolling on the straw-covered ground or wandering around the concert site in the warm December sun, waiting for such groups as the Grateful Dead and Santana to make their appearance. A few were sleeping; the nonstop music had quit around four that morning.
In order to get a feel for the event, for a few hours the night before I put on a simple disguise and slipped into the crowd. My heart went out to them. Though I was thankful for their youthful exuberance, I was burdened by their spiritual searching and emptiness.
A bearded youth who had come all the way from California for the event recognized me. “Do me a favor,” he said to me with a smile, “and say a prayer to thank God for good friends and good weed.” Every evening at sunset, he confided to me, he got high on marijuana and other drugs.
“You can also get high on Jesus,” I replied.
That Sunday morning, I came prepared to be shouted down, but instead I was greeted with scattered applause. Most listened politely as I spoke. I told the young people that I had been listening carefully to the message of their music. We reject your materialism, it seemed to proclaim, and we want something of the soul. Jesus was a nonconformist, I reminded them, and He could fill their souls and give them meaning and purpose in life. “Tune in to God today, and let Him give you faith. Turn on to His power.”
Afterward two dozen responded by visiting a tent on the grounds set up by a local church as a means of outreach. During the whole weekend, the pastor wrote me later, 350 young people made commitments to Christ, and two thousand New Testaments were distributed.
As I have reflected on my own calling as an evangelist, I frequently recall the words of Christianity’s greatest evangelist, the Apostle Paul: “It has always been my ambition to preach the gospel where Christ was not known … ” (Romans 15:20). … I once told an interviewer that I would be glad to preach in Hell itself-if the Devil would let me out again!
Excerpted from Just As I Am: The Autobiography of Billy Graham (Harper Collins 1997).
—
Related posts:
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 53 THE BEATLES (Part E, Stg. Pepper’s and John Lennon’s search in 1967 for truth was through drugs, money, laughter, etc & similar to King Solomon’s, LOTS OF PICTURES OF JOHN AND CYNTHIA) (Feature on artist Yoko Ono)
The John Lennon and the Beatles really were on a long search for meaning and fulfillment in their lives just like King Solomon did in the Book of Ecclesiastes. Solomon looked into learning (1:12-18, 2:12-17), laughter, ladies, luxuries, and liquor (2:1-2, 8, 10, 11), and labor (2:4-6, 18-20). He fount that without God in the picture all […]
By Everette Hatcher III|Posted in Current Events, Francis Schaeffer|Edit|Comments (0)
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 52 THE BEATLES (Part D, There is evidence that the Beatles may have been exposed to Francis Schaeffer!!!) (Feature on artist Anna Margaret Rose Freeman )
______________ George Harrison Swears & Insults Paul and Yoko Lucy in the Sky with Diamonds- The Beatles The Beatles: I have dedicated several posts to this series on the Beatles and I don’t know when this series will end because Francis Schaeffer spent a lot of time listening to the Beatles and talking […]
By Everette Hatcher III|Posted in Francis Schaeffer|Tagged Anna Margaret Rose Freeman, George Harrison, John Lennon, Paul MacCartney, Ringo Starr, Stg. Pepper’s Lonely Hearts Club Band|Edit|Comments (0)
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 51 THE BEATLES (Part C, List of those on cover of Stg.Pepper’s ) (Feature on artist Raqib Shaw )
The Beatles in a press conference after their Return from the USA Uploaded on Nov 29, 2010 The Beatles in a press conference after their Return from the USA. The Beatles: I have dedicated several posts to this series on the Beatles and I don’t know when this series will end because Francis […]
By Everette Hatcher III|Posted in Francis Schaeffer|Tagged George Harrison, John Lennon, Paul MacCartney, Raqib Shaw, Ringo Starr|Edit|Comments (0)
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 50 THE BEATLES (Part B, The Psychedelic Music of the Beatles) (Feature on artist Peter Blake )
__________________ Beatles 1966 Last interview I have dedicated several posts to this series on the Beatles and I don’t know when this series will end because Francis Schaeffer spent a lot of time listening to the Beatles and talking and writing about them and their impact on the culture of the 1960’s. In this […]
By Everette Hatcher III|Posted in Francis Schaeffer|Tagged George Harrison, John Lennon, Paul MacCartney, Peter Blake, Ringo Starr|Edit|Comments (1)
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 49 THE BEATLES (Part A, The Meaning of Stg. Pepper’s Cover) (Feature on artist Mika Tajima)
_______________ The Beatles documentary || A Long and Winding Road || Episode 5 (This video discusses Stg. Pepper’s creation I have dedicated several posts to this series on the Beatles and I don’t know when this series will end because Francis Schaeffer spent a lot of time listening to the Beatles and talking and writing about […]
By Everette Hatcher III|Posted in Francis Schaeffer|Tagged Beatles, Mika Tajima|Edit|Comments (0)
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 48 “BLOW UP” by Michelangelo Antonioni makes Philosophic Statement (Feature on artist Nancy Holt)
_______________ Francis Schaeffer pictured below: _____________________ I have included the 27 minute episode THE AGE OF NONREASON by Francis Schaeffer. In that video Schaeffer noted, ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings.” How Should […]
By Everette Hatcher III|Posted in Francis Schaeffer|Tagged Blow Up, David Hemmings,Michelangelo Antonioni, Nancy Holt, Sarah Miles., Vanessa Redgrave|Edit|Comments (0)
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 47 Woody Allen and Professor Levy and the death of “Optimistic Humanism” from the movie CRIMES AND MISDEMEANORS Plus Charles Darwin’s comments too!!! (Feature on artist Rodney Graham)
Crimes and Misdemeanors: A Discussion: Part 1 ___________________________________ Today I will answer the simple question: IS IT POSSIBLE TO BE AN OPTIMISTIC SECULAR HUMANIST THAT DOES NOT BELIEVE IN GOD OR AN AFTERLIFE? This question has been around for a long time and you can go back to the 19th century and read this same […]
By Everette Hatcher III|Posted in Francis Schaeffer, Woody Allen|Tagged alan alda, Anjelica Huston, mia farrow, Sam Waterston|Edit|Comments (0)
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 46 Friedrich Nietzsche (Featured artist is Thomas Schütte)
____________________________________ Francis Schaeffer pictured below: __________ Francis Schaeffer has written extensively on art and culture spanning the last 2000years and here are some posts I have done on this subject before : Francis Schaeffer’s “How should we then live?” Video and outline of episode 10 “Final Choices” , episode 9 “The Age of Personal Peace and Affluence”, episode 8 […]
By Everette Hatcher III|Posted in Francis Schaeffer|Tagged Bertrand Russell, Friedrich Nietzsche,H.G. Wells, jean paul sartre, Kai Nielsen, Richard Taylor, Richard Wurmbrand, Thomas Schütte|Edit|Comments (0)
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 45 Woody Allen “Reason is Dead” (Feature on artists Allora & Calzadilla )
Love and Death [Woody Allen] – What if there is no God? [PL] ___________ _______________ How Should We then Live Episode 7 small (Age of Nonreason) #02 How Should We Then Live? (Promo Clip) Dr. Francis Schaeffer 10 Worldview and Truth Two Minute Warning: How Then Should We Live?: Francis Schaeffer at 100 Francis Schaeffer […]
By Everette Hatcher III|Posted in Francis Schaeffer, Woody Allen|Tagged Allora & Calzadilla|Edit|Comments (0)
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 44 The Book of Genesis (Featured artist is Trey McCarley )
___________________________________ Francis Schaeffer pictured below: ____________________________ Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR Dr. Francis schaeffer – The flow of Materialism(from Part 4 of Whatever happened to human race?) Dr. Francis Schaeffer – The Biblical flow of Truth & History (intro) Francis Schaeffer – The Biblical Flow of History & Truth (1) Dr. Francis Schaeffer […]
By Everette Hatcher III|Posted in Francis
—
The Daily Hatch 
