Author Archives: Everette Hatcher III

My name is Everette Hatcher III. I am a businessman in Little Rock and have been living in Bryant since 1993. My wife Jill and I have four kids (Rett 24, Hunter 22, Murphey 16, and Wilson 14).

RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 131 Max Tegmark, MIT, cosmologist, “Mathematical objects are clearly not created, ever. The cube wasn’t created 14 billion years ago, right?”

May 23, 2017 – 1:01 am

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 Ahmed, Sir David Attenborough, Mark Balaguer, Horace Barlow, Michael Bate, Patricia Churchland, Aaron Ciechanover, Noam Chomsky,Alan Dershowitz, Hubert Dreyfus, Bart Ehrman, Stephan Feuchtwang, David Friend,  Riccardo Giacconi, Ivar Giaever , Roy Glauber, Rebecca Goldstein, David J. Gross,  Brian Greene, Susan Greenfield, Stephen F Gudeman,  Alan Guth, Jonathan Haidt, Theodor W. Hänsch, Brian Harrison,  Hermann Hauser, Roald Hoffmann,  Bruce Hood, Herbert Huppert,  Gareth Stedman Jones, Steve Jones, Shelly Kagan, Michio Kaku,  Stuart Kauffman,  Lawrence Krauss, Harry Kroto, George Lakoff, Elizabeth Loftus,  Alan Macfarlane, Peter Millican, Marvin Minsky, Leonard Mlodinow,  Yujin Nagasawa, Alva Noe, Douglas Osheroff,  Jonathan Parry,  Saul Perlmutter, Herman Philipse,  Carolyn Porco, Robert M. Price, Lisa Randall, Lord Martin Rees,  Oliver Sacks, John Searle, Marcus du Sautoy, Simon Schaffer, J. L. Schellenberg,   Lee Silver,  Peter Singer,  Walter Sinnott-Armstrong, Ronald de Sousa, Victor Stenger, Barry Supple,   Leonard Susskind, Raymond Tallis, Neil deGrasse Tyson,  .Alexander Vilenkin, Sir John Walker, Frank Wilczek, Steven Weinberg, and  Lewis Wolpert,

Wikipedia notes:

Max Tegmark

From Wikipedia, the free encyclopedia
Max Tegmark
Max Tegmark.jpg
Born May 5, 1967 (age 47)
Sweden
Nationality Swedish–American
Fields Cosmology Physics
Institutions MIT
Alma mater Royal Institute of Technology
Berkeley
Signature

Max Erik Tegmark[1] (born 5 May 1967) is a Swedish–American cosmologist. Tegmark is a professor at the Massachusetts Institute of Technology and is the scientific director of the Foundational Questions Institute. He is also a co-founder of the Future of Life Institute.

Early life[edit]

Tegmark was born in Sweden, son of Karin Tegmark and Harold S. Shapiro, graduated from the Stockholm School of Economics and the Royal Institute of Technology in Stockholm, and later received his Ph.D. from the University of California, Berkeley. After having worked at the University of Pennsylvania, he is now at the Massachusetts Institute of Technology. While still in high-school, Max wrote, and sold commercially, together with school buddy Magnus Bodin, a word processor written in pure machine code [2] for the Swedish eight-bit computer ABC 80, and the 3D Tetris-like game Frac.[3]

Career[edit]

His research has focused on cosmology, combining theoretical work with new measurements to place constraints on cosmological models and their free parameters, often in collaboration with experimentalists. He has over 200 publications, of which nine have been cited over 500 times.[4] He has developed data analysis tools based on information theory and applied them to Cosmic Microwave Background experiments such as COBE, QMAP, and WMAP, and to galaxy redshift surveys such as the Las Campanas Redshift Survey, the 2dF Survey and the Sloan Digital Sky Survey.

With Daniel Eisenstein and Wayne Hu, he introduced the idea of using Baryon Acoustic Oscillations as a Standard Ruler.[5][non-primary source needed] With Angelica de Oliveira-Costa and Andrew Hamilton, he discovered the anomalous multipole alignment in the WMAP data sometimes referred to as the “axis of evil”.[6][non-primary source needed] With Anthony Aguirre, he developed the Cosmological interpretation of quantum mechanics.

Tegmark has also formulated the “Ultimate ensemble theory of everything”, whose only postulate is that “all structures that exist mathematically exist also physically”. This simple theory, with no free parameters at all, suggests that in those structures complex enough to contain self-aware substructures (SASs), these SASs will subjectively perceive themselves as existing in a physically “real” world. This idea is formalized as the mathematical universe hypothesis,[7] described in his book Our Mathematical Universe.

Tegmark was elected Fellow of the American Physical Society in 2012 for, according to the citation, “his contributions to cosmology, including precision measurements from cosmic microwave background and galaxy clustering data, tests of inflation and gravitation theories, and the development of a new technology for low-frequency radio interferometry”.[8]

Personal life[edit]

He was married to astrophysicist Angelica de Oliveira-Costa in 1997, and divorced in 2009. They have two sons.[9] On August 5, 2012, Prof. Tegmark married Meia Chita.[10]

In  the second video below in the 73rd 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)

_________________________________

April 7, 2015

Dr. Max Tegmark, Professor of Physics, Massachusetts Institute of Technology,

Dear Dr. Tegmark,

I really enjoyed watching your comments on the show CLOSER TO TRUTH and that got me started reading your material. 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. 

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

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

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

Your QUOTE from the program CLOSER TO TRUTH:

 And mathematical objects, like the cube or dodecahedron or sphere or a vector space, “clearly exist outside of space and time,” he says. “Mathematical objects are clearly not created, ever. The cube wasn’t created 14 billion years ago, right? And yet you still feel that it exists in the sense that it’s not like we invented the cube. The whole idea that there could be a cube is very not arbitrary. What’s so beautiful about these mathematical objects is that they exist outside of space and time. There’s no time element, so they never needed to pop into existence.”
He continues: “Our entire physical universe can be thought of as a four-dimension space-time, with time as the fourth dimension, as Einstein pointed out. This means that we just have another four-dimensional shape here, which could then exist without ever being created outside of space and time. If this is true, it would mean that the universe really is a completely mathematical object.”

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.

________________________

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 Church. DAVE 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

_______________________________________

Is the Bible historically accurate? Here are some of the posts I have done in the past on the subject: 1. The Babylonian Chronicle, of Nebuchadnezzars Siege of Jerusalem, 2. Hezekiah’s Siloam Tunnel Inscription. 3. Taylor Prism (Sennacherib Hexagonal Prism), 4. Biblical Cities Attested Archaeologically. 5. The Discovery of the Hittites, 6.Shishak Smiting His Captives, 7. Moabite Stone, 8. Black Obelisk of Shalmaneser III, 9A Verification of places in Gospel of John and Book of Acts., 9B Discovery of Ebla Tablets. 10. Cyrus Cylinder, 11. Puru “The lot of Yahali” 9th Century B.C.E., 12. The Uzziah Tablet Inscription, 13. The Pilate Inscription, 14. Caiaphas Ossuary, 14 B Pontius Pilate Part 2, 14c. Three greatest American Archaeologists moved to accept Bible’s accuracy through archaeology., 

You can hear DAVE HOPE and Kerry Livgren’s stories from this youtube link:

(part 1 ten minutes)

(part 2 ten minutes)

Kansas – Dust in the Wind (Official Video)

Uploaded on Nov 7, 2009

Pre-Order Miracles Out of Nowhere now at http://www.miraclesoutofnowhere.com

About the film:
In 1973, six guys in a local band from America’s heartland began a journey that surpassed even their own wildest expectations, by achieving worldwide superstardom… watch the story unfold as the incredible story of the band KANSAS is told for the first time in the DVD Miracles Out of Nowhere.

_____________________________

Adrian Rogers on Darwinism

XXXXXXXXXXXXXXXXXMax Tegmark – Why is the Quantum so Strange?

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Posted in Atheists Confronted | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Comments (0)

MUSIC MONDAY George Harrison – All Things Must Pass (SONG)

May 22, 2017 – 12:51 am

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The Beatles – All Things Must Pass (Full Band Demo – 1969)

Uploaded on Jun 16, 2011

The Beatles performing “All Things Must Pass”, the George Harrison classic in 1968 during the Get Back / Let It Be sessions, 1969.

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George Harrison – All Things Must Pass (Live – 1997 on VH1 – HQ Audio)

Uploaded on Nov 2, 2011

George Harrison’s legendary impromptu performance of “All Things Must Pass” on VH1 in 1997, George’s last live performance before his death. The audio has been cleaned up and is high quality.

Paul McCartney – All things must pass (Concert For George)(HQ)

George Harrison – All Things Must Pass

All Things Must Pass (song)

From Wikipedia, the free encyclopedia
“All Things Must Pass”
ATMP juke.jpg

2001 jukebox single, “My Sweet Lord (2000)“/”All Things Must Pass”
Song by George Harrison from the album All Things Must Pass
Published Harrisongs
Released 27 November 1970
Genre Folk rock
Length 3:47
Label Apple
Writer(s) George Harrison
Producer(s) George Harrison, Phil Spector
All Things Must Pass track listing

“All Things Must Pass” is a song by English musician George Harrison, issued in November 1970 as the title track to his triple album of the same name. Billy Preston released the song originally – as “All Things (Must) Pass” – on his Apple Records album Encouraging Words (1970), after the Beatles had rejected it for inclusion on their Let It Be album in January 1969. The composition reflects the influence of the Band‘s sound and communal music-making on Harrison, after he had spent time with the group in Woodstock, New York, in late 1968, while Timothy Leary‘s poem “All Things Pass”, a psychedelic adaptation of the Tao Te Ching, provided inspiration for his song lyrics.

The subject matter deals with the transient nature of human existence, and in Harrison’s All Things Must Pass reading, words and music combine to reflect impressions of optimism against fatalism. On release, together with Barry Feinstein‘s album cover image, commentators viewed the song as a statement on the Beatles’ break-up. Widely regarded as one of Harrison’s finest compositions, its rejection by his former band has provoked comment from biographers and reviewers. Music critic Ian MacDonald described “All Things Must Pass” as “the wisest song never recorded by The Beatles”,[1] while author Simon Leng considers it “perhaps the greatest solo Beatle composition”.[2] The recording was co-produced by Phil Spector in London; it features an orchestral arrangement by John Barham and contributions from musicians such as Ringo Starr, Pete Drake, Bobby Whitlock, Eric Clapton and Klaus Voormann.

Although the Beatles failed to formally record the song, a 1969 solo demo by Harrison appears on their compilation Anthology 3 (1996). An early version from the All Things Must Pass sessions was released on Harrison’s posthumous compilation Early Takes: Volume 1 in 2012. Paul McCartney performed “All Things Must Pass” at the Concert for George tribute in November 2002, a year after Harrison’s death. Jim James, the Waterboys, Klaus Voormann and Yusuf Islam, and Sloan Wainwright are among the other artists who have covered the song.

Background[edit]

The Band in Woodstock in 1969, with Levon Helm (centre) and Robbie Robertson (second from right)

Like his friend Eric Clapton, George Harrison was inspired by Music from Big Pink, the seminal debut album[3] from the Band, the former backing group for Bob Dylan.[4][5] Released in July 1968, Music from Big Pink was partly responsible for Harrison’s return to the guitar, his first instrument,[6] after he had spent two years attempting to master the more complex Indian sitar.[7][8] Harrison duly shared his enthusiasm with the British music press, declaring Big Pink “the new sound to come from America”, drummer Levon Helm later recalled, thus helping to establish the Band internationally.[9] In appreciation, Robbie Robertson, the Band’s guitarist, extended an invitation to Harrison to stop by in Woodstock, New York, when the opportunity arose.[10]

I respected the Band enormously. All the different guys in the group sang, and Robbie Robertson used to say he was lucky, because he could write songs for a voice like Levon [Helm]’s. What a wise and generous attitude.[11]

– George Harrison to Musician magazine, 1987

Late in 1968, after producing sessions in Los Angeles for a solo album by Apple Records signing Jackie Lomax,[12] Harrison spent Thanksgiving and much of December in upstate New York,[13] where he renewed his friendship with a now semi-retired Dylan and took part in informal jam sessions with the Band.[1][14]According to Helm, they discussed making a possible “fireside jam” album with Clapton and an Apple Films “rock western” called Zachariah, but neither project progressed beyond the planning stage.[9] The bucolic surroundings proved fruitful for Harrison as a songwriter, producing his first collaboration with Dylan, “I’d Have You Anytime“,[15] and leading him to write “All Things Must Pass”.[16][17] He later described the latter song as a “Robbie Robertson–Band type of tune”,[18]and said that he always imagined it being sung by Helm.[19]

Composition[edit]

While discussing “All Things Must Pass” with music journalist Timothy White in 1987, Harrison recalled that his “starting point” for the composition was Robertson’s “The Weight” – a song that had “a religious and a country feeling to it”.[11] Musically, the verses of “All Things Must Pass” are set to a logical climb within the key of E;[20] the brief choruses form a departure from this, with their inclusion of a B minor chord rather than the more expected major voicing. Author Ian Inglis notes that the composition incorporates the same “modes, cadences and suspensions” found in Band songs such as “The Weight” and “The Night They Drove Old Dixie Down“.[21]

For his lyrics, Harrison drew inspiration from “All Things Pass”, a poem published in Timothy Leary‘s 1966 book Psychedelic Prayers after the Tao Te Ching.[16][22][nb 1] In his 1980 autobiography, I Me Mine, Harrison refers to the idea for the song originating from “all kinds of mystics and ex-mystics”, including Leary.[18] Like later Harrison compositions such as “Here Comes the Sun“, “So Sad” and “Blow Away“, the lyrical and emotional content is based around metaphors involving the weather and the cycle of nature.[25] Harrison states in the opening lines of verse one: “Sunrise doesn’t last all morning / A cloudburst doesn’t last all day“.[26]

The Catskill Mountains in upstate New York, surroundings that inspired the music of the Band, and Harrison’s song “All Things Must Pass”

According to Harrison biographer Simon Leng, the lyrics reflect “life’s ephemeral character” and the “transitory” nature of love.[27] Inglis suggests that the song is “[o]stensibly” about “the end of a love affair”.[21] He and theologian Dale Allison note the optimism offered in Harrison’s words,[21][28] since, as Leng puts it, “a new day always dawns.”[27] Although “All Things Must Pass” avoids religiosity, Allison writes that its statement on the “all-inclusive” transience of things in the material world explains why so much of its 1970 parent album, All Things Must Pass, “finds hope and meaning only in God, who does not pass away”.[29] The song’s main message is offered in its middle eight:[30][31]

All things must pass
None of life’s strings can last
So I must be on my way
And face another day.

Ultimately, the cycle of nature offers “consolation”, Leng writes,[30] as further evidenced in the verse-three lines “Now the darkness only stays at night time” and “Daylight is good at arriving at the right time“.[21]

The lyrics underwent some minor changes after Harrison presented the song to the Beatles in January 1969, when they began working at London’s Twickenham Film Studios for the so-called Get Back project (released as the Let It Be album and film).[32] He had initially written the second line of verse two as the more literal “A wind can blow those clouds away“,[33] but bootlegs from the sessions reveal John Lennon suggesting the word “mind” to introduce a bit of “psychedelia” into the song.[34] Similarly, the repeated line “it’s not always gonna be this grey” was originally “It’s not always been this grey” in verses one and two.[35]

Pre-All Things Must Pass recording history[edit]

The Beatles’ Get Back rehearsals[edit]

“All Things Must Pass”
Song by the Beatles from the album Anthology 3
Published Harrisongs
Released 28 October 1996
Recorded 25 February 1969
Abbey Road Studios, London
Genre Folk rock
Length 3:05
Label Apple
Writer(s) George Harrison
Producer(s) George Harrison

In contrast with the creative equality he enjoyed with Dylan and the Band in Woodstock,[36][37] Harrison returned to the Beatles fold and found the same discordant atmosphere that had blighted the White Album sessions in 1968.[5][38] Early on during the Get Back rehearsals – and tellingly, music journalist John Harris notes, before the arrival that day of Lennon and his partner Yoko Ono – Harrison enthused with fellow Beatles Ringo Starr and Paul McCartney about the Band’s camaraderie and group ethos, saying: “They’re just living, and they happen to be a band as well.”[39]

I got back to England for Christmas and then … we were to start on the thing which turned into Let It Be. And straight away, again, it was just weird vibes. You know, I found I was starting to be able to enjoy being a musician, but the moment I got back with the Beatles it was just too difficult.[13]

– Harrison to Crawdaddy, 1977

On 2 January, day one of the Twickenham film shoot,[40] Harrison introduced “All Things Must Pass”, and the band worked on the song intermittently over the next four days of filming.[41][42] In the search for a suitable musical arrangement, Harrison stressed his preference for a “feel” akin to the Band, a suggestion that resulted in Lennon switching from guitar to Lowrey organ, a keyboard favoured by the Band’s Garth Hudson.[43] During the Twickenham rehearsals, the Beatles also discussed the idea of Harrison performing “All Things Must Pass” solo for inclusion in the proposed film.[44]

They returned to the song briefly towards the end of January, by which time the project had moved location to their own Apple Studio, in central London[32] – one of Harrison’s conditions for rejoining the Beatles after his temporary walkout on 10 January.[3][45] Although the band gave a fair amount of time to “All Things Must Pass”, it was ultimately pushed aside,[46] just as other Harrison compositions including “Old Brown Shoe“, “Isn’t It a Pity“, “Let It Down” and “I Me Mine” received a lukewarm reception,[47][48] particularly from Lennon.[49][50] David Fricke of Rolling Stone has referred to this period as a “struggle” for Harrison “against the patronizing restrictions of writing within and for the Beatles”.[51] Doug Sulpy and Ray Schweighardt, authors of Get Back: The Unauthorized Chronicle of The Beatles’ Let It Be Disaster, observe that Lennon and McCartney routinely rejected Harrison’s songs, “even though some were far better than their own”.[52]

The Beatles never formally recorded “All Things Must Pass”,[32] and only rehearsal takes circulate on bootleg compilations from the sessions.[53] The Fly on the Wall bonus disc accompanying the McCartney-instigated Let It Be… Naked album (2003) includes a snippet of the Beatles indulging in some Band-like chorusing on the song.[54]

Harrison’s solo demo[edit]

During the Beatles’ Apple Studio session on 28 January,[55] Harrison talked with Lennon and Ono about possibly doing a solo album of his unused songs, in order to “preserve this, the Beatle bit, more”.[56] Lennon offered his support for the idea.[56] While author Bruce Spizer has suggested that Lennon was keen to “spare” the band from having to work on Harrison’s songs,[57] Sulpy and Schweighardt consider that Lennon’s enthusiasm was because such a solo project would allow him and Ono to continue their own recording activities “without causing friction within The Beatles”.[55][nb 2]

On 25 February 1969, his 26th birthday, Harrison entered Abbey Road Studios alone and recorded a demo of the song, along with other recent compositions “Old Brown Shoe” and “Something“.[59][60] With Ken Scott serving as engineer,[1] he recorded two takes of “All Things Must Pass”, adding extra electric guitar onto the second.[32][61] This version was eventually released in 1996 on the Beatles’ outtake collection Anthology 3.[32]

Billy Preston’s version[edit]

“All Things (Must) Pass”
Song by Billy Preston from the album Encouraging Words
Published Harrisongs
Released 11 September 1970 (UK)
9 November 1970 (US)
Genre Soul
Length 3:38
Label Apple
Writer(s) George Harrison
Producer(s) George Harrison, Billy Preston

Soon after Harrison had begun talking publicly about making a solo album, during the final months of 1969,[62][63] he offered “All Things Must Pass”, along with the more recent “My Sweet Lord“, to Billy Preston for the latter’s album Encouraging Words.[64][65] Through Harrison’s invitation,[66] Preston had played keyboards for the Beatles once the Get Back/Let It Be sessions resumed at Apple Studio,[32][67] where the 22-year-old Texan had impressed with his superior musicianship and convivial presence.[68][69] Preston was soon offered a recording deal with Apple Records,[70] Encouraging Words being the second album under the contract.[71][72]

Co-produced by Harrison, Preston’s reading of “All Things Must Pass” betrays an obvious debt to his former mentor, Ray Charles.[73] While Harrison’s later recording is generally viewed as the definitive version,[74] Bruce Eder of AllMusic considers this treatment of the song the superior of the two.[75] Preston’s version appeared in September 1970,[76] five months after the Beatles’ break-up.[77]

All Things Must Pass recording[edit]

While completing his production on Preston’s release,[78] Harrison chose to record the song himself for what became the title track of his post-Beatles solo debut, the triple album All Things Must Pass.[79] In describing “All Things Must Pass” as a “haunting hymn about the mortality of everything”, author Elliot Huntley notes the added poignance in Harrison’s version, due to the death of his mother in July 1970 after a long period of illness.[80]

With Phil Spector as his co-producer, Harrison taped the basic track at Abbey Road Studios between 26 May and early in June.[81] Other participants included Clapton, German bassist Klaus Voormann and Starr, the latter another avowed Band fan.[82] Leng credits the song’s piano part to Bobby Whitlock, who also sang backing vocals with Clapton,[27] his future bandmate in Derek and the Dominos.[83] In his 2010 autobiography, Whitlock states that it was Preston who played the piano on “All Things Must Pass”, while his own contribution was pump organ, or harmonium.[84][nb 3] Although Leng lists both Harrison and Clapton as having played acoustic guitar and Starr and Jim Gordon on drums,[27]according to the personnel that Whitlock offers, neither Clapton nor Gordon played on the song.[87] Among the overdubs on the track, Nashville session musician Pete Drake recorded a pedal-steel guitar part during a brief visit to London,[88] to participate in sessions for Harrison songs such as “Behind That Locked Door” and “I Live for You“.[89][nb 4]

I’d play it to them and they’d say, “Wow, yeah! Great song!” And I’d say, “Really? Do you really like it?” I realised that it was okay …[91]

– Harrison discussing the reception his compositions received during the album sessions

Spector’s erratic behaviour[92] during the All Things Must Pass sessions left Harrison to handle most of the project alone,[93][94] but in August 1970, after receiving a tape of Harrison’s early mixes of the songs, Spector provided him with written feedback and guidance.[27] Spector wrote of “All Things Must Pass”, “This particular song is so good that any honest [vocal] performance by you is acceptable as far as I’m concerned”,[27] but he expressed his disapproval of the horns at the start of the track.[74] In the words of authors Chip Madinger and Mark Easter, “clearer heads prevailed” and Jim Price and Bobby Keys‘ horn parts were retained.[74]

The recording opens with “unvaryingly steady” piano chords, Inglis writes,[21] and what Leng terms “sensitive” string orchestration from John Barham,[27] soon joined by the horns and Drake’s pedal steel.[32] Leng highlights this combination as providing the song with its rising and falling musical moods, implying variously light and darkness;[27] Inglis writes of the musical arrangement mirroring the “competing impressions” of hope and melancholy found in Harrison’s lyrics.[21] True to its Catskill roots, the recording evokes the Band’s “The Weight”[74][95] and their eponymous second album,[96] the tracks on which were similarly inspired by “the beauty of that autumn in Woodstock”, according to Helm.[97][nb 5]

Release and album artwork[edit]

The song’s title and message provided inspiration for Barry Feinstein‘s cover photo for All Things Must Pass

Almost two years after Harrison wrote the song, “All Things Must Pass” was released in November 1970,[48] closing side three of the triple album in its original LP format.[99] Despite its high retail price, All Things Must Pass was a major commercial success,[100][101] comfortably outselling concurrent solo releases by Lennon and McCartney.[94][102][nb 6]

The song’s title was invariably seen as a statement on the demise of the Beatles,[21][104] as commentators viewed the album as Harrison’s liberation from the artistic constraints imposed on him within the band.[105][106] The album’s cover image, showing Harrison seated on his Friar Park lawn surrounded by four reclining garden gnomes – thought to represent the Beatles – was also viewed as reflecting this theme.[107] While commenting that “All Things Must Pass” had “accrue[d] new layers of relevance” during the album’s creation, particularly with the death of Harrison’s mother, former Mojo editor Paul Du Noyer writes: “Nobody in November 1970 could have mistaken the title’s significance … As if to cement the association of ideas, the wry cover picture has George in solitary splendour, surrounded by a quartet of gnomes.”[108] In a 2001 interview, photographer Barry Feinstein admitted that the words “All Things Must Pass” had helped inspire his set-up for the photo, saying: “What else could it be? … [It] was over with The Beatles, right? And that title … Very symbolic.”[104]

Reception and legacy[edit]

On release, Ben Gerson of Rolling Stone described “All Things Must Pass” as “eloquently hopeful and resigned” while labelling the album “the music of mountain tops and vast horizons”.[109] Beatles Forever author Nicholas Schaffner noted in 1977, with reference to Harrison’s commercial and critical dominance over his former bandmates following the break-up: “The very fact that the Beatles had kept George’s flowering talents so under wraps proved to be his secret weapon.”[110] Schaffner named “All Things Must Pass” and “Beware of Darkness” as the two “most eloquent” songs on All Things Must Pass, “musically as well as lyrically”, with “mysterious, seductive melodies, over which faded strings and horns hover like Blue Jay Way fog”.[111]

Writing for Rolling Stone in 2000, Anthony DeCurtis praised the song for its musical demonstration of “the sweet satisfactions of faith”.[106] On a triple album where “nearly every song is excellent”, AllMusic picks “All Things Must Pass” as one of five standout tracks (or AMG track picks),[112] with Richie Unterberger writing of its autumnal theme: “It’s the kind of song that fits the mood in November, when the trees are getting stripped bare of their leaves, the days are getting shorter and colder, and you have to resign yourself to knowing it’s going to be tougher and tougher in those regards for months, also knowing that those hardships will pass away come springtime.”[113] In his book on Harrison, subtitled A Spiritual Biography, Gary Tillery refers to the song as “magisterial” and a “majestic title track” that “leaves even the shallowest listener contemplative”.[114] Michael Gallucci of Ultimate Classic Rock places “All Things Must Pass” third on his list of Harrison’s best solo songs (behind the two hit singles from All Things Must Pass, “My Sweet Lord” and “What Is Life“), and comments: “The album’s title track takes on more poignancy after Harrison’s death [in 2001], but it’s always been great.”[115] Writing for Rough Guides, Chris Ingham similarly describes the song as “a heart-rending piece of significant prescience which seems to take on more poignancy with every passing year”.[116]

Among Harrison’s biographers, Simon Leng considers “All Things Must Pass” a “classic of Harrison’s lyrical ambiguity, in essence a hopeful song, without sounding so”, with a lyric that “approaches Bob Dylan standard”.[117] Ian Inglis also praises the lyrics, writing: “The song contains some of Harrison’s most insightful and pensive words. ‘Daylight is good at arriving at the right time’ is a fine example of his … ability to position the profound within the commonplace.”[21] Elliot Huntley rates it as one of Harrison’s “most beautiful” songs, “if not the very best”, and suggests that the sentiments behind “All Things Must Pass” would have made it a “fitting conclusion” to the final album recorded by the Beatles, Abbey Road (1969).[80]

Bruce Spizer similarly rates “All Things Must Pass” a highlight of Harrison’s career,[32] while Leng considers it “perhaps the greatest solo Beatle composition” of all.[2] In his book Revolution in the Head, Ian MacDonald describes “All Things Must Pass” as “the wisest song never recorded by The Beatles”.[1] In 2009, The Guardian included the track in its list of “1000 Songs Everyone Must Hear”.[118]

Performance and later releases[edit]

“All Things Must Pass” was not a track that Harrison ever played in concert,[119] although it appeared on his preliminary setlist for the 1971 Concert for Bangladesh shows.[120] He twice performed the song live in front of TV cameras during the final years of his life,[121] beginning with his appearance with Ravi Shankar on VH1‘s Hard Rock Live, filmed in New York on 14 May 1997.[122][123] The pair were on the show to promote their recent collaboration, Chants of India,[123] but at host John Fugelsang‘s urging, Harrison accepted an acoustic guitar and performed a brief rendition of “All Things Must Pass”.[124][125][nb 7] In late 2000, Harrison sang “All Things Must Pass” while again seated on a stool on Friar Park’s main lawn, a performance that was included in the press kit for All Things Must Pass‘s 30th anniversary reissue early the following year.[127][128][nb 8]

Coinciding with this 2001 reissue, the song appeared on a promotional single as the B-side to “My Sweet Lord (2000)“.[130][131] After being omitted from the “cursory” selection of 1970–75 tracks on The Best of George Harrison (1976), Inglis writes, the song appeared on Harrison’s 2009 career-spanning compilation Let It Roll.[132]

In Martin Scorsese‘s 2011 documentary George Harrison: Living in the Material World, “All Things Must Pass” is the first song featured in the movie, played over footage of German air raids over Britain during World War II.[133][134] In November that year, a 1970-recorded demo of the song (featuring just Harrison, Starr and Voormann) appeared on the deluxe edition CD accompanying the British DVD release of the film;[135][136] this CD was subsequently issued worldwide in May 2012 as Early Takes: Volume 1.[137]

Cover versions[edit]

Steve Wood and Daniel May composed music to the 1998 documentary film Everest incorporating melodies from some of George Harrison’s songs, one of which was “All Things Must Pass”.[138] At the Concert for George tribute to Harrison, held at London’s Royal Albert Hall on 29 November 2002, Paul McCartney sang “All Things Must Pass”,[2] backed by a large band that included Preston, Clapton, Voormann and Starr.[139] Leng notes the irony in McCartney performing the song,[2] while Beatles biographer Peter Doggett comments: “it wasn’t hard to imagine Harrison’s cynicism as McCartney led the band into a soulful rendition of ‘All Things Must Pass’ – one of the songs that the other Beatles had refused to take seriously in January 1969.”[140] According to Clapton, author Robert Rodriguez writes, McCartney “was humbled at having to relearn it”.[141]

Several other artists have recorded “All Things Must Pass” in the years since Harrison’s death. In 2003, Bobby Whitlock and his wife, CoCo Carmel, included the song on their acoustic live album Other Assorted Love Songs, Live from Whitney Chapel.[142] Jazz guitarist Joel Harrison covered “All Things Must Pass” on his album Harrison on Harrison: Jazz Explanations of George Harrison, released in October 2005.[143] In 2007, a live version by the Waterboys appeared on their CD single “Everybody Takes a Tumble”,[144]and the following year Sloan Wainwright included a cover of the song on her album Rediscovery.[145]

“All Things Must Pass” was among the Harrison compositions covered by Jim James on his Tribute To EP, recorded in December 2001 but not released until August 2009.[146] Also in 2009, Klaus Voormann released a version of the song on his solo album A Sideman’s Journey,[147] with Yusuf Islam on vocals and acoustic guitar.[148][149]

Personnel[edit]

The musicians who performed on Harrison’s All Things Must Pass version of the song are believed to be as follows:[27]

Notes[edit]

  1. Jump up^ Harrison had already adapted a passage from the Tao Te Ching, a Chinese classic text, in his 1968 B-side for the Beatles, “The Inner Light“.[23] This had come at the suggestion of Cambridge academic Juan Mascaró, who had been moved by Harrison’s lyrics to another of his Indian-inspired compositions, “Within You, Without You“.[24]
  2. Jump up^ By this point, Harrison had already released the largely instrumental soundtrack album Wonderwall Music, which was soon followed by Lennon and Ono’s experimental work Two Virgins.[58]
  3. Jump up^ Alternatively, Harrison said in 1971 that American musician Gary Wright had “played piano on the whole [All Things Must Pass] album”.[85]Leng concedes the difficulty in ascertaining precise musicians’ credits for each track and names Wright and Whitlock as the two “core” keyboard players on the sessions.[86]
  4. Jump up^ Whitlock recalls that originally he had whistled a melody, which Spector recorded onto the basic track, and that this served as a guide for Drake’s contribution.[90]
  5. Jump up^ Leng identifies the Band’s minimalist tradition as a significant influence on other All Things Must Pass songs, particularly “Run of the Mill” and “Behind That Locked Door”.[98]
  6. Jump up^ As of 2011, it remained the most successful album by any of the former Beatles.[103]
  7. Jump up^ Although 150 minutes of Harrison and Shankar’s appearance was filmed, VH1 originally aired only 22 minutes of footage, on 24 July, as George & Ravi – Yin & Yang.[124] Omitted from the broadcast but also performed by Harrison was the Traveling Wilburys tune “If You Belonged to Me” and “Any Road“, a track subsequently released on his posthumous album Brainwashed (2002).[124][126]
  8. Jump up^ On the day after Harrison’s death was publicly announced, the quirky, Terry Gilliam-inspired graphics on Harrison’s website, allthingsmustpass.com, were changed to show just a single gnome and the lyrics to “All Things Must Pass”.[129]

Sources[edit]

  • Dale C. Allison Jr., The Love There That’s Sleeping: The Art and Spirituality of George Harrison, Continuum (New York, NY, 2006; ISBN 978-0-8264-1917-0).
  • Keith Badman, The Beatles Diary Volume 2: After the Break-Up 1970–2001, Omnibus Press (London, 2001; ISBN 0-7119-8307-0).
  • Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961–1975, Ballantine Books (New York, NY, 1976; ISBN 0-345-25680-8).
  • Alan Clayson, George Harrison, Sanctuary (London, 2003; ISBN 1-86074-489-3).
  • Peter Doggett, You Never Give Me Your Money: The Beatles After the Breakup, It Books (New York, NY, 2011; ISBN 978-0-06-177418-8).
  • The Editors of Rolling Stone, Harrison, Rolling Stone Press/Simon & Schuster (New York, NY, 2002; ISBN 0-7432-3581-9).
  • Joshua M. Greene, Here Comes the Sun: The Spiritual and Musical Journey of George Harrison, John Wiley & Sons (Hoboken, NJ, 2006; ISBN 978-0-470-12780-3).
  • John Harris, “A Quiet Storm”, Mojo, July 2001, pp. 66–74.
  • George Harrison, I Me Mine, Chronicle Books (San Francisco, CA, 2002; ISBN 0-8118-3793-9).
  • Olivia Harrison, George Harrison: Living in the Material World, Abrams (New York, NY, 2011; ISBN 978-1-4197-0220-4).
  • Levon Helm (with Stephen Davis), This Wheel’s on Fire: Levon Helm and the Story of The Band, A Cappella Books (Chicago, IL, 2000; ISBN 978-1-55652-405-9).
  • Mark Hertsgaard, A Day in the Life: The Music and Artistry of the Beatles, Pan Books (London, 1996; ISBN 0-330-33891-9).
  • Elliot J. Huntley, Mystical One: George Harrison – After the Break-up of the Beatles, Guernica Editions (Toronto, ON, 2006; ISBN 1-55071-197-0).
  • Chris Ingham, The Rough Guide to the Beatles, Rough Guides/Penguin (London, 2006; 2nd edn; ISBN 978-1-84836-525-4).
  • Ian Inglis, The Words and Music of George Harrison, Praeger (Santa Barbara, CA, 2010; ISBN 978-0-313-37532-3).
  • Peter Lavezzoli, The Dawn of Indian Music in the West, Continuum (New York, NY, 2006; ISBN 0-8264-2819-3).
  • Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006; ISBN 1-4234-0609-5).
  • Ian MacDonald, Revolution in the Head: The Beatles’ Records and the Sixties, Pimlico (London, 1998; ISBN 0-7126-6697-4).
  • Chip Madinger & Mark Easter, Eight Arms to Hold You: The Solo Beatles Compendium, 44.1 Productions (Chesterfield, MO, 2000; ISBN 0-615-11724-4).
  • Barry Miles, The Beatles Diary Volume 1: The Beatles Years, Omnibus Press (London, 2001; ISBN 0-7119-8308-9).
  • Mojo: The Beatles’ Final Years Special Edition, Emap (London, 2003).
  • Robert Rodriguez, Fab Four FAQ 2.0: The Beatles’ Solo Years, 1970–1980, Backbeat Books (Milwaukee, WI, 2010; ISBN 978-1-4165-9093-4).
  • Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978; ISBN 0-07-055087-5).
  • Bruce Spizer, The Beatles Solo on Apple Records, 498 Productions (New Orleans, LA, 2005; ISBN 0-9662649-5-9).
  • Doug Sulpy & Ray Schweighardt, Get Back: The Unauthorized Chronicle of The Beatles’ Let It Be Disaster, St. Martin’s Griffin (New York, 1997; ISBN 0-312-19981-3).
  • Gary Tillery, Working Class Mystic: A Spiritual Biography of George Harrison, Quest Books (Wheaton, IL, 2011; ISBN 978-0-8356-0900-5).
  • Bobby Whitlock (with Marc Roberty), Bobby Whitlock: A Rock ‘n’ Roll Autobiography, McFarland (Jefferson, NC, 2010; ISBN 978-0-7864-6190-5).
  • Bob Woffinden, The Beatles Apart, Proteus (London, 1981; ISBN 0-906071-89-5).
  • Kenneth Womack, The Beatles Encyclopedia: Everything Fab Four, ABC-CLIO (Santa Barbara, CA, 2014; ISBN 978-0-313-39171-2).

External links[edit]

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MUSIC MONDAY Rolling Stones New Album Part 6 Music Review: ‘Blue & Lonesome’ by the Rolling Stones By Gregory Katz | AP November 29

January 9, 2017 – 12:59 am

MUSIC MONDAY Rolling Stones New Album Part 6 Rolling Stones – Just Like I Treat You   Music Review: ‘Blue & Lonesome’ by the Rolling Stones By Gregory Katz | AP November 29 The Rolling Stones, “Blue & Lonesome” (Interscope) It shouldn’t be a surprise, really, but still it’s a bit startling to hear just how well […]

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MUSIC MONDAY Rolling Stones New Album Part 5 Review: The Rolling Stones make blues magic on ‘Blue & Lonesome’ Maeve McDermott , USATODAY6:07 p.m. EST November 30, 2016

January 2, 2017 – 12:56 am

MUSIC MONDAY Rolling Stones New Album Part 5 Rolling Stones – Everybody Knows About My Good Thing Review: The Rolling Stones make blues magic on ‘Blue & Lonesome’ Maeve McDermott , USATODAY6:07 p.m. EST November 30, 2016 (Photo: Frazer Harrison, Getty Images) Before the Rolling Stones were rock icons, before its members turned into sex […]

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MUSIC MONDAY Rolling Stones New Album Part 4 Rolling Stones, ‘Blue & Lonesome’: Album Review By Michael Gallucci November 30, 2016 1:34 PM

December 26, 2016 – 12:51 am

MUSIC MONDAY Rolling Stones New Album Part 4 Rolling Stones – Little Rain       Rolling Stones, ‘Blue & Lonesome’: Album Review By Michael Gallucci November 30, 2016 1:34 PM Read More: Rolling Stones, ‘Blue & Lonesome’: Album Review | http://ultimateclassicrock.com/rolling-stones-blue-lonesome-review/?trackback=tsmclip The Rolling Stones were never really a thinking band. A shrewd one, for sure, […]

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MUSIC MONDAY Rolling Stones New Album Part 3 Rolling Stones – ‘Blue & Lonesome’ Review Barry Nicolson 12:52 pm – Dec 2, 2016

December 19, 2016 – 12:48 am

MUSIC MONDAY Rolling Stones New Album Part 3 The Rolling Stones Mick Jagger chats about new album “Blue & Lonesome” on BBC Breakfast 02 Dec 2016 Rolling Stones – I Gotta Go     Rolling Stones – ‘Blue & Lonesome’ Review Barry Nicolson 12:52 pm – Dec 2, 2016 57shares The Stones sound their youngest […]

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MUSIC MONDAY Rolling Stones New Album Part 2 Review The Rolling Stones’ new blues album is an amplified death wheeze. And it rules

December 12, 2016 – 12:45 am
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MUSIC MONDAY Rolling Stones New Album Part 1 Review: The Rolling Stones Reinvigorate the Blues on ‘Blue and Lonesome’ Our take on rock legends’ first LP since 2005

December 5, 2016 – 12:36 am

MUSIC MONDAY Rolling Stones New Album Part 1 The Rolling Stones – Ride ‘Em On Down Published on Dec 1, 2016 Taken from Blue & Lonesome, the brand new album out now. Buy it at http://www.rollingstones.com/blueandl…. Directed by François Rousselet http://www.riffrafffilms.tv/video/dir… Produced by Natalie Arnett Riff Raff Films http://www.riffrafffilms.tv http://www.rollingstones.com/http://www.facebook.com/therollingstones http://twitter.com/RollingStoneshttp://www.rollingstones.com/newsletter Rolling Stones […]

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MUSIC MONDAY Karen Carpenter’s tragic story

November 28, 2016 – 12:16 am

_____________ Carpenters Close To You Karen Carpenter’s tragic story Karen Carpenter’s velvet voice charmed millions in the 70s… but behind the wholesome image she was in turmoil. Desperate to look slim on stage – and above all desperate to please the domineering mother who preferred her brother – she became the first celebrity victim of […]

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MUSIC MONDAY The Carpenters!!!

November 21, 2016 – 6:29 am

carpenters -We’ve Only Just Begun The Carpenters – Yesterday Once More (INCLUDES LYRICS) The Carpenters – There’s a kind of hush The Carpenters – Greatest Hits Related posts: MUSIC MONDAY Paul McCartney Mull Of Kintyre November 13, 2016 – 10:29 am Paul McCartney Mull Of Kintyre-Original Video-HQ Uploaded on Nov 25, 2011 Paul McCartney Mull Of […]

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FRIEDMAN FRIDAY Milton Friedman on Self-Interest and the Profit Motive

May 19, 2017 – 12:45 am

Milton Friedman on Self-Interest and the Profit Motive 1of2

Milton Friedman on Self-Interest and the Profit Motive 2of2

“Friedman Friday” (“Free to Choose” episode 3 – Anatomy of a Crisis. part 7of 7)

TEMIN: We don’t think the big capital arose before the government did? VON HOFFMAN: Listen, what are we doing here? I mean __ defending big government is like defending death and taxes. When was the last time you met anybody that was in favor of big government? FRIEDMAN: Today, today I met Bob Lekachman, I […]

“Friedman Friday” (“Free to Choose” episode 3 – Anatomy of a Crisis. part 6of 7)

worked pretty well for a whole generation. Now anything that works well for a whole generation isn’t entirely bad. From the fact __ from that fact, and the undeniable fact that things are working poorly now, are we to conclude that the Keynesian sort of mixed regulation was wrong __ FRIEDMAN: Yes. LEKACHMAN: __ or […]

“Friedman Friday” (“Free to Choose” episode 3 – Anatomy of a Crisis. part 5 of 7)

MCKENZIE: Ah, well, that’s not on our agenda actually. (Laughter) VOICE OFF SCREEN: Why not? MCKENZIE: I boldly repeat the question, though, the expectation having been __ having been raised in the public mind, can you reverse this process where government is expected to produce the happy result? LEKACHMAN: Oh, no way. And it would […]

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“Friedman Friday” (“Free to Choose” episode 3 – Anatomy of a Crisis. part 4 of 7)

The massive growth of central government that started after the depression has continued ever since. If anything, it has even speeded up in recent years. Each year there are more buildings in Washington occupied by more bureaucrats administering more laws. The Great Depression persuaded the public that private enterprise was a fundamentally unstable system. That […]

“Friedman Friday” (“Free to Choose” episode 3 – Anatomy of a Crisis. part 3 of 7)

Worse still, America’s depression was to become worldwide because of what lies behind these doors. This is the vault of the Federal Reserve Bank of New York. Inside is the largest horde of gold in the world. Because the world was on a gold standard in 1929, these vaults, where the U.S. gold was stored, […]

“Friedman Friday” (Part 16) (“Free to Choose” episode 3 – Anatomy of a Crisis. part 2 of 7)

  George Eccles: Well, then we called all our employees together. And we told them to be at the bank at their place at 8:00 a.m. and just act as if nothing was happening, just have a smile on their face, if they could, and me too. And we have four savings windows and we […]

“Friedman Friday” (“Free to Choose” episode 3 – Anatomy of a Crisis. part 1of 7)

Milton Friedman’s Free to Choose (1980), episode 3 – Anatomy of a Crisis. part 1 FREE TO CHOOSE: Anatomy of Crisis Friedman Delancy Street in New York’s lower east side, hardly one of the city’s best known sites, yet what happened in this street nearly 50 years ago continues to effect all of us today. […]

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

May 18, 2017 – 12:43 am

________

The Beatles – I Am The Walrus Recording Session 1967

__________

 

In the song I AM THE WALRUS John Lennon wrote the words, “Seen them kicking Edgar Allan Poe.” Poe died in 1949 as a drunk. As a drunk he probably got kicked around the street as others tried to rob him of whatever belongings he had. Alcoholism and being addicted to drugs are very similar and in the song I AM THE WALRUS we have many references to drugs. When I think of Poe the Bible passage that comes to mind is Proverbs 23:29-35.

29 Who hath woe? who hath sorrow? who hath contentions? who hath babbling? who hath wounds without cause? who hath redness of eyes?

30 They that tarry long at the wine; they that go to seek mixed wine.

31 Look not thou upon the wine when it is red, when it giveth his colour in the cup, when it moveth itself aright.

32 At the last it biteth like a serpent, and stingeth like an adder.

33 Thine eyes shall behold strange women, and thine heart shall utter perverse things.

34 Yea, thou shalt be as he that lieth down in the midst of the sea, or as he that lieth upon the top of a mast.

35 They have stricken me, shalt thou say, and I was not sick; they have beaten me, and I felt it not: when shall I awake? I will seek it yet again.

Jim Carrey and I Am The Walrus with George Martin – The Beatles

_

“I am the Walrus”

The Beatles

Produced By: George Martin
Written By: John Lennon & Paul McCartney

[Verse 1]
I am he as you are he as you are me and we are all together
See how they run like pigs from a gun, see how they fly
I’m crying

[Verse 2]
Sitting on a cornflake, waiting for the van to come
Corporation tee-shirt, stupid bloody Tuesday
Man, you’ve been a naughty boy, you let your face grow long

[Chorus]
I am the egg man, they are the egg men
I am the walrus, goo goo g’joob

[Verse 3]
Mister City, policeman sitting
Pretty little policemen in a row
See how they fly like Lucy in the Sky, see how they run
I’m crying, I’m crying
I’m crying, I’m crying

[Verse 4]
Yellow matter custard, dripping from a dead dog’s eye
Crabalocker fishwife, pornographic priestess
Boy, you’ve been a naughty girl you let your knickers down

[Chorus]

[Verse 5]
Sitting in an English garden waiting for the sun
If the sun don’t come, you get a tan
From standing in the English rain

[Chorus]

[Verse 6]
Expert textpert choking smokers
Don’t you think the joker laughs at you?
See how they smile like pigs in a sty
See how they snide
I’m crying

[Verse 7]
Semolina pilchard, climbing up the Eiffel Tower
Elementary penguin singing Hare Krishna
Man, you should have seen them kicking Edgar Allan Poe

[Outro]
I am the egg man, they are the egg men
I am the walrus, goo goo good job g’goo goo good job
Goo goo g’joob g’goo goo g’joob g’goo

Everybody’s got one, everybody’s got one (Repeat until end)

THE BEATLES – I AM THE WALRUS (Lyric Breakdown)

I Am the Walrus

by The Beatles

“See how they run like pigs from a gun, see how they fly / I’m crying”

Quick ThoughtIn an interview with Playboy magazine, John Lennon said that this line and the one before it were inspired by two different acid trips.

Deep Thought“The first line was written on one acid trip one weekend. The second line was written on the next acid trip the next weekend, and it was filled in after I met Yoko.” Just as The Beatles were the defining music group of the 1960s, acid (LCD) was the defining drug. The drug induces an altered state of perception in its users, causing distortions in physical, sensory, visual, audio, and thought processes. People sometimes feel colors and hear shapes, becoming almost synesthetic. Fixed objects seem to move or ripple, looking around causes sights to blur or leave a trail (tracers), and dull objects sparkle and shine. Some users claim to have intense religious experiences while tripping on acid. Others say that they enter other dimensions or relive their own birth.

LSD was invented accidentally by a Swedish chemist looking for a blood stimulant. It has since been used experimentally in psychotherapy to bring out repressed memories. The drug has also been used by doctors to elevate patients to a new level of self-awareness, allowing them to recognize problems that they previously denied, such as alcoholism. Although LSD was at first legal for use, it has now been banned in the US and other countries. Of course, that didn’t stop The Beatles and many other young people in the sixties and seventies from experimenting with the drug for recreational purposes. The Beatles openly admit that many of their songs were written at least in part while under the influence of LSD.

“Goo goo ga joob”

Quick ThoughtSome people speculate that Lennon got these lines from James Joyce’s long poem, Finnegans Wake, while others see them as pure gibberish.

Deep Thought James Joyce was a modernist Irish writer who was famous for his works A Portrait of the Artist as a Young Man, Ulysses, andDubliners. Some Joyce/Beatles fans have suggested (rather dubiously in our view) that “goo goo ga job” comes from part 557.7 of Finnegans Wake:
Here’s the excerpt from Finnegans Wake… watch out for that famous “googoo goosth” or you’ll miss it:

cramp for Hemself and Co, Esquara, or them four hoarsemen on
their apolkaloops, Norreys, Soothbys, Yates and Welks, and,
galorybit of the sanes in hevel, there was a crick up the stirkiss
and when she ruz the cankle to see, galohery, downand she went
on her knees to blessersef that were knogging together like milk-
juggles as if it was the wrake of the hapspurus or old Kong
Gander O’Toole of the Mountains or his googoo goosth she
seein, sliving off over the sawdust lobby out ofthe backroom, wan
ter, that was everywans in turruns, in his honeymoon trim, holding
up his fingerhals, with the clookey in his fisstball, tocher of davy’s,
tocher of ivileagh, for her to whisht, you sowbelly, and the
whites of his pious eyebulbs swering her to silence and coort;

In our view, the odds that John Lennon actually intended his line as a shout-out to these two obscure words in the middle of this one very long sentence in the middle of a very long and challenging experimental novel are somewhere between slim and none. But it would be kinda cool, if true!

 

“See how they fly like Lucy in the Sky”

Quick ThoughtThis is, of course, a nod to another Beatles hit, “Lucy in the Sky with Diamonds,” from the groundbreaking album Sgt. Pepper’s Lonely Hearts Club Band, released a few months before “I Am the Walrus” in 1967.

Deep Thought“Lucy in the Sky with Diamonds” is among the most famous of all Beatles songs. Although many fans claim that it is a song about acid (the initials spell out LSD), Lennon told an interviewer that the song is actually inspired by a drawing his son Julian brought home from grammar school:

LENNON: “My son Julian came in one day with a picture he painted about a school friend of his named Lucy. He had sketched in some stars in the sky and called it ‘Lucy in the Sky with Diamonds.’ Simple.”

INTERVIEWER: “The other images in the song weren’t drug-inspired?”

LENNON: “The images were from ‘Alice in Wonderland.’ It was Alice in the boat. She is buying an egg and it turns into Humpty Dumpty. The woman serving in the shop turns into a sheep and the next minute they are rowing in a rowing boat somewhere and I was visualizing that. There was also the image of the female who would someday come save me—a ‘girl with kaleidoscope eyes’ who would come out of the sky. It turned out to be Yoko, though I hadn’t met Yoko yet. So maybe it should be ‘Yoko in the Sky with Diamonds.'”

The two Lewis Carroll classics (Alice in Wonderland and Through the Looking Glass) were John Lennon’s favorite books of all time. It’s really not surprising that imagery from both books pops up constantly in his songs. Both “I Am the Walrus” and “Lucy in the Sky with Diamonds” draw heavily from Carroll’s writings. Even more interesting is that Lennon repeats the Humpty Dumpty/Eggman imagery in both songs. Drug-inspired or not, it certainly seems that Lewis Carroll was very much on Lennon’s mind when he penned these lyrics.

The real Lucy who inspired the song, Lucy Richardson, came out to the press 40 years after the song was written explaining that she was, in fact, the girl behind the immortal ballad. Evidently, Julian Lennon had a crush on her in grammar school and actually dedicated several art pieces to her, including the famous picture of the girl surrounded by a starry sky.

“Semolina Pilchard”

Quick ThoughtThis is a reference to Detective Sergeant Norman Pilcher, head of the Scotland Yard Drugs Unit. He was the most-feared drug agent in Britain in the 1960s and had an obsessive craving for the spotlight. Arresting a Beatle on pot charges is a quick way to get your name in many, many newspapers.

Deep ThoughtSergeant Norman Pilcher was the head of one of Britain’s police drug squads in the late sixties. Pilcher wanted to be famous, so he hatched a plan to go after the members of the Beatles one by one. He started with the man he suspected did the most drugs, John Lennon. Lennon and Yoko Ono were tipped off that John was on Pilcher’s hit list, but it was too late. Their flat was stormed by officer/canine units. They were arrested for possession of cannabis resin and obstructing the search warrant. John was told that Yoko, who was pregnant, would be let off the hook if he pleaded guilty. So he did so and they were released. Tragically, Yoko had to be immediately rushed to the hospital, where she had a miscarriage. John later told the press that the whole thing was set up by Pilcher as a media ploy for good photo ops. The news stations were at the flat before the police even got there! When John pleaded guilty, Pilcher told him, ”Well, we’ve got it now. So it’s nothing personal …” The picture on the back of the jacket of the album Unfinished Music No. 2 — Life with the Lions is of John and Yoko as they were being dragged out of the police station. Lennon also explained that Jimi Hendrix, who’d owned the same flat before them, had left piles of drugs when he moved out. John had tried to clean up the drugs when he found out about the raid. Apparently, he wasn’t quite thorough enough, hence the incriminating resin.

 

“Seen them kicking Edgar Allan Poe”

Quick ThoughtEdgar Allan Poe was a very famous American writer of short stories and poetry who lived during the 1800s. He was well-known for his dark, penetratingly creepy tales.

Deep ThoughtPoe was a brilliant, if dark, guy. His stories and poems—including“The Raven,”“The Tell-Tale Heart,” and “The Fall of the House of Usher”—are short yet incredibly powerful, probing universal human flaws like insecurity, fear, and pride.

(Adrian Rogers pictured below)

Adrian Rogers in his sermon THE BATTLE OF THE BOTTLE notes the following:

There’s the instability factor. Look again in verse 34 of this same chapter. The Bible says, “Hear, yea, thou shalt be as he that is lieth down in the midst of the sea, or he that lieth upon the top of a mask.” A drunk person can’t control himself. He’s like a drunken sailor with rubber legs, tottering, reeling.  He can’t walk straight. He can’t talk straight. He can’t think straight, and he becomes a menace to those around him. A drunk is not funny, by the way, tottering, slobbering.  He can’t control himself. He is out of control. He’s driving an automobile. He has one shot, the one drink of liquor, traveling at 40 miles an hour, an emergency, it will take him six more feet to stop. He says, “It’s none of your business what I do!” If one of my grandchildren is in that six feet, it’s a lot of my business. It’s a lot of my business. When he gets out there driving around, and he says, “This is my business, it’s not your business” – oh, my dear friend, the lives that are snuffed out in America, that’s all of our business.  There was a child killed by a drunken driver in a Midwestern town, and the editor of the newspaper courageously wrote these words in the newspaper, Get the children off the streets, the man of distinction is at the wheel. He’s out of control.

There’s the instability factor and, friend, there’s the sensitivity factor.  Look if you will in verse 35 again of this same chapter. “‘They have striken me,’ shalt thou say, ‘and I will sit, they have beaten me and I felt it not.'” Have you ever heard a man when he’s drunk say he’s feeling no pain? “They have beaten me and I felt it not.” I heard a preacher, I think I shared this with you on one occasion, I heard a preacher say that when he was a boy he made up his mind he wasn’t going to drink, not because of what his mom and dad said, not because of what the Bible says, not because of what his pastor said. He made up his mind, he said, when he saw a man getting in a car and trying to drive off.  But the man couldn’t get started because he couldn’t get his door shut and the reason he couldn’t get the door shut was he had one leg outside the car and he kept slamming the door on his leg and he didn’t have enough sense to pull his leg in.  The man said, “When I, as a boy, saw that pitiful sight, I saw a man so drunk that he was slamming the car door on his leg, I made up my mind I would never drink.” There is the insensibility. They have striken me and I felt it not.

Then there is the addiction factor.  Look if you will in verse 35 again. “When shall I wake, I will seek it yet again.” He wants to wake up, sober up, so he can drink up. When shall I awake, I will seek it yet again.  The Reader’s Digest recently reported a report from the American Medical Association that says we now have in America 17 million alcoholics, 17 million. Do you know there’s not but about 15 million Southern Baptists in all of the world, but seventeen million alcoholics. Line them up, count them. We advertise that. We promote that. We draw taxes.  We’ll talk about the taxes tonight when we talk about the mockery of alcohol. I’m just talking to you right now about the miseries of alcohol, the miseries of alcohol. Oh listen, dear friend, think, think with me, don’t fold up now, I’m not quite finished, no need just put things up just because I said tonight.  Now wait a minute, I’ve got just a couple of minutes to go here.

There is the addiction factor.  You know, the Japanese have a Proverb that says, “First the man takes a drink, then the drink takes a drink and then the drink takes the man. When shall I awake, I will seek it yet again.” There’s the national disgrace factor. I already read to you over there in Proverbs chapter 31, “For it’s not for kings, it’s nor for princes to drink strong drink.”  Did you know what capital is the leader for consumption of alcoholic beverages? Washington D.C. Did you know that in Washington D.C., twice the national average consumption takes place, in Washington D.C.? You’ve got three parties up there, the Democratic Party, the Republican Party, and the Cocktail Party. That, you know, is not a comforting thought to me to think that we have this bourbon diplomacy, that we’re about one drink of vodka away from somebody pushing a red button that may get us into trouble.

That is the national disgrace and it is a national disaster, and that’s the reason I want to say again that we can’t get the judges – why, my goodness, that judge is sitting on the bench and there’s a drunken driver. Do you know what that judge is thinking?  Boy, that could have been me. That could have been me. I was driving down the streets of our city. I came upon a horrible automobile accident: the man driving on the wrong side of the road like a bullet hit a car head on. Lovely lady was killed instantaneously. I came on the scene just after it happened. I walked up, a policeman came over to me, and he said, “Dr. Rogers, I want to tell you something.” He said, “That drunk that we pulled out of that car was so drunk he could hardly walk.” I said, “Do you know what you did, sir? You just killed a woman.”  He said, “I don’t give a damn.”  But there will be a judge, when that man comes to stand in front of him, and the judge says, “Boy, that could have been me.” We’re so lenient, it’s a national disgrace. It is a national disgrace.  That’s the misery of the bottle.

(Francis Schaeffer below)
There is a connection between losing yourself in drugs and losing yourself in alcohol. Both are attempts of losing yourself from reality.
Francis Schaeffer noted:
At about the same time as the Berkeley Free Speech Move- 
ment came a heavy participation in drugs. The beats had not 
been deeply into drugs the way the hippies were. But soon 
after 1964 the drug scene became the hallmark of young 
people.
The philosophic basis for the drug scene came from Aldous 
Huxley's concept that, since, for the rationalist, reason is not 
taking us anywhere, we should look for a final experience, one 
that can be produced "on call," one that we do not need to 
wait for. The drug scene, in other words, was at first an ideol- 
ogy, an ideology that had very practical consequences. Some of 
us at L'Abri have cried over the young people who have blown 
their minds. But many of them thought, like Alan Watts, Gary 
Snyder, Alan Ginsberg and Timothy Leary, that if you could 
simply turn everyone on, there would be an answer to man's 
longings. It wasn't just the far-out freaks who suggested that 
you could put drugs in the drinking water and turn on a whole 
city so that the "pigs" and the kids would all have flowers in 
their hair. In those days it really was an optimistic ideological 
concept. 

So two things have to be said here. First, the young people's 
analysis of culture was right, and, second, they really thought 
they had an answer to the problem. Up through Woodstock 
(1969) the young people were optimistic concerning drug- 
being the ideological answer. The desire for community and 
togetherness that was the impetus for Woodstock was not wrong, of course. God has made us in his own image, and he 
means for us to be in a strong horizontal relationship with each 
other. While Christianity appeals and applies to the individual, 
it is not individualistic. God means for us to have community. 
There are really two orthodoxies: an orthodoxy of doctrine 
and an orthodoxy of community, and both go together. So the 
longing for community in Woodstock was right. But the path 
was wrong. 

After Woodstock two events "ended the age of innocence," 
to use the expression of Rolling Stone magazine. The first 
occurred at Altamont, California, where the Rolling Stones put 
on a festival and hired the Hell's Angels (for several barrels of 
beer) to police the grounds. Instead, the Hell's Angels killed 
people without any cause, and it was a bad scene indeed. But 
people thought maybe this was a fluke, maybe it was just 
California! It took a second event to be convincing. 

On the Isle of Wight, 450,000 people assembled, and it was 
totally ugly. A number of people from L'Abri were there, and I 
know a man closely associated with the rock world who knows 
the organizer of this festival. Everyone agrees that the situation 
was just plain hideous. 

Thus, after these two rock festivals the picture changed. It is 
not that kids have stopped taking DRUGS, for more are taking 
DRUGS all the time. And what the eventual outcome will be is 
certainly unpredictable. I know that in many places, California 
for example, DRUGS are down through the high schools and on 
into the heads of ten- and eleven-year-olds. But drugs are not 
considered a philosophic expression anymore; among the very 
young they are just a peer group thing. It's like permissive 
sexuality. You have to sleep with a certain number of boys or 
you're not in; you have to take a certain kind of drug or you're 
not in. The optimistic ideology has died.The Beatles are a sort of test case.First they were just a 
rock group, then they took to drugs and expressed that in such 
songs as Sergeant Pepper's Lonely Hearts Club Band. When 
drugs didn't pan out, when they saw what was happening in 
Haight-Ashbury, they turned to the psychedelic sounds of 
Strawberry Fields, and then went further into Eastern religiousexperiences. But that, too, did not work out, and they wound 
up their career as a group by making The Yellow Submarine. 
When they made this movie, some people said, "The Beatles 
are coming back." But of course that was not the case. It was 
really 'the sad end of their ideological search as a group. It's 
interesting that Erich Segal, the man who wrote the film script 
for The Yellow Submarine, then wrote Love Story.
 Styx – I Am The Walrus

_______

Poe is pictured on the cover of "Sgt Peppers Lonely Heart Club Band." The Beatles (seventh top row) Photo: DR

Poe is pictured on the cover of “Sgt Peppers Lonely Heart Club Band.” The Beatles (seventh top row) Photo: DR

Edgar Allan Poe: The writer Lou Reed and The Beatles sang

By Sara Santos Silva, Renata Silva and Sarah Santos Silva – jpn@icicom.up.pt Published: 05.04.2009 | 9:55 (GMT)
Labels: Art, Literature,

More than 200 years after his death, the “poet of the mystery” is still very present in contemporary culture. In music, he influenced composers like Debussy or the iconic Beatles.

“The Raven” is just one of the most paradigmatic albums the influence of Edgar Allan Poe in contemporary musical creation. Lou Reed recreated in 2003, the author’s writing environment in a conceptual disc.

Anabela Duarte, anthropologist, presented at the International Conference “Poe and Gothic Creativity” a thesis on the influence of Poe in aesthetics and contemporary musical creation.Speaking to JPN highlights the “philosophy of transgression and darkness” on the album “The Raven” markedly “poesca”.

But the legacy of Poe [Infographics] not limited to the work of the former Velvet Underground.In fact, shortly after the death of the writer, Claude Debussy composed an opera based on the short story “The Fall of the House of Usher”, which, however, did not finish. Already in the 80s of the twentieth century, minimalist Philip Glass produced an opera based on the same work.

“Man, you shouldnt have seen Them kicking Edgar Allan Poe”, sang the Beatles, a song entitled “I’m the Walrus,” which explains the JPN Anabela Duarte, “is a satire on English society of his time and, both a revolt in protest against the way Poe had been treated by his countrymen. ” In the 60s, Poe appears even on the cover “Sgt. Peppers Lonely Heart Club Band “.

A kind of punk nihilism

According Anabela Duarte, “the appetite of the younger generation by Poe” is due to the fact that being an author “non-conformist and unconventional.” In 1844, Edgar Allan Poe published an article entitled “The Ballon-Hoax” in the newspaper “The Sun”. “Drunk, was placed to the newspaper’s door and told people,” Do not buy, do not buy, I did write, “says the anthropologist.

“The troubled spirit, paranoia, rebellion, the desire for self-destruction are some of the lines which are governed by many of the trends and contemporary artistic sensibilities,” said Anabela Duarte.

Diamanda Galás as “distorting mirror” of Poe

The themes of Diamanda Galás are steeped in mystery, rebellion and nonconformity. It is not therefore surprising that it is one of the best examples of the influence of Poe in the current music. Anabela Duarte believes that Galás “reflects, as a distorting mirror, the atmosphere of darkness and diabolism present in many of the writings” of the author.

“Masque of the Red Death” is a triple CD songwriter who subverts the homonymous tale of Poe.Each disc “bet for a typology of the Red Death, the plague being equivalent to plague par excellence of the century. And XX century. XXI, ie AIDS, “says anthropologist Anabela Duarte.

Over 200 years, Edgar Allan Poe was a source of inspiration in the music aesthetics and contemporary art. Tales as “The Raven,” “The Fall of the House of Usher” and “The Mask of the Red Death” were some of the most influential writings in the art world, particularly in music.

The Beatles Countdown #2: “I Am The Walrus”

Posted: June 21, 2012 | Author: | Filed under: The Beatles | Tags: , , , , , , , , , , , |1 Comment

“It’s one of those that has enough little biddies going to keep you interested even a hundred years later.”- John Lennon, describing “I Am The Walrus” on The Beatles Anthology

What can I possibly add to that to properly do justice to “I Am The Walrus”? That really says it all. You didn’t think I’d be fool enough to try to analyze this famously indecipherable song. Many have tried to parse those lyrics, and more power to ‘em.  As for me, I’ve always chosen to bask in the wonderful inscrutability of this colossal track from 1967, and leave the analysis alone.

After all, wasn’t the whole point of this song to confound easy interpretation? Lennon had heard about the fact that certain schools were studying Beatles’ lyrics as if they were poetry. John decided to pick up that gauntlet and construct a narrative that makes Ulysses look like a nursery rhyme. It’s as if he was saying, “Let’s see what your professors can make of this.”

Hence you get crazy word-association phrases like “pornographic priestess” and “elementary penguin,” and nonsensical non-sequiturs like “Man you shoulda seen ‘em kicking Edgar Allan Poe.” It doesn’t matter that you can’t actually “get a tan from standing in the English rain”; in this surreal context, it all somehow makes sense.

I don’t think it’s any coincidence that Lennon took inspiration for the title from Lewis Carroll’s The Walrus And The Carpenter, a poem in which the titular characters entice a bunch of oysters to go on a moonlight stroll and then feast on them. There’s not much of a moral to that story, nor does there always have to be. “I Am The Walrus” is a testament to that.

Contrasting all the verbal whimsy is a musical track that generates high drama from a strange commingling of instruments and an odd structure. The swirling strings play off Ringo’s insatiable beat, which breaks down now and again, both for John’s “I’m crying” interlude and a bizarre bridge that saunters slowly forward until rejoining the main rhythm.

Best of all is that coda, which, instead of doing the normal thing and slowly dying down, insists on soaring higher and higher amidst crazy chanted vocals and disembodied voices everywhere. It’s an absolutely exhilarating piece of work, both frenzied and light-hearted but still indescribably compelling.

Of course, here I am celebrating a song that poo-poohs the endless dissection of Beatle songs, when I’ve been doing exactly that in this list for the past few months. I think the point here is that these songs work both ways. As I’ve grown older, I’ve delved deeper into the meanings and looked at how certain musical ideas were used to express those meanings.

Still, like everyone else, there was once a first time for me hearing these songs, and my first experience with the majority of them came became before I was even in college, probably about half of them before I was even in my teens. The songs hit me on a basic, unthinking level that needed no further inspection to figure out why. That I’ve chosen, over the years and in this list, to really burrow into the songs does not in any way lessen the guttural impact they still have on me when they pop up on my stereo.

I think that “I Am The Walrus” is the perfect embodiment of that phenomenon more than any other Beatle song. I’m not sure that I’ll ever put my finger on why I love it so, or why it nearly made the very top of this personal list. All I’m sure about is that, when it comes on, I don’t want it to end. When it does end, I want to hear it again immediately.

If I tried to get any deeper than that, I might miss out on all the “little biddies” that make the song such a joy. No analysis necessary.

(E-mail the author at countdownkid@hotmail.com.)

“I Am The Walrus” by the Beatles

MagicalMysteryTourDoubleEPcover

“Semolina pilchard climbing up the Eiffel Tower/Elementary penguin singing Hare Krishna/Man you should have seen them kicking Edgar Allan Poe/I am the eggman, they are the eggmen/I am the walrus, goo goo g’ joob goo goo g’ joob”

Admittedly the entirety of the Magical Mystery tour albums begs the question, “WTF were they smoking?” and perhaps picking on lyrics from The Beatles’ drug years is a bit unfair, but a penguin singing Hare Krishna? “Sitting on a cornflake waiting for the van to come?” If there was ever a reason to put down the drugs before writing, this song is proof positive.

(Francis Schaeffer pictured below)

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BY FREDDIE MOORE

Before The Beatles were inspiring writers — Haruki Murakami, Nick Hornby and, hell, even Kurt Vonnegut, to name a few — they were borrowing their fair share from literature, including the works of Lewis Carroll, James Joyce and Thomas Dekker.

The 1967 hit “I am the Walrus” is known for being influenced by Lewis Carroll’sThrough the Looking-Glass (and healthy amounts of LSD). In the spirit of Carroll’s poem “Jabberwocky,” the song is infused with nonsensical, onomonopiac language — but the chant “goo goo g’joob” actually comes from James Joyce’s Finnegans Wake. (Joyce used a slightly different sound: “googoo goosth.”) Leave it to John Lennon to mix his favorite childhood book with one of the most dense, experimental pieces of Irish literature.

The title of “I am the Walrus” also nods emphatically to Carroll’s poem “The Walrus and the Carpenter” — specifically to the walrus character, who expresses his remorse after devouring helpless oysters by crying at the poem’s end. Lennon confessed in an interview with Playboy that he felt they should have instead sided with the carpenter after learning of the possible political connotations of the poem (the walrus could represent unrepentant capitalists replete with crocodile tears). He admitted, though, that “I am the carpenter” just wouldn’t have had the same ring.

“I am the Walrus” incorporated literature on a subliminal level, as well. During the recording of their 1967 version of the song, The Beatles may have intentionally included two snippets from a static radio broadcast of William Shakespeare’s King Lear (Edgar leading his blinded father, then killing Oswald) at the end of their performance. I like to think that The Beatles planned all of this meticulously, but who knows, it may have coincidentally been picked up.

There were other literary sources The Beatles borrowed from more directly. Their song “Golden Slumbers” took quite a bit from Thomas Dekker’s lullaby of the same name. “Tomorrow Never Knows” also practically copies The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead for its opening lines, which are only a few words off from those of authors Timothy Leary, Ralph Metzner and Richard Alpert: “Whenever in doubt, turn off your mind, relax, float downstream.”

Most of the references The Beatles made to literature in their music were to the books that stuck with them from childhood or had recent on their mind. It had little to do with reference snobbery and much more to do with the actual texts that had made John, Paul, George and Ringo the songwriters they became.

It’s possible to say the same of the literary greats who have made references to The Beatles in their books: They’re not showing off their musical chops, but paying tribute to the a band that influenced their art. Half a century on, The Beatles retain a tremendous influence over literature. Writers like S. E. Hinton (in The Outsiders) included references to The Beatles’ as a sort of timestamp to mark an era, while other authors have given the band tremendous praise in their fiction, as Kurt Vonnegut does in Timequake:

I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, “The Beatles did.”

In literature, it often seems like The Beatles can do no wrong. Their music does what Vonnegut describes: It brings people back to life. Whether it’s the comfort of nostalgia or the ease of their melodies, characters in literature often love The Beatles. Even the fictional record snob Rob Fleming in Nick Hornby’s novel High Fidelityconveys the band’s healing powers after a brutal long-term break-up:

Me, I’ll be playing the Beatles when I get home. Abbey Road, probably, although I’ll programme the CD to skip out ‘Something.’ The Beatles were bubblegum cards and Help at the Saturday morning cinema and toy plastic guitars and singing ‘Yellow Submarine’ at the top of my voice in the back row of the coach on school trips. They belong to me, not to me and Laura, or me and Charlie, or me and Alison Ashworth, and though they’ll make me feel something, they won’t make me feel anything bad.

Other fictional characters have used The Beatles as a way to express their own sentiments, to fill in feelings that they can’t express themselves. Charlie in The Perks of Being a Wallflower desperately loves the song “Something,” to the point that it defines his concept of what it means to be in love:

It was an old 45 record that had the Beatles’ song “Something.” I used to listen to it all the time when I was little and thinking about grown-up things. I would go to my bedroom window and stare at my reflection in the glass and the trees behind it and just listen to the song for hours. I decided then that when I met someone I thought was as beautiful as the song, I should give it to that person. And I didn’t mean beautiful on the outside. I meant beautiful in all ways.

But the writer to take the crown for the most Beatles references in their work must be Haruki Murakami. Not only has he named one of his most well-known novels after the Rubber Soul track “Norwegian Wood,” he’s mentioned the band in passing in many of his other works and even named one of his short stories after another track, “Yesterday.”

In Norwegian Wood, The Beatles come attached to the narrator Toru Watanabe’s issues with nostalgia and loss. At one point in the novel, a friend of Toru’s love interest plays the guitar and sings along to several Beatles songs, telling him: “Those guys sure knew something about sadness of life, and gentleness.”

And Murakami’s right — except that The Beatles have the power to be gentle but mighty, silly yet wise. I remember singing along with them at night while doing my homework and bowing my head to “Lucy in the Sky with Diamonds” at a school-wide memorial after a girl two grades younger than me was hit by a car. I’ve yelled songs drunk with my friends, and I’ve sobbed through the lyrics of “I’m Looking Through You.”

In Jonathan Safran Foer’s novel Extremely Loud and Incredibly Close, “I am the Walrus” is the tune the protagonist Oskar Schell imagines his father whistling before he dies in the World Trade Center. At one point in the book, Oskar worries that he can’t remember more about his father from that morning — how high his shirt was buttoned up or how exactly he was holding his copy of The New York Times — but the whistle of his father’s favorite Beatles’ melody sticks out. It is infectious; it fills the reader with its melody. The key to empathy right there in the first few lyrics: “I am he as you are he as you are me and we are all together.”

At the end of Foer’s novel, you want to hear Oskar’s father whistle “I am the Walrus” backwards. That is the unyielding literary power of The Beatles: They connect us.

Freddie Moore is a Brooklyn-based writer. Her full name is Winifred, and her writing has appeared in The Paris Review Daily and The Huffington Post. As a former cheesemonger, she’s a big-time foodie who knows her cheese. Follow her on Twitter: @moorefreddie

(Image Credits, from top: Flickr, End of the Game, Macmillan Dictionary Blog, ABS CBN, Fanpop)

October & the City Link
the Walrus & the Raven

Edgar Allan Poe (d. Oct. 7, 1849, Boston) and John Lennon (b. Oct.9, 1940, Liverpool) would’ve likely enjoyed each other’s company. One could even picture them sharing a coffee in Greenwich Village, just a few blocks from where they both lived briefly in New York.
Sharing a certain sensibility, they’ve twisted rules and noses with their talent and non-conformism. While Poe’s genius was acknowledged mostly after death, Lennon’s was still shaping his own times when life was brutally taken away from him. Despite their enormous sway over our era, they’ve both died at 40.
Their status as two of the world’s most recognized pop icons often obscures the depth of their art and endurance of their legacy. And maybe their irresistible appeal owes more to a contemporary deficit of revolutionary artists than to their particular take on human expression.
Or it may be that we’re so desperate to find paradigms upon which to pile our frustration about the world, that a walking wound such asPoe, or a talking head like Lennon, may offer the conduit we seek to connect and placate our own shortcomings. Just like it ever was.
They couldn’t help it but being such tragic heroes, either, with terrible upbringings and disturbing deaths to boot. But that’s when shallow similarities between the two begin to falter, and no longer serve us to rescue their relevance out of the amber it’s been encased.
THE MESMERIC & THE MAUDIT
Poe, who lived in three separate places in Greenwich Village, New York City, before moving to a farmhouse uptown where he wrote The Raven at age 36, is the only American writer routinely mentioned along the French poètes maudits.
The Paul Verlaine-concocted term encapsulated the romantic ideal of the artist as a tragic hero, not suited to this world, who inevitably self-immolates. We won’t get into how flawed and self-indulgent it is such notion, but the literature the group produced transcended it all.
Perhaps the best known among those poets was Charles Baudelaire, who championed, translated and wrote essays about Poe, (more)
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Read Also:
* Murder & Unkindness
* Hallowed Ground

who he considered an equal. Even as his opinion is as flawed as the label, it was one of the few high-caliber vindications Poe has ever known in life.
ON THE COVER OF ANOTHER TIME
Perhaps intuitively, or because he always detested that phony dead poet myth, Lennon included him in one of the most intriguing lyrics in rock music. Years later, he too would move to New York, initially to the Village, just a few blocks of Poe’s old hangouts.
The Beatles had already included Poe, along Lewis Carroll, Dylan Thomas, James Joyce, and others, on the cover of their 1967 masterpiece, Sgt. Pepper, but it was I’m the Walrus that became identified with the poor old sod of Baltimore.
It was probably all a play with words, but judging by the way Poe was despised by critics and mostly ignored by readers during his life, singing, Man, You Should’ve Seen Them Kicking Edgar Allan Poe, has some of the pointed poignancy Lennon was known for as a writer and lyricist.
THEY’RE GONNA CRUCIFY ME
The irony was that Lennon used the same sharp eye to somehow foresee his own demise, in the kind of morbid exercise better associated with Poe. It’s arguable that he was being seriously afraid of being killed violently, as he did in New York in 1980, and his life till the end was a boost of optimism, peace, and faith in the future.
That’s exactly where their legacies split wide open, for Poe was very much aware that the sum of his expression was hitched forever to a boat suffused with premonitions and visions of what was not yet there. Or never was. In that view, Lennon was the Sun and Poe, the Moon.
Nothing will ever be that simple about these two, or anybody, though. Throughout the world, between today and Friday, people will be holding seances and saraus, feverish praying and full-throated singing to celebrate the lives of two extraordinarily gifted artists.
So, Happy Birthday, John & Poe.

 

___________________

Edgar Allan Poe And Alcohol

Edgar Allan Poe had a long problem with alcohol and said the stress and pain of his wife’s illness was the cause of both his alcoholism and his “insanity.” He joined a temperance movement in 1849, a year before he died at age 40. Theorists have blamed Poe’s death on everything from carbon monoxide poisoning, to rabies (??), to murder, but it’s often accredited to alcohol withdrawal.

Poe was famously prone to alcoholic sprees during the 1840s, and his “enemies” (as he calls them) thought that his irregular behavior was due to his drinking. In 1842 Poe wrote a letter to his publishers, pleading with them to buy his work and apologising for a drunken encounter. Poe blamed fellow poet, William Ross Wallace, for making him drink too many juleps during a visit to New York.

“Will you be so kind enough to put the best possible interpretation upon my behaviour while in N-York? You must have conceived a queer idea of me – but the simple truth is that Wallace would insist upon the juleps, and I knew not what I was either doing or saying.” He included an article with his letter which he hoped they would publish. He admitted that he was “desperately pushed for money”, adding: “I set no price – leaving all to your own liberality”. He signed off with the hope that they might meet again “under better auspices”. But either the publishers didn’t like the article or Poe had been very, very drunk, as they returned the article unpublished.

edgar-allan-poe-alcohol-death-addicaid

Months before his death, Poe became a vocal member of the temperance movement, eschewing alcohol, which he’d struggled with all his life. Biographer Susan Archer Talley Weiss recalls, in her biography “The Last Days of Edgar A. Poe,” an event, toward the end of Poe’s time in Richmond, that might be relevant to theorists that prefer a “death by drinking” demise for Poe. Poe had fallen ill in Richmond, and after making a somewhat miraculous recovery, was told by his attending physician that “another such attack would prove fatal.” According to Weiss, Poe replied that “if people would not tempt him, he would not fall,” suggesting that the first illness was brought on by a bout of drinking.

Those around Poe during his finals days seem convinced that the author did, indeed, fall into that temptation, drinking himself to death. As his close friend J. P. Kennedy wrote on October 10, 1949: “On Tuesday last Edgar A. Poe died in town here at the hospital from the effects of a debauch. . . . He fell in with some companion here who seduced him to the bottle, which it was said he had renounced some time ago. The consequence was fever, delirium, and madness, and in a few days a termination of his sad career in the hospital. Poor Poe! . . . A bright but unsteady light has been awfully quenched.”

 

If you or someone you know is struggling with addiction, take the first step towards recovery by downloading the free Addicaid app for iPhone + Android and join the recovery community today.

Featured artist is Christopher Wool

Christopher Wool – Crosstown Crosstown, artist talk at DCA.flv

Uploaded on Jan 27, 2011

Artist Christopher Wool talking about his exhibition, Crosstown Crosstown (6 April – 8 June 2003), at Dundee Contemporary Arts.

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Image result for christopher wool art
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Image result for christopher wool art

Christopher Wool (born 1955) has emerged as one of the most important abstract painters of his generation. The artist—a Chicago native who today divides his time between New York City and Marfa, Texas—is perhaps best known for his paintings of large stenciled letters, which he uses to form words or phrases, often abbreviated or arranged in run-on configurations that disrupt ordinary patterns of perception and speech. This retrospective, the most comprehensive examination of Wool’s career to date, goes beyond these now-iconic word paintings to present nearly 90 paintings, photographs, and works on paper that showcase the wide range of styles and painterly techniques the artist has employed throughout his influential career.

Wool rose to prominence with his experimentations in painting in New York in the 1980s, a time and place where the medium was largely seen as irrelevant to avant-garde practice. Since then the artist has used a variety of means—spray, screens, stencils, rags, solvents, air guns, and other tools—to fully re-imagine the possibilities of gestural mark-making on a surface. He also often now uses photographs of his own paintings as sources for new paintings, taking images of particular passages or gestures—best understood as outtakes or samples—and then transmitting them onto aluminum or linen grounds anew through silkscreen, either alone on a surface or in combination with enamel. And even though the majority of his works are black and white, color also makes rare appearances.

Combining aspects inherited from Abstract Expressionist art of the 1950s (painterly gesture), Pop Art of the 1960s (the use of silkscreen and other reproductive technologies as well as the influence of street culture), and Conceptual Art of the 1970s (the use of language), Wool’s work simultaneously draws from the recent history of art and points to entirely new possibilities for the future of painting. At the heart of his creative project, which now spans more than three decades, is the question of how a picture can be conceived, realized, and experienced today. The paintings and works on paper for which he is best known accrue their raucous authority from an interrogative approach to technique and process and from their cool refusal to abandon the lingering possibilities of authentic expression through language, mediated gesture, and abstraction. The result is an exhibition steeped in the practice of painting by an artist fully committed to its longevity and perpetual promise.

Organizer
This exhibition is organized by the Solomon R. Guggenheim Foundation, New York.

Sponsors
Lead sponsorship for this exhibition has been generously provided by Liz and Eric Lefkofsky.

Major support has been provided by Marilyn and Larry Fields with additional funds from The Aaron I. Fleischman Foundation.

Annual support for Art Institute exhibitions is provided by the Exhibitions Trust: Goldman Sachs, Kenneth and Anne Griffin, Thomas and Margot Pritzker, the Earl and Brenda Shapiro Foundation, the Trott Family Foundation, and the Woman’s Board of the Art Institute of Chicago.

Christopher Wool

From Wikipedia, the free encyclopedia
Christopher Wool
Born 1955
Boston, USA
Nationality American
Known for Painting

Christopher Wool (born 1955, Boston) is an American artist.[1] Since the 1980s, Wool’s art has incorporated issues surrounding post-conceptual ideas. He lives and works in New York City and Marfa, Texas, together with his wife and fellow painter Charline von Heyl.[2]

Early life and career[edit]

Wool was born in Boston to Glorye and Ira Wool, a molecular biologist and a psychiatrist.[2] He grew up in Chicago.[3] In 1973, he moved to New York City and enrolled in Studio School studies with Jack Tworkov and Harry Krame.[2] After a short period of formal training as a painter at the New York Studio School, he dropped out and immersed himself in the world of underground film and music.[4] Between 1980 and 1984, he worked as part-time studio assistant to Joel Shapiro.[5]

Work[edit]

An example of work by Christopher Wool Untitled (2000) Enamel paint on aluminium.

Wool is best known for his paintings of large, black, stenciled letters on white canvases.[6] Wool began to create word paintings in the late 1980s, reportedly after having seen graffiti on a brand new white truck. Using a system of alliteration, with the words often broken up by a grid system, or with the vowels removed (as in ‘TRBL’ or ‘DRNK’), Wool’s word paintings often demand reading aloud to make sense.[4]

At 303 Gallery in 1988, Wool and fellow artist Robert Gober presented a collaborative exhibition and installation which included Wool’s seminal text-based painting, Apocalypse Now (1988). The work features words from a famous line in Francis Ford Coppola‘s film Apocalypse Now, based on the Joseph Conrad novel Heart of Darkness.[7] From the early 1990s through the present, the silkscreen has been a primary tool in Wool’s practice.[8] In his abstract paintings Wool brings together figures and the disfigured, drawing and painting, spontaneous impulses and well thought-out ideas. He draws lines on the canvas with a spray gun and then, directly after, wipes them out again with a rag drenched in solvent to give a new picture in which clear lines have to stand their own against smeared surfaces.

Writing in 2000, in The New York Times, Ken Johnson highlighted Wool’s response to an observation made on the street as significant, “in the 1980s, Christopher Wool was doing a Neo-Pop sort of painting using commercial rollers to apply decorative patterns to white panels. One day he saw a new white truck violated by the spray-painted words ‘sex’ and ‘luv.’ Mr. Wool made his own painting using those words and went on to make paintings with big, black stenciled letters saying things like ‘Run Dog Run’ or ‘Sell the House, Sell the Car, Sell the Kids.’ The paintings captured the scary, euphoric mood of a high-flying period not unlike our own.”[9]

Although Wool is best known as a painter, he has amassed a large body of black-and-white photographs taken at night in the streets between the Lower East Side and Chinatown. Originally begun in the mid-1990s, the project was resumed and completed in 2002. East Broadway Breakdown, a book reproducing all 160 photographs, was issued by Holzwarth Publications in 2004.[10]

In 2012, Wool contributed the set design for Moving Parts, a piece conceived by Benjamin Millepied‘s L.A. Dance Project.[11]

Artist books[edit]

  • Can your monkey do the dog, Christopher Wool & Josh Smith. 168 pages, 27,9 x 21,5 cm. Limited edition of 1000 copies and 300 artist’s proofs. Produced and published in 2007 by mfc-michèle didier.

Exhibitions[edit]

In 1998, a retrospective of Wool’s work was mounted at the Museum of Contemporary Art, Los Angeles, an exhibition which then traveled to the Carnegie Museum of Art in Pittsburgh and Kunsthalle Basel in Switzerland. In 2009 he had an exhibition at the Gesellschaft für Moderne Kunst am Museum Ludwig in Köln, Germany and in 2012 at the Musée d’Art Moderne de la Ville de Paris. From October 25, 2013 to January 22, 2014, a retrospective of Wool’s work was exhibited at The Guggenheim Museum in New York City, and traveled to the Art Institute of Chicago in the spring of 2014.[12]

Recognition[edit]

Among many honors, Wool has been named a Fellow of the American Academy in Rome (1989), served as a DAAD Berlin Artist-in-Residence (1992), and received the Wolfgang Hahn Prize.[13] In 2010, he was honored with amfAR’s Award of Excellence for Artistic Contributions to the Fight Against AIDS.[5]

Art market[edit]

Wool shows with Luhring Augustine Gallery, New York, which has represented him since 1987.[14] In 2006, he had a solo exhibition at Gagosian Gallery, Beverly Hills.[6] Other galleries Wool works with include Simon Lee Gallery, London, and Galerie Max Hetzler, Berlin.[14]

Wool’s Word paintings made between the late 1980s and early 2000s are the most sought-after pieces on the art market; as of 2013, seven “word” works feature in Wool’s top ten auction sales.[14] At Christie’s London in February 2012, Untitled (1990), a later word painting bearing the broken word FOOL, sold for £4.9 million ($7.7 million).[7] In November 2013, art dealer Christophe van de Weghe bought Apocalypse Now (1988) for $26.4 million on behalf of a client at Christie’s New York.[15] Wool’s monumental black and white word painting Riot (1990) sold for $29.9 million at Sotheby’s New York in 2015.[16] That same month, Untitled (1990), made with alkyd and graphite on paper and featuring the words ‘RUN DOG EAT DOG RUN’, realized $2.4 million, the record for a work on paper by the artist.[17]

Personal life[edit]

Since 1997, Wool has been married to fellow artist Charline von Heyl.[5][18]

References[edit]

  1. Jump up^ Christopher Wool: CV on i1.exhibit-e.com
  2. ^ Jump up to:a b c Christopher Wool Luhring Augustine Gallery, New York.
  3. Jump up^ Guggenheim Museum Presents Major Survey of American Artist Christopher Wool, Opening October 25 Solomon R. Guggenheim Museum, New York.
  4. ^ Jump up to:a b Christopher Wool Museum of Modern Art, New York.
  5. ^ Jump up to:a b c Award of Excellence for Artistic Contributions to the Fight Against AIDS amfAR, The Foundation for AIDS Research.
  6. ^ Jump up to:a b Christopher Wool Gagosian Gallery.
  7. ^ Jump up to:a b Judd Tully (October 11, 2013), Christopher Wool’s “Apocalypse Now” to Hit Christie’s Sales Floor Artinfo.
  8. Jump up^ Guggenheim Museum Presents Major Survey of American Artist Christopher Wool, Opening October 25 Solomon R. Guggenheim Museum, New York.
  9. Jump up^ Ken Johnson, ” Art in Review: Christopher Wool,” The New York Times, March 17, 2000.
  10. Jump up^ William Gedney — Christopher Wool: Into the Night, June 27 – October 3, 2004MoMA PS1, New York.
  11. Jump up^ Laura Bleiberg (November 21, 2011), Benjamin Millepied and Music Center announce L.A. Dance Project Los Angeles Times.
  12. Jump up^ Smith, Roberta (24 October 2013). “Painting’s Endgame, Rendered Graphically”. The New York Times. Retrieved 10 February 2016.
  13. Jump up^ Guggenheim Museum Presents Major Survey of American Artist Christopher Wool, Opening October 25. Press release of October 18, 2013 Solomon R. Guggenheim Museum, New York.
  14. ^ Jump up to:a b c Gareth Harris (September 20, 2013), Why the rise of Christopher Wool? The Art Newspaper.
  15. Jump up^ Carol Vogel (November 12, 2013), At $142.4 Million, Triptych Is the Most Expensive Artwork Ever Sold at an Auction New York Times.
  16. Jump up^ Scott Reyburn (May 13, 2015), A Rothko Tops Sotheby’s Contemporary Art AuctionNew York Times.
  17. Jump up^ Christopher Wool, Untitled (1990) Christie’s Post-War and Contemporary Art Evening Sale, 13 May 2015, New York.
  18. Jump up^ Cityfile: Christopher Wool

External links[edit]

Authority control

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 152 John Hospers Part H, this post includes portion of 6-2-94 letter from Hospers to me blasting Christian Evangelicalism, (Featured artist is David Salle )

February 23, 2017 – 1:04 am

Here is a link to an interesting by John Hospers on his presidential race in 1972. I sent a cassette tape of Adrian Rogers on Evolution to John Hospers in May of 1994 which was the 10th anniversary of Francis Schaeffer’s passing and I promptly received a typed two page response from Dr. John Hospers. […]

By Everette Hatcher III | Posted in Adrian Rogers, Atheists Confronted | Edit | Comments (0)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 151, this post includes portion of 6-2-94 letter from Hospers to me blasting Christian Evangelicalism, John Hospers Part G (Featured artist is David Bates )

February 16, 2017 – 1:43 am

  John Hospers on ‘Pure’ versus ‘Impure’ Libertarianism I sent a cassette tape of Adrian Rogers on Evolution to John Hospers in May of 1994 which was the 10th anniversary of Francis Schaeffer’s passing and I promptly received a typed two page response from Dr. John Hospers. Dr. Hospers had both read my letter and […]

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 150 John Hospers Part F, this post includes portion of 6-2-94 letter from Hospers to me blasting Christian Evangelicalism, (Featured artist is Carrie Mae Weems)

February 9, 2017 – 1:27 am

LIBERTARIAN PARTY FOUNDER ENDORSES BUSH AN OPEN LETTER TO ALL LIBERTARIANS | 10-24-2004 | Dr. John Hospers Posted on 10/24/2004, 12:37:30 PM by Y2Krap LIBERTARIAN PARTY FOUNDER ENDORSES BUSH From Elder Statesman John Hospers * * * AN OPEN LETTER TO LIBERTARIANS Dear Libertarian: As a way of getting acquainted, let me just say that […]

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 149, John Hospers Part E, this post includes portion of 6-2-94 letter from Hospers to me blasting Christian Evangelicalism, (Featured artist is Judy Chicago )

February 2, 2017 – 1:24 am

I sent a cassette tape of Adrian Rogers on Evolution to John Hospers in May of 1994 which was the 10th anniversary of Francis Schaeffer’s passing and I promptly received a typed two page response from Dr. John Hospers. Dr. Hospers had both read my letter and all the inserts plus listened to the whole […]

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 148 John Hospers Part D, this post includes portion of 6-2-94 letter from Hospers to me blasting Christian Evangelicalism, (Featured artist is Carl Andre )

January 26, 2017 – 1:15 am

  I sent a cassette tape of Adrian Rogers on Evolution to John Hospers in May of 1994 which was the 10th anniversary of Francis Schaeffer’s passing and I promptly received a typed two page response from Dr. John Hospers. Dr. Hospers had both read my letter and all the inserts plus listened to the […]

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 147, John Hospers Part C, this post includes portion of 6-2-94 letter from Hospers to me blasting Christian Evangelicalism,(Featured artist is Ron Gorchov )

January 19, 2017 – 12:28 am

I sent a cassette tape of Adrian Rogers on Evolution to John Hospers in May of 1994 which was the 10th anniversary of Francis Schaeffer’s passing and I promptly received a typed two page response from Dr. John Hospers. Dr. Hospers had both read my letter and all the inserts plus listened to the whole […]

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 146, John Hospers Part B this post includes portion of 6-2-94 letter from Hospers to me blasting Christian Evangelicalism,(Featured artist is Irving Petlin )

January 12, 2017 – 12:09 am

I sent a cassette tape of Adrian Rogers on Evolution to John Hospers in May of 1994 which was the 10th anniversary of Francis Schaeffer’s passing and I promptly received a typed two page response from Dr. John Hospers. Dr. Hospers had both read my letter and all the inserts plus listened to the whole […]

By Everette Hatcher III | Posted in Adrian Rogers, Atheists Confronted, Francis Schaeffer | Edit |Comments (0)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 145 PHILOSOPHER AND 1972 LIBERTARIAN PRESIDENTIAL CANDIDATE JOHN HOSPERS Part A, this post includes portion of 6-2-94 letter from Hospers to me blasting Christian Evangelicalism, (Featured artist is Roxy Paine)

January 5, 2017 – 10:45 am

I have enjoyed doing this series of posts on John Hospers because he was a very interesting philosopher. I had been deeply influenced in the late 1970’s and early 1980’s by Milton Friedman and I knew that John Hospers had been a close friend of Ayn Rand and the first Libertarian Presidential Candidate in 1972 […]

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 144 Martin Gardner (Featured artist is Bridget Riley)

December 29, 2016 – 1:37 am

I was sad to learn of the passing of Martin Gardner in 2010. I really enjoyed reading his articles in SCIENTIFIC AMERICAN. I did send him a letter but it was never answered. Martin Gardner: 1914-2010 Chris French mourns the passing of Martin Gardner, a prolific writer and populariser of mathematics, and one of the […]

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WOODY WEDNESDAY Reviews of past Woody Allen Movies PART 2

May 17, 2017 – 12:29 am

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Hannah and Her Sisters – Favorite Scenes

Posted by at 8:25 PM

Reviews of past Woody Allen Movies

Thursday, June 16, 2011



Hannah and Her Sisters (1986) 
104 min., rated PG-13. 
Grade: A

Woody Allen’s heartfelt, literate, evenly balanced Robert Altman-esque ensemble piece is structured like a chapter novel, revolving around three New York sisters with themes of love, relationships, and faithfulness. 

Hannah (Mia Farrow) is the nurturing lamb to her two sisters, Lee (Barbara Hershey), a flighty former alcoholic living in a loft with an artist (Max von Sydow), and Holly (Dianne Wiest) is the free-thinking aspiring actress who owns a catering company with her always-overshadowing friend (Carrie Fisher). Hannah is married to Elliot (Michael Caine), an accountant, who’s in love with Lee, and Hannah’s ex-husband, Mickey (Allen), a hypochondriac TV executive, thinks he’s dying. 

Allen intersperses his typically acute sense of humor with sensitivity, and as the film takes place over the span of two years, beginning and ending at Thanksgiving, much has changed from when we first Hannah, Lee, and Holly. Each character has a voice (literally, a voice-over) but it works, they have arcs, and every performance is finely tuned. 

Full of warmth, truth, and humor, “Hannah and Her Sisters” is a treasure and quintessential Woody Allen next to “Annie Hall” and “Manhattan.” 


Alice (1990)
106 min., rated PG-13.
Grade: B –
In filmmaker Woody Allen’s “Alice”—a musing, light-as-helium comic variation on “Alice in Wonderland” and Federico Fellini’s “Juliet of the Spirits”—his lamblike muse and girlfriend Mia Farrow snags the title spot. 

She’s Alice Tate, a rich, pampered Manhattan housewife who spends her days shopping, pedicuring, and gossiping with her socialite lady friends. At an appointment with Chinese healer Dr. Yang (Keye Luke), an ersatz for psychoanalysis, he treats her with hypnosis and mystical herbs, making her realize that she’s holding onto her youth. When she meets a handsome, gentle divorced dad (an appealing Joe Mantegna), she begins fantasizing about having an affair with him. But while she’s a mousy, goody-goody Mother Teresa and believes in fidelity with her husband (William Hurt), her fantasy becomes reality. 

Although Allen takes time off from the lead spotlight, his one-liners slip through and Farrow is virtually in the “Woody role” with her fast-thinking jitteriness. She’s charming. Blythe Danner shines as Alice’s distant but down-to-earth sister, and Bernadette Peters and Alec Baldwin enliven their small roles, respectively, as Alice’s muse and ghostly first love. Unfortunately, Julie Kavner and Judy Davis don’t even register here in bit parts. 

“Alice” is certainly Woody-lite, not always comfortably blurring the line between hokey fancy and affirmativeness about a woman’s selfless self-discovery, but it sure is sweet.


Shadows and Fog (1991)
85 min., rated PG-13.
Grade: C
Woody Allen’s tepid experiment in German expressionist style comes and goes like a puff of smoke. In “Shadows and Fog” (based on the filmmaker’s comedy play “Death”), a Jack the Ripper-esque serial strangler lurks in the shadows of a European city during the 1920s and strikes in the fog! 

Allen casts himself as another nebbish schlemiel, a bookkeeping clerk named Max Kleinman who’s roused from his sleep to help a band of vigilantes find the killer. Naturally, Allen peppers the gloom and doom every now and then with his one-liners, but they’re more than mild here. 

The real suspense lies in which actor will pop up next, but so little is done with the cast. Allen’s dear Mia Farrow gives the same whiny, lamblike performance here as a sword-swalling circus act, whom we’re supposed to believe is mistaken for a prostitute and wholly desired by John Cusack. John Malkovich is surprisingly dull as a circus clown, Farrow’s husband. Julie Kavner is momentarily amusing as Max’s bitter ex. Lily Tomlin, Kathy Bates, and Jodie Foster show up as the hookers at a brothel, as do Madonna, Katie Nelligan, Donald Pleasence, and Wallace Shawn in bit parts. Allen’s entrapment of the strangler with a magician’s (Kenneth Mars) help is an absurdist highlight. 

“Shadows and Fog” would make Fritz Lang and Franz Kafka proud, but will leave Woodyphiles wanting. Nice try but a non-starter in Woody’s canon. 


Husbands and Wives (1992)
108 min., rated R.
Grade: A –

“Thou shalt not commit adultery,” obviously at the top of Woody Allen’s commandments, comes out full throttle in “Husbands and Wives,” the Woodman’s most perceptive, witty, and generous look at broken relationships. 

Allen casts himself as Gabe, a faithful (New York) writer and English professor who, along with his wife of 10 years, Judy (Mia Farrow, with a haircut that makes her look like Dianne Wiest), get a very formal announcement by their two married best friends, Jack (Sydney Pollack) and Sally (Judy Davis), that they’re splitting up. Of course, Gabe and Judy’s marriage becomes endangered once a student (Juliette Lewis), who’s attracted to older men, looks his way. Then once Sally gets jealous that Jack has already moved on to a chatty airhead (Lysette Anthony), Judy sets Sally up with a sweet colleague, Michael (Liam Neeson). He falls hard for Sally, but Judy is in love with him. 

This truthfully messy exploration of marriage has the characters making confessions in a talking-head couch setting to an off-screen voice that’s either a shrink or an interviewer; it’s a device but effectively gets us into these people’s heads. It’s no concidence that life imitates art in “Husbands and Wives,” with much conjunction to Allen and Farrow’s real-life breakup, as Allen allows us to understand the emotionally fragile and confusing period after a breakup, the dull security of marriage, and the excitement of spontaneous sex. 

In a well-written scene in a cab with Allen and Lewis (the camera on her the entire time), her dialogue in criticizing Gabe’s book is so pointed about the film’s own themes. Husbands and Wives is so well-acted that we believe these characters exist. Davis is incredibly good as hyperactive, hypocritical Sally. Her character could’ve been a shrew cliché, but the great Davis goes deeper, finding the rage, confused feelings, and vulnerability of Sally. And veteran director Pollack gives a stellar performance as a man sinking in self-delusion. We see him finally crack at a friends’ party where he literally drags his girlfriend out. 

Shot documentary-style as if we’re eavesdropping on these couples, the antsy, handhand camera and jump cuts, made to make things feel raw and real, are often distracting and feel overly rigged but don’t break the film. 

One of Allen’s most emotionally intimate works to date, “Husbands and Wives” is done with the truth, wit, angst, and irony that we’ve come to expect from the filmmaker’s voice.


Manhattan Murder Mystery (1993)
104 min., rated PG.
Grade: A –
Woody Allen’s “Manhattan Murder Mystery” marks a few great returns. It’s a return to classic, funny Woody (especially after his past work dealt with heavy themes), his first-co-writing collaboration with Marshall Brickman since “Annie Hall” and “Manhattan,” and it’s his first pairing with Diane Keaton since “Manhattan.” 

Allen and Keaton play Larry and Carol Lipton, a long-married couple afraid they’re turning dull like their friendly old neighbors, Paul and Lillian House (Jerry Adler, Lynn Cohen). Then Lillian drops dead of a heart attack, case closed. But Carol becomes suspicious of Mr. House acting a little too cheerful as a widower. The Liptons’ old close friend, Ted (Alan Alda), plays along with Carol’s theories and helps her out in her Nancy Drew sleuthing. 

“Manhattan Murder Mystery” is a flat-out entertaining caper. The mystery plot is actually pretty clever and suspenseful, kind of a Hitchcockian goof on “Vertigo” and “Double Indemnity.” And the Woodman’s funny quips, phobias, and one-liners are on full display here and so consistent it’s hard to keep up or stop laughing. It’s a pleasure to see the reunited teaming of Allen and Keaton (whose role was originally intended for Mia Farrow), whose frantic verbal rhythms and neuroses go hand in hand. They feel so at ease with one another that their natural chemistry recalls Alvy Singer and Annie Hall. Alda and Anjelica Huston (both appearing last in Allen’s “Crimes and Misdemeanors”) are also very sharp as their friends, respectively, a divorced playwright who still yearns for Carol and a sexy fiction writer that gives Larry the eye. 

The one complaint for this very enjoyable film is the same conceit that somewhat plagued last year’s “Husbands and Wives”: Carlo DiPalma’s voyeuristic, roving, handheld cinematography. It’s mostly smooth but is sometimes annoying. But this Allen lark is so fun and involving that it hardly matters.

Related posts:

WOODY WEDNESDAY The Performance of all Woody Allen movies at the Box Office!!!

March 1, 2017 – 12:41 am

_ Woody Allen Bob Hope Tonight Show 1971 Woody Allen Actor Director Writer Date Title (click to view) Studio Lifetime Gross / Theaters Opening / Theaters Rank 7/15/16 Cafe Society LGF $11,103,205 631 $359,289 5 18 7/17/15 Irrational Man SPC $4,030,360 925 $175,312 7 36 7/25/14 Magic in the Moonlight SPC $10,539,326 964 $412,095 17 […]

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“WOODY WEDNESDAY” WOODY ALLEN TURNS 81 5 THINGS YOU DIDN’T KNOW ABOUT THE FILM GENIUS

February 22, 2017 – 12:24 am

__ The Woody Allen Special [1969] (Guests: Candice Bergen, Billy Graham and the 5th Dimension) Published on Sep 8, 2016 For all the Woody Allen/television fans, here is the rare 1969 CBS special! Featuring the flawless stand-up of Woody, and skits such as: Woody and Candice having to rehearse nude for an artistic play. A […]

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WOODY WEDNESDAY Happy Birthday Woody Allen: 15 Quotes By The Maverick Filmmaker

February 15, 2017 – 12:19 am

__ Woody Allen The Dean Martin Show Happy Birthday Woody Allen: 15 Quotes By The Maverick Filmmaker News18.com First published: December 1, 2016, 3:30 PM IST | Updated: December 1, 2016 One of the most celebrated filmmakers of Hollywood, Woody Allen turns 81 today. Born and raised in Brooklyn as Allen Konigsberg he is arguably […]

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WOODY WEDNESDAY Settling into a hotel bar in Soho after a long day shooting a film for Woody Allen in the Bronx, Justin Timberlake wastes no time ordering the first of several Vesper martinis. “I was terrified all day today, dude,”

February 8, 2017 – 12:06 am

___________ Justin Timberlake Talks ‘Trolls,’ Family Life and His New Album With Pharrell Williams Andrew Barker Senior Features Writer@barkerrant TOM MUNRO FOR VARIETY NOVEMBER 1, 2016 | 10:00AM PT Settling into a hotel bar in Soho after a long day shooting a film for Woody Allen in the Bronx, Justin Timberlake wastes no time ordering […]

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WOODY WEDNESDAY Woody Allen’s 81st Birthday

February 1, 2017 – 12:15 am

_ Woody Allen – standup – ’65 – RARE! Happy 81st Birthday, Woody Allen December 2, 2016 1 Comment Woody Allen turns 81 today. And he shows no signs of slowing down. Allen spent his 80th year being remarkably prolific, even by his own standards. The end of 2015 saw that year’s film, Irrational Man, […]

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WOODY WEDNESDAY Everything We Know About Woody Allen’s 2017 Film With Kate Winslet And Justin Timberlake October 16, 2016

January 25, 2017 – 1:11 am

  _ Everything We Know About Woody Allen’s 2017 Film With Kate Winslet And Justin Timberlake October 16, 2016 3 Comments Woody Allen has, it seems, wrapped production on his 2017 Film. The new film stars Kate Winlset and Justin Timberlake. And despite some very public days of shooting, We still don’t know that much […]

By Everette Hatcher III | Posted in Woody Allen | Edit | Comments (0)

WOODY WEDNESDAY At 79, Woody Allen Says There’s Still Time To Do His Best Work JULY 29, 2015 5:03 PM ET

January 18, 2017 – 1:27 am

_____________ Woody Allen – The Atheist At 79, Woody Allen Says There’s Still Time To Do His Best Work JULY 29, 2015 5:03 PM ET When asked about his major shortcomings, filmmaker Woody Allen says, “I’m lazy and an imperfectionist.” Thibault Camus/AP Woody Allen is a prolific filmmaker — he’s been releasing films pretty much […]

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WOODY WEDNESDAY Midnight in Paris: TAP’s Movie of the Month for June 2015 JUNE 1, 2015 by TAP Adventures

January 11, 2017 – 12:13 am

Midnight in Paris: TAP’s Movie of the Month for June 2015 JUNE 1, 2015 by TAP Adventures Each month in TAP, we select a Movie of the Month to help prepare our students for their overseas trip. This month we’re starting to prepare for our 2016 adventure in France and the Benelux countries, so we’ve selected […]

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“Woody Wednesday” An Interview with Woody Allen Woody Allen’s World: Whatever Works Robert E. Lauder April 15, 2010 – 2:31pm

January 4, 2017 – 12:30 am

This interview   below reveals Woody Allen’s nihilistic views and reminds me of his best movie which is  CRIMES AND MISDEMEANORS!!!! Crimes and Misdemeanors 1989 Woody Allen Woody Allen Crimes and Misdemeanors Nihilism Nietzsche’s Death of God An Interview with Woody Allen Woody Allen’s World: Whatever Works Robert E. Lauder April 15, 2010 – 2:31pm Woody […]

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WOODY WEDNESDAY Woody’s Cold Comforts Robert E. Lauder April 19, 2010

December 28, 2016 – 12:25 am

Top 10 Woody Allen Movies   Woody’s Cold Comforts Robert E. LauderApril 19, 2010 – 1:36pm Friends have often asked me about my interest in the films of Woody Allen: Why is a Catholic priest such an ardent admirer of the work of an avowed atheist, an artist who time and again has insisted on […]

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RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 130 A.C.Grayling, Philosopher, “If you think that the reasons you have for believing in fairies are very poor reasons; that it is irrational to think that there are such things, then the belief in supernatural agencies in general is equally as irrational”

May 16, 2017 – 1:47 am

 

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

 

Wikipedia notes:

Anthony Clifford “A. C.” Grayling (/ˈɡreɪlɪŋ/; born 3 April 1949) is a British philosopher. In 2011 he founded and became the first Master of New College of the Humanities, an independent undergraduate college in London. Until June 2011, he was Professor of Philosophy at Birkbeck, University of London, where he taught from 1991. He is also a supernumerary fellow of St Anne’s College, Oxford.

Grayling is the author of about 30 books on philosophy, including The Refutation of Scepticism (1985), The Future of Moral Values (1997), The Meaning of Things (2001), The Good Book (2011), and The God Argument (2013). He is a Trustee of the London Library, a Fellow of the Royal Society of Literature and a Fellow of the Royal Society of Arts.[1]

He is a director and contributor at Prospect Magazine, as well as a Vice President of the British Humanist Association. His main academic interests lie inepistemology, metaphysics and philosophical logic.[1] He has described himself as “a man of the left” and is associated in Britain with the new atheismmovement,[2] and is sometimes described as the ‘Fifth Horseman of New Atheism’.[3] He appears in the British media discussing philosophy.

A. C. Grayling
AC Grayling.jpg
Master of the New College of the Humanities
Assumed office
2011
Personal details
Born Anthony Clifford Grayling
3 April 1949 (age 67)
Luanshya, Northern Rhodesia
Nationality British
Spouse(s) Katie Hickman
Children One son, two daughters
Residence London, England
Education BA (Sussex), BA (London), MA (Sussex), DPhil (Oxon)
Alma mater University of Sussex
University of London external programme
Magdalen College, Oxford
Occupation Philosopher
Signature
Website www.acgrayling.com

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 Ahmed, Sir David Attenborough, Mark Balaguer, Patricia Churchland, Aaron Ciechanover, Noam Chomsky,Alan Dershowitz, Hubert Dreyfus, Bart Ehrman, Stephan Feuchtwang, David Friend,  Riccardo Giacconi, Ivar Giaever , Roy Glauber, Rebecca Goldstein, David J. Gross,  Brian Greene, Susan Greenfield, Stephen F Gudeman,  Alan Guth, Jonathan Haidt, Hermann Hauser, Roald Hoffmann,  Bruce Hood, Herbert Huppert,  Gareth Stedman Jones, Shelly Kagan, Michio Kaku,  Stuart Kauffman, George Lakoff,  Lawrence Krauss, Harry Kroto, Elizabeth Loftus,  Alan Macfarlane, Peter Millican, Marvin Minsky, Leonard Mlodinow,  Yujin Nagasawa, Alva Noe, Douglas Osheroff,   Saul Perlmutter, Herman Philipse,  Robert M. Price, Lisa Randall, Lord Martin Rees,  Oliver Sacks, John Searle, Marcus du Sautoy, Simon Schaffer, J. L. Schellenberg,   Lee Silver,  Peter Singer,  Walter Sinnott-Armstrong, Ronald de Sousa, Victor Stenger, Barry Supple,   Leonard Susskind, Raymond Tallis, Neil deGrasse Tyson,  .Alexander Vilenkin, Sir John Walker, Frank Wilczek, Steven Weinberg, and  Lewis Wolpert,

In  the first video below in the 27th clip in this series are his words and  my response is below them. 

50 Renowned Academics Speaking About God (Part 1)

Another 50 Renowned Academics Speaking About God (Part 2)

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

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Below is the letter I wrote to Dr. Grayling responding to his quote.

September 29, 2015

Dr. A.C.Grayling, New College of Humanities,  London, United Kingdom

Dear Dr. Grayling,

In the popular You Tube video “Renowned Academics Speaking About God” you made the following statement:

The question at stake here is one of rationality. The intellectual respectability of a claim there are gods, say the gods of Olympus or the gods of Hinduism, or one God, say the God of Christianity seem to me to be exactly on a par with the intellectual respectability that there are fairies in your garden. I am not being trite. The belief in fairies was very widespread and very well attested right up until the late nineteenth century. Indeed people believed that fairies were much more present in their lives than god was because when things went missing, like your shoe laces or a teaspoon, it was because the little imps had made off with them. So the comparison here is not a ridiculous one. And if you think that the reasons you have for believing in fairies are very poor reasons; that it is irrational to think that there are such things, then the belief in supernatural agencies in general is equally as irrational. So agnostics, who think there is much chance that there might be such entities as that there might not be such entities, fall foul of this stricture.

EVERY PERSON HAS TO JUDGE FOR THEMSELVES IF THERE IS GOOD AND SUFFICIENT REASONS FOR BELIEVING THE HISTORICAL CLAIMS IN THE BIBLE AND I HAVE SOME FOR YOU TO CONSIDER.  Let me further respond with the words of Francis Schaeffer from his book HE IS THERE AND HE IS NOT SILENT (the chapter is entitled, “Is Propositional Revelation Nonsense?”

Of course, if the infinite uncreated Personal communicated to the finite created personal, he would not exhaust himself in his communication; but two things are clear here:
 
1. Even communication between once created person and another is not exhaustive, but that does not mean that for that reason it is not true. 
 
2. If the uncreated Personal really cared for the created personal, it could not be thought unexpected for him to tell the created personal things of a propositional nature; otherwise as a finite being the created personal would have numerous things he could not know if he just began with himself as a limited, finite reference point. In such a case, there is no intrinsic reason why the uncreated Personal could communicate some vaguely true things, but could not communicate propositional truth concerning the world surrounding the created personal – for fun, let’s call that science. Or why he could not communicate propositional truth to the created personal concerning the sequence that followed the uncreated Personal making everything he made – let’s call that history. There is no reason we could think of why he could not tell these two types of propositional things truly. They would not be exhaustive; but could we think of any reason why they would not be true? The above is, of course, what the Bible claims for itself in regard to propositional revelation.
DOES THE BIBLE ERR IN THE AREA OF SCIENCE AND HISTORY? The Bible is true from cover to cover and can be trusted. Charles Darwin himself longed for evidence to come forward from the area of  Biblical Archaeology  but so much has  advanced  since Darwin wrote these words in the 19th century! 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 Chronicle, of Nebuchadnezzars Siege of Jerusalem, 2. Hezekiah’s Siloam Tunnel Inscription.13. The Pilate Inscription, 14. Caiaphas Ossuary, 14 B Pontius Pilate Part 2, 14c. Three greatest American Archaeologists moved to accept Bible’s accuracy through archaeology.

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. 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 would like to send you a CD copy 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. I WONDER IF YOU EVER HAD THE OPPORTUNITY TO RUN ACROSS THESE MEN OR ANY OF THEIR FORMER STUDENTS?

Below is a portion of the transcript from the CD and Michael Polanyi’s words are in italics while Francis Schaeffer’s words are not:

During the past 15 years, I have worked on these questions, achieving gradually stages of the argument presented in this paper. These are:

  1. Machines are not formed by physical and chemical equilibration. 
  2. The functional terms needed for characterizing a machine cannot for defined in terms of physics and chemistry. 

Polanyi is talking about specific machines but I would include the great cause and effect machine of the external universe that functions on a cause and effect basis. So if this is true of the watch,  then you have to ask the same question about the total machine that Sartre points out that is there, and that is the cause and effect universe. Polanyi doesn’t touch on this and he doesn’t have an answer, and I know people who know him. Yet nevertheless he sees the situation exactly as it is. And I would point out what  Alfred North Whitehead (1861–1947) and J. Robert Oppenheimer (1904–1967) said and that it needed a Christian consensus to produce modern science because it was the Christian consensus that gave the concept that the world being created by a reasonable God and that it could be found out and discovered by reason. So the modern science when it began with Copernicus and Galileo and all these men conceived that the cause and effect system of the universe would be there on the basis that it was created by a reasonable God, and that is Einstein’s big dilemma and that is why he became a mystic at the end of life…What Polanyi says here can be extended to the watch, and the bridge and the automobile but also to the big cause and effect universe. You have to give some kind of answer to this too and I would say this to Michael Polanyi if I ever have a chance to talk to him. You need another explanation too Polanyi.

3. No physical chemical topography will tell us that we have a machine before us and what its functions are. 

In other words, if you only know the chemicals and the physics you don’t know if you have a machine. It may just be junk. So nobody in the world could tell if it was a machine from merely the “physical chemical-topography.” You have to look at the machineness of the machine to say it is a machine. You could take an automobile and smash it into a small piece of metal with a giant press and it would have the same properties of the automobile, but the automobile would have disappeared. The automobile-ness of the automobile is something else than the physical chemical-topography.

4. Such a topography can completely identify one particular specimen of a machine, but can tell us nothing about a class of machines. 

5. And if we are asked how the same solid system can be subject to control by two independent principles, the answer is: The boundary conditions of the system are free of control by physics and can be controlled therefore by nonphysical, purely technical, principles. 

In other words you have to explain the engineering by something other than merely physical principles and of course it is. You can’t explain the watchness of the watch merely by this. You can explain it on the basis of engineering principles in which the human mind conceives of a use for the machine and produces the machine. But notice where Polanyi is and that is in our argument of a need of personality in the universe though Polanyi doesn’t draw this final conclusion, though I thought that is the only explanation.

If you look at the watch a man has made it for the purpose of telling time. When you see the automobile a man has made it for the purpose of locomotion and the explanation of the difference is not in the chemical and physical properties but in the personality of a man to make these two different machines for two different purposes out of the same material. So what you are left here is the need of personality in the universe.

____

Thank you for your time. I know how busy you are and I want to thank you for taking the time to read this letter.

Sincerely,

Everette Hatcher,

P.O. Box 23416, Little Rock, AR 72221, United States, cell ph 501-920-5733, everettehatcher@gmail.com

________

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MUSIC MONDAY George Harrison – Behind That Locked Door

May 15, 2017 – 12:43 am

__

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Behind That Locked Door (George Harrison) – Emotional Version by Norah Jones Live on Conan

George Harrison – Behind That Locked Door – Lyrics

Behind That Locked Door

From Wikipedia, the free encyclopedia
“Behind That Locked Door”
Song by George Harrison from the album All Things Must Pass
Published Harrisongs
Released 27 November 1970
Genre Folk rock, country
Length 3:05
Label Apple
Writer(s) George Harrison
Producer(s) George Harrison, Phil Spector
All Things Must Pass track listing

“Behind That Locked Door” is a song by English musician George Harrison, released on his 1970 triple album All Things Must Pass. Harrison wrote the song in August 1969 as a message of encouragement to Bob Dylan, who was making a highly publicised comeback to the concert stage, accompanied by the Band, with a headlining performance at the Isle of Wight Festival. “Behind That Locked Door” is a rare Harrison composition in the country music genre and the second song dealing with the friendship between himself and Dylan, after their 1968 collaboration “I’d Have You Anytime“. Its lyrics address Dylan’s elusive nature, and reflect the high regard in which Harrison held the American singer’s work. The same reluctance on Dylan’s part to re-engage with a concert audience led to him retreating again from live performance until August 1971, when he responded to Harrison’s request to play at the Concert for Bangladesh.

Harrison recorded “Behind That Locked Door” in London early in the summer of 1970, shortly after taking part in a session for Dylan’s New Morning album in New York. Co-produced by Phil Spector, the recording features a prominent contribution from Nashville pedal steel virtuoso Pete Drake, and twin keyboard parts from Gary Wright and Billy Preston in the tradition of the Band, whose sound influenced Harrison’s arrangement. With its understated performance, the track is a comparatively rare departure from the big production commonly associated with All Things Must Pass. On release, Alan Smith of the NME described the song as “a tremendous piece of country-meets-Hawaii” and recommended that it be sent to country singer Slim Whitman “without further delay”.[1]

An alternate take of “Behind That Locked Door” appears on the 2012 Harrison compilation Early Takes: Volume 1. Olivia Newton-John, Jim James, the Felice Brothers and Norah Jones are among the artists who have covered the song.

Background[edit]

In mid August 1969, Bob Dylan had confounded the media’s expectations by shunning the Woodstock Festival, an event he had helped to inspire.[2][3] Instead, after three years in virtual seclusion with his family, Dylan decided to make his comeback a fortnight after Woodstock, by headlining the Isle of Wight Festival at Wootton, just off the south coast of England.[4][5] Now a popular act in their own right, the Band agreed to back Dylan for the performance,[6] just as they had (as the Hawks) on his controversial 1966 world tour.[7]In a repeat of his UK concerts from 1966, leading figures in the English music scene began to gather on the island to show their support for Dylan,[8][9] the singer widely considered “the minstrel to a generation”.[10]

Alone among the many celebrity guests,[nb 1] George Harrison had spent time with Dylan during his period away from the limelight, in Bearsville, near Woodstock.[11][12] In between promoting Radha Krishna Temple (London)‘s debut single on Apple Records, his own production of “Hare Krishna Mantra“,[13] Harrison and wife Pattie Boyd stayed with Dylan’s family at Forelands Farm, near Bembridge, during the week preceding the festival.[14] The two musicians strengthened the bond they had established in upstate New York[15]and were heard performing near-perfect impersonations of the Everly Brothers in the farmhouse.[16][nb 2]

Festival poster, showing an image of Dylan circa 1966

In addition to a crowd estimated at 200,000,[18] a group of 300 American journalists descended on the Isle of Wight, adding unwelcome pressure on Dylan.[14] In the days leading up to his performance on Sunday, 31 August, the British press dubbed the event “D Day”, in reference to the Allies’ invasion of German-occupied France in June 1944;[19] in the words of music journalist John Harris, “Dylan’s show had by now been inflated into the gig of the decade.”[20] As a further impediment to Dylan’s planned comeback, audiences in 1969 expected to hear the rock music associated with his and the Hawks’ 1965–66 tours,[21] a style that he had abandoned with his recent country album, Nashville Skyline.[22]This contrast was encouraged by the organisers’ promotional campaign for the event,[23] particularly in the design for the official festival posters.[24] Referring to Dylan’s more conservative 1969 image, author Clinton Heylin writes: “There was little doubt that this was a different Dylan, even if the graphic on the fluttering posters advertising the festival was a stark black-and-white shot of a beshaded Dylan in classic ’66 pose.”[24] The arrival of Harrison’s fellow Beatles John Lennon and Ringo Starr, on Saturday, 30 August, added to the heightened speculation that one or more members of the band might make a guest appearance with Dylan the following evening.[25][26][nb 3]

Harrison gifted Dylan his vintage Gibson J-200 acoustic guitar before the show[28] and was then taken aback that Dylan arranged for “Hare Krishna Mantra” to be played over the PA minutes before he and the Band went on stage.[29]Mukunda Goswami, one of the six pioneer devotees who founded the Hare Krishna movement‘s London temple and played on the recording,[30][31] has identified this exposure as reflective of how the ancient Maha Mantra “penetrated British society” as a result of the Harrison-produced single.[32] Harrison watched Dylan’s performance from the VIP enclosure,[33] an experience that informed the lyrics to a new composition, “Behind That Locked Door”.[34]

Composition[edit]

I don’t mean to embarrass Bob or anything like that, but he’s said and done more, I think, than the lot of show business put together. You can take just one tune [of his] from back in the Sixties and it’s more meaningful than twenty or thirty years of what everybody else said …[35]

– George Harrison, commenting on the songs of Bob Dylan

John Harris describes “Behind That Locked Door” as a “sweet acknowledgement of Dylan’s shyness”.[20] According to Harrison’s recollection in a December 2000 interview for Billboard magazine, he began writing the song the night before Dylan played.[36] Further to the statement of friendship in their 1968 collaboration “I’d Have You Anytime“[37] – which Harrison began as a way of getting Dylan to let down his guard and “Let me in here“[38] – in “Behind That Locked Door”, he urges Dylan to confide in a friend and “let out your heart“.[39]

Author Ian Inglis notes the Isle of Wight performance as having been a “hugely important and anxious occasion” for Dylan and views Harrison’s opening verse as a “personal plea” for him to “pull out of his depression, to face the world again, and to look to the future”. After asking “Why are you still crying?“, Harrison assures Dylan that “The love you are blessed with / This world’s waiting for …“[40]

In the second verse,[41] Harrison sings of how he values Dylan’s friendship, together with “the tales you have told me / From the things that you saw“.[5] For much of his career, Harrison repeatedly identified Dylan as one of his biggest musical influences,[42] along with Ravi Shankar.[35] To Inglis, these verse-two lines reflect the level of Harrison’s respect for his work, since “while millions of others may look to the Beatles for guidance, he looks to Dylan”.[42][nb 4]

Bob Dylan and the Band on stage in 1974, the year Harrison faced criticism for his own change of musical direction

Harrison musical biographer Simon Leng observes that, in the “counseling” Harrison gives Dylan in “Behind That Locked Door”, he anticipates his own “slough of despond” during 1973–75.[46] This self-styled “naughty period” of Harrison’s coincided with the failure of his marriage to Boyd and a fall from grace with music critics following his 1974 “Dark Horse Tour“[47] – a tour on which, similar to Dylan in 1969, Harrison defied public expectation and attempted to break from his Beatle past.[48] In the final verse to “Behind That Locked Door”,[41] he asks for Dylan’s support in such a scenario:[42]

And if ever my love goes
If I’m rich or I’m poor
Come and let out my heart, please, please
From behind that locked door.

Musically, the song is set in a slow, country-waltz time signature[49] with, as Leng observes, melody and lyrics working “in tandem”.[46] Within each couplet, a rising musical figure presents the “problem” (“Why are you still crying?“), while the second line consists of a “falling melodic consolation” (“Your pain is now through“).[46] In his 1980 autobiography, Harrison offers little comment about “Behind That Locked Door”, aside from identifying the inspiration behind the song and admitting: “It was a good excuse to do a country tune with pedal steel guitar.”[34]

Aftermath to the Isle of Wight Festival[edit]

Dylan’s set at the festival was roundly viewed as anticlimactic,[50][51] if not a “Midnight Flop!”, in the opinion of one British tabloid.[52] Having recently told Rolling Stone editor Jann Wenner that he would return to touring that autumn, Dylan abandoned the idea and also cancelled the proposed live album from his Isle of Wight performance.[53][nb 5] Showing support for Dylan in the fallout from his comeback, in a late 1969 interview Harrison included the American singer in his personal list of essential contemporary rock artists, saying: “The Beatles, [the] Stones, Bob Dylan, Eric Clapton and Delaney & Bonnie, and that’s it. Who needs anything else?”[55]

Inglis highlights “Behind That Locked Door” as an example of how Harrison’s songwriting reflects his “fondness” for family and close friends.[56] Dylan’s reluctance to perform live again was only broken by his friendship with Harrison,[57][58] when the latter persuaded him to play at the Concert for Bangladesh shows in New York in August 1971.[59] Although Dylan had been noncommittal about playing at that event until the last minute,[60][61] a mutual friend of his and Harrison’s, journalist Al Aronowitz, had assured Boyd, “Bob wouldn’t let George down”;[62] another performer at the shows, drummer Jim Keltner, has said that Dylan felt a special closeness towards Harrison as a result of the Concert for Bangladesh.[63] Four years later, while Harrison was dejected following what author Elliot Huntley terms the “tsunami of bile that the Dark Horse album had unleashed”,[64] he spent considerable time with Dylan in Los Angeles.[65][66][nb 6] According to Mukunda Goswami, speaking in a 1982 interview with Harrison, Dylan became a regular visitor to the Los Angeles Radha Krishna temple and embraced the practice of chanting.[70]

Recording[edit]

Following the Beatles’ break-up in April 1970, and shortly before beginning work on All Things Must Pass, Harrison participated in a recording session in New York for Dylan’s New Morning album.[15][71] Among the many tracks they played were “Working on the Guru”,[72] Dylan’s “gentle prod” at Harrison’s association with the Hare Krishna movement, Harris writes,[20] and “If Not for You“, a new Dylan song that Harrison decided to cover on his own album.[73] Dylan also supplied him with a phone number for Pete Drake,[74]the Nashville-based pedal-steel guitarist and record producer whose work had graced “Lay Lady Lay” and other songs on Nashville Skyline.[75][76] Harrison later praised Drake’s pedal steel playing as “the bagpipes of country & western music“.[36]

Working at Abbey Road Studios in London with co-producer Phil Spector,[77] Harrison recorded “Behind That Locked Door” during the first batch of sessions for All Things Must Pass, between late May and early June 1970.[78] Drake’s pedal steel features strongly on the recording,[79] providing a commentary to Harrison’s vocal in the verses, as well as a mid-song solo,[80] supported by Hammond organ from Billy Preston, and Gary Wright on piano.[76] The arrangement for “Behind That Locked Door” reflects the enduring influence of the Band’s sound on Harrison[46] – through the use of two keyboard players, acoustic guitars, and a restrained backing from the rhythm section, comprising Klaus Voormann on bass and, in Huntley’s description, Alan White‘s “shuffle beat” drums.[80] For some years after the song’s release, rumours claimed that it was the Band themselves backing Harrison on the track.[78]

Leng credits all three acoustic guitar parts to Harrison,[46] although other sources suggest that Peter Frampton may have participated at the session.[76] Harrison also overdubbed all the backing vocals (credited on the album to “the George O’Hara-Smith Singers”),[81] a feat much admired by Spector, who has noted Harrison’s willingness to “experiment upon experiment” with his harmony singing on All Things Must Pass.[82]

Release and reception[edit]

“Behind That Locked Door” was released as the third track on side two of Harrison’s All Things Must Pass triple album,[83] in November 1970.[84] Ian Inglis writes of its position in the track order: “In the middle of an album whose songs sweep across the grand themes of history, religion, love, sex, and death, [‘Behind That Locked Door’] is a surprising and touching gesture of simple friendship from one man to another.”[42] The release followed speculation in the music press regarding the Dylan–Harrison joint session in May,[85] and conversely, the critics’ lambasting of Dylan’s Self Portrait double album, released in June 1970.[86] In his review of All Things Must Pass, the NME‘s Alan Smith declared “Behind That Locked Door” a “standout” and “a tremendous piece of country-meets-Hawaii, which should be sent to Slim Whitman without further delay”.[1] Less impressed, Ben Gerson of Rolling Stone dismissed the song as “an inexplicable bit of C&W schlock”, although he conceded that it had a “lovely, lilting background vocal”.[87] Later in the 1970s, Beatles Forever author Nicholas Schaffner highlighted “Behind That Locked Door” and the other Dylan-influenced songs on All Things Must Pass as being “far more intimate, both musically and lyrically, than the rest of the album”.[88]

He was a giant, a great soul, with all the humanity, all the wit and humor, all the wisdom, the spirituality, the common sense of a man and compassion for people. He inspired love and had the strength of a hundred men … The world is a profoundly emptier place without him.[89]

– Dylan’s tribute to Harrison, following the latter’s death in November 2001

Reviewers and biographers in the 21st century invariably recognise its place among Bob Dylan’s work on his John Wesley Harding (1967) and Nashville Skyline albums.[46][49][76] Writing in Goldmine magazine in 2002, Dave Thompson remarked: “indeed, this tribute to Dylan’s famous reticence sounds so close to a lost Zim original that His Bobness’ own ‘Baby, Stop Crying‘ (from 1978’s Street Legal) is all but reduced to tributary status itself in comparison.”[90]

Alan Clayson approves of the more “understated production aesthetic” next to what he views as an at-times “bloated” sound found elsewhere on All Things Must Pass.[49] Simon Leng also acknowledges Harrison’s success in “temper[ing] Phil Spector’s taste for the extreme” and describes “Behind That Locked Door” as one of its composer’s “more attractive” songs, with a fine lead vocal.[46] “[It] is refreshing to hear Harrison singing about another’s pain,” Leng adds, “suggesting that, unlike some of his contemporaries, he was able to displace himself as the center of his universe for a moment or two at least.”[91] In his book Phil Spector: Out of His Head, Richard Williams identifies “Behind That Locked Door” as an example of “how sympathetic to the performer” Spector could be as a producer, in this case, by giving the recording a “mellow, autumnal mix” that “beautifully display[s]” Drake’s pedal steel.[92]

Elliot Huntley writes that the track provides a showcase for Harrison’s “melodic flair”, as well as a reason to wonder why the ex-Beatle did not record more songs in the country-music genre, since “certainly he seems perfectly at home in these comfortable surroundings”.[80] Huntley speculates on the “interesting” possibility of a whole LP side of similar “ersatz country and western” tracks, as the Rolling Stones would do on their Exile on Main St. double album in 1972.[93] Harrison biographer Joshua Greene describes the song as a celebration of “love’s victory over pain”.[94]

Alternative version[edit]

In November 2011, an early take of “Behind That Locked Door”, featuring Harrison’s vocal backed by just two acoustic guitars and Drake’s pedal steel, was included in the British deluxe-edition CD/DVD release of Martin Scorsese‘s Living in the Material World documentary.[95][96] This version appeared worldwide on the Early Takes: Volume 1 compilation in May 2012.[97] Giles Martin, who went through Harrison’s musical archive at Friar Park while compiling the album, notes the “folk-tinged spoken word quality” of Harrison’s singing on this take, an example of “a kind of conversational intimacy” that he brought to his recordings.[98]

Rolling Stone critic David Fricke describes this version of the song as a “sweet Nashville reading”.[99] Andy Gill of The Independent finds it a “[p]articularly engaging” inclusion on a compilation that allows “the sweeter side of George Harrison’s character to shine unencumbered by studio blandishments”.[100]

Cover versions[edit]

Among the country artists who have covered the song, Olivia Newton-John released a version on her Olivia album in 1972.[101][102] Drake himself recorded “Behind That Locked Door”, as well as Harrison’s “Isn’t It a Pity” and “Something“, although the recordings remained unissued until the release of the Pete Drake album, nine years after his death in July 1988.[103] Christian alt rock band the Choir covered the song on their 1989 album Wide-Eyed Wonder.[104]

Following Harrison’s death in November 2001, Jim James recorded “Behind That Locked Door” for what became a six-song Harrison covers EP, released as Tribute To in August 2009.[105] Tying in with the release of Scorsese’s George Harrison: Living in the Material World, a version by the Felice Brothers appeared on the multi-artist tribute Harrison Covered,[106][107] a CD accompanying the November 2011 issue of Mojo magazine.[108]

Singer Norah Jones performed “Behind That Locked Door” on the TBS television show Conan on 25 September 2014.[109] Her appearance was part of the show’s “George Harrison Week”,[110] celebrating the release of the Harrison box set The Apple Years 1968–75.[111]

Personnel[edit]

The musicians who performed on “Behind That Locked Door” are believed to be as follows:[46]

Notes[edit]

  1. Jump up^ Bill Wyman lists Rolling Stone bandmates Keith Richards and Charlie Watts among the rock musicians attending the festival, along with Liz Taylor, Richard Burton, Jane Fonda, Roger Vadim and Donald Cammell from the world of film, and leading figures in the Chelsea arts community such as John Dunbar, Michael Cooper and Robert Fraser.[8]
  2. Jump up^ To the surprise of the two Apple employees who brought them, Harrison had to organise to have a set of harmonicas delivered to the farm by helicopter, since Dylan had forgotten to bring any of his own.[17]
  3. Jump up^ According to festival co-promoter Ricki Farr, an “amazing” all-star jam did take place that weekend – featuring Dylan, Harrison, Lennon, Starr, Eric Clapton, Ginger Baker and Jackie Lomax – but only at the farmhouse, on Sunday afternoon.[25] Some members, if not all five, of the Band also took part in this session.[27]
  4. Jump up^ Even during what biographer Howard Sounes terms Dylan’s “creative nadir” of the late 1980s,[43] Harrison told Rolling Stone that “Five hundred years from now, looking back in history, I think he will still be the man.”[44] In 1988, Harrison voiced the opinion that their first album together as the Traveling Wilburys had to be a positive thing if it did nothing else but get Dylan interested in songwriting again.[45]
  5. Jump up^ Among other projects that Dylan had considered earlier that summer, according to engineer and producer Glyn Johns‘ recollection in his book Sound Man (2014), Dylan had hoped to record an album with the Beatles and the Rolling Stones. While Harrison and Keith Richards thought the idea was “fantastic”, Johns writes, Paul McCartney and Mick Jagger “said absolutely not”.[54]
  6. Jump up^ In a radio interview for WNEW-FM in April 1975,[67] Harrison likened the critical backlash he had just received to occasions when Rolling Stone and other music publications had “tried to murder” Dylan’s reputation.[68][69]

References[edit]

  1. ^ Jump up to:a b Alan Smith, “George Harrison: All Things Must Pass (Apple)”, NME, 5 December 1970, p. 2; available at Rock’s Backpages (subscription required; retrieved 24 May 2013).
  2. Jump up^ Sounes, pp. 248–51.
  3. Jump up^ Heylin, pp. 306–07.
  4. Jump up^ Sounes, pp. 250–51.
  5. ^ Jump up to:a b Clayson, p. 273.
  6. Jump up^ Helm, p. 198.
  7. Jump up^ Tillery, p. 114.
  8. ^ Jump up to:a b Wyman, p. 342.
  9. Jump up^ Helm, p. 201.
  10. Jump up^ Clayson, p. 274.
  11. Jump up^ Clayson, pp. 242−43.
  12. Jump up^ Leng, pp. 51–52.
  13. Jump up^ Miles, p. 351.
  14. ^ Jump up to:a b Sounes, p. 251.
  15. ^ Jump up to:a b The Editors of Rolling Stone, p. 179.
  16. Jump up^ Harris, p. 68.
  17. Jump up^ O’Dell, pp. 83–85.
  18. Jump up^ Helm, p. 200.
  19. Jump up^ “The Isle of Wight festivals 1968–1970; Bob Dylan 1969”, ukrockfestivals.com (retrieved 19 February 2013).
  20. ^ Jump up to:a b c Harris, p. 72.
  21. Jump up^ Helm, p. 199.
  22. Jump up^ Heylin, pp. 301–02.
  23. Jump up^ Sounes, pp. 251–52.
  24. ^ Jump up to:a b Heylin, p. 307.
  25. ^ Jump up to:a b Harris, p. 69.
  26. Jump up^ Stephen Stafford, “Why the Beatles never played the Isle of Wight”, BBC Hampshire & Isle of Wight, 15 June 2010 (retrieved 24 May 2013).
  27. Jump up^ Sounes, p. 252.
  28. Jump up^ Olivia Harrison, pp. 202–03.
  29. Jump up^ Clayson, pp. 273–74.
  30. Jump up^ Dwyer & Cole, pp. 30–31.
  31. Jump up^ Greene, pp. 103, 106, 143–44.
  32. Jump up^ Olivia Harrison, p. 236.
  33. Jump up^ O’Dell, p. 87.
  34. ^ Jump up to:a b George Harrison, p. 206.
  35. ^ Jump up to:a b Olivia Harrison, p. 202.
  36. ^ Jump up to:a b Timothy White, “George Harrison: ‘All Things’ In Good Time”, billboard.com, 8 January 2001 (retrieved 3 June 2014).
  37. Jump up^ Huntley, pp. 53, 56.
  38. Jump up^ Timothy White, “George Harrison – Reconsidered”, Musician, November 1987, pp. 62, 65.
  39. Jump up^ Leng, pp. 89, 284.
  40. Jump up^ Inglis, pp. 26–27.
  41. ^ Jump up to:a b George Harrison, p. 205.
  42. ^ Jump up to:a b c d Inglis, p. 27.
  43. Jump up^ Sounes, p. 384.
  44. Jump up^ The Editors of Rolling Stone, p. 146.
  45. Jump up^ Clayson, p. 423.
  46. ^ Jump up to:a b c d e f g h Leng, p. 89.
  47. Jump up^ Tillery, p. 116.
  48. Jump up^ The Editors of Rolling Stone, pp. 128–29.
  49. ^ Jump up to:a b c Clayson, pp. 296–97.
  50. Jump up^ Sounes, pp. 252–53.
  51. Jump up^ Heylin, pp. 308, 310.
  52. Jump up^ Clayson, p. 309.
  53. Jump up^ Heylin, pp. 302, 309.
  54. Jump up^ David Greene, “Bob Dylan Wanted to Make an Album With the Beatles and Rolling Stones”, rollingstone.com, 7 November 2014 (retrieved 9 November 2014).
  55. Jump up^ Clayson, p. 277.
  56. Jump up^ Inglis, p. 141.
  57. Jump up^ Leng, p. 120.
  58. Jump up^ O’Dell, p. 199.
  59. Jump up^ Lavezzoli, pp. 189, 192–93.
  60. Jump up^ Heylin, p. 329.
  61. Jump up^ Greene, pp. 191–92.
  62. Jump up^ O’Dell, pp. 198–99.
  63. Jump up^ Lavezzoli, pp. 192, 203.
  64. Jump up^ Huntley, p. 114.
  65. Jump up^ Badman, p. 164.
  66. Jump up^ Ray Coleman, “Dark Horse”, Melody Maker, 6 September 1975, p. 28.
  67. Jump up^ Badman, p. 158.
  68. Jump up^ “No Clear Blue Skies”, Contra Band Music, 2 November 2012 (retrieved 22 May 2013).
  69. Jump up^ “George Harrison – Interview (1975)”, Paste (retrieved 12 November 2016); event occurs between 46:40 and 47:24.
  70. Jump up^ Chant and Be Happy, p. 35.
  71. Jump up^ Badman, p. 7.
  72. Jump up^ Heylin, p. 318.
  73. Jump up^ Madinger & Easter, pp. 424–25.
  74. Jump up^ Schaffner, p. 140.
  75. Jump up^ Clayson, p. 297.
  76. ^ Jump up to:a b c d Spizer, p. 223.
  77. Jump up^ Badman, p. 10.
  78. ^ Jump up to:a b Madinger & Easter, p. 429.
  79. Jump up^ Williams, p. 154.
  80. ^ Jump up to:a b c Huntley, p. 56.
  81. Jump up^ Spizer, p. 212.
  82. Jump up^ Olivia Harrison, p. 282.
  83. Jump up^ Spizer, p. 220.
  84. Jump up^ Castleman & Podrazik, p. 94.
  85. Jump up^ The Editors of Rolling Stone, pp. 179–80.
  86. Jump up^ Sounes, p. 260.
  87. Jump up^ Ben Gerson, “George Harrison All Things Must Pass“, Rolling Stone, 21 January 1971, p. 46 (retrieved 24 May 2013).
  88. Jump up^ Schaffner, p. 142.
  89. Jump up^ The Editors of Rolling Stone, p. 221.
  90. Jump up^ Dave Thompson, “The Music of George Harrison: An album-by-album guide”, Goldmine, 25 January 2002, p. 15.
  91. Jump up^ Leng, pp. 89–90.
  92. Jump up^ Williams, pp. 153, 154.
  93. Jump up^ Huntley, p. 57.
  94. Jump up^ Greene, p. 181.
  95. Jump up^ Steve Leggett, “George Harrison George Harrison: Living in the Material World (Video)“, AllMusic (retrieved 26 September 2014).
  96. Jump up^ Joe Marchese, “Behind That Locked Door: George Harrison Demos Surface on ‘Early Takes Volume 1′”, The Second Disc, 23 March 2012 (retrieved 26 September 2014).
  97. Jump up^ Stephen Thomas Erlewine, “George Harrison: Early Takes, Vol. 1“, AllMusic (retrieved 15 September 2012).
  98. Jump up^ Terry Staunton, “Giles Martin on George Harrison’s Early Takes, track-by-track”, MusicRadar, 18 May 2012 (retrieved 9 November 2014).
  99. Jump up^ David Fricke, “George Harrison, Early Takes Volume 1”, Rolling Stone, 23 May 2012 (retrieved 21 February 2013).
  100. Jump up^ Andy Gill, “Album: George Harrison, Early Takes Volume 1 (Universal)”, independent.co.uk, 5 May 2012 (retrieved 12 November 2016).
  101. Jump up^ “Albums: Olivia“, onlyolivia.com (retrieved 9 October 2012).
  102. Jump up^ “Behind That Locked Door”, wer-singt.de (retrieved 9 October 2012).
  103. Jump up^ Talevski, pp. 107–08.
  104. Jump up^ Mark W.B. Allender, “The Choir Wide-Eyed Wonder“, AllMusic (retrieved 21 February 2013).
  105. Jump up^ Andrew Leahey, “Yim Yames Tribute To“, AllMusic (retrieved 20 August 2012).
  106. Jump up^ Michael Simmons, “Cry for a Shadow”, Mojo, November 2011, p. 86.
  107. Jump up^ “Harrison Covered“, Second Hand Songs (retrieved 16 September 2012).
  108. Jump up^ “MOJO Issue 216 / November 2011”, mojo4music.com (retrieved 30 October 2013).
  109. Jump up^ “Norah Jones ‘Behind That Locked Door’ 09/25/14 – CONAN on TBS”, Conan/Team Coco on YouTube, 25 September 2014 (retrieved 26 September 2014).
  110. Jump up^ Erin Strecker, “Paul Simon Performs ‘Here Comes The Sun’ for George Harrison Week on ‘Conan'”, billboard.com, 24 September 2014 (retrieved 25 September 2014).
  111. Jump up^ Ben Kaye, “Beck kicks off Conan’s week-long George Harrison tribute with ‘Wah-Wah’ – Watch”, Consequence of Sound, 23 September 2014 (retrieved 25 September 2014).

Sources[edit]

  • Keith Badman, The Beatles Diary Volume 2: After the Break-Up 1970–2001, Omnibus Press (London, 2001; ISBN 0-7119-8307-0).
  • Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961–1975, Ballantine Books (New York, NY, 1976; ISBN 0-345-25680-8).
  • Chant and Be Happy: The Power of Mantra Meditation, Bhaktivedanta Book Trust (Los Angeles, CA, 1997; ISBN 978-0-89213-118-1).
  • Alan Clayson, George Harrison, Sanctuary (London, 2003; ISBN 1-86074-489-3).
  • Graham Dwyer & Richard J. Cole (eds), The Hare Krishna Movement: Forty Years of Chant and Change, I.B. Tauris (London, 2007; ISBN 1-84511-407-8).
  • The Editors of Rolling Stone, Harrison, Rolling Stone Press/Simon & Schuster (New York, NY, 2002; ISBN 0-7432-3581-9).
  • Joshua M. Greene, Here Comes the Sun: The Spiritual and Musical Journey of George Harrison, John Wiley & Sons (Hoboken, NJ, 2006; ISBN 978-0-470-12780-3).
  • John Harris, “A Quiet Storm”, Mojo, July 2001, pp. 66–74.
  • George Harrison, I Me Mine, Chronicle Books (San Francisco, CA, 2002; ISBN 0-8118-3793-9).
  • Olivia Harrison, George Harrison: Living in the Material World, Abrams (New York, NY, 2011; ISBN 978-1-4197-0220-4).
  • Levon Helm with Stephen Davis, This Wheel’s on Fire: Levon Helm and the Story of The Band, A Cappella Books (Chicago, IL, 2000; ISBN 978-1-55652-405-9).
  • Clinton Heylin, Bob Dylan: Behind the Shades (20th Anniversary Edition), Faber and Faber (London, 2011; ISBN 978-0-571-27240-2).
  • Elliot J. Huntley, Mystical One: George Harrison – After the Break-up of the Beatles, Guernica Editions (Toronto, ON, 2006; ISBN 1-55071-197-0).
  • Ian Inglis, The Words and Music of George Harrison, Praeger (Santa Barbara, CA, 2010; ISBN 978-0-313-37532-3).
  • Peter Lavezzoli, The Dawn of Indian Music in the West, Continuum (New York, NY, 2006; ISBN 0-8264-2819-3).
  • Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006; ISBN 1-4234-0609-5).
  • Chip Madinger & Mark Easter, Eight Arms to Hold You: The Solo Beatles Compendium, 44.1 Productions (Chesterfield, MO, 2000; ISBN 0-615-11724-4).
  • Barry Miles, The Beatles Diary Volume 1: The Beatles Years, Omnibus Press (London, 2001; ISBN 0-7119-8308-9).
  • Chris O’Dell with Katherine Ketcham, Miss O’Dell: My Hard Days and Long Nights with The Beatles, The Stones, Bob Dylan, Eric Clapton, and the Women They Loved, Touchstone (New York, NY, 2009; ISBN 978-1-4165-9093-4).
  • Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978; ISBN 0-07-055087-5).
  • Howard Sounes, Down the Highway: The Life of Bob Dylan, Doubleday (London, 2001; ISBN 0-385-60125-5).
  • Bruce Spizer, The Beatles Solo on Apple Records, 498 Productions (New Orleans, LA, 2005; ISBN 0-9662649-5-9).
  • Nick Talevski, The Encyclopedia of Rock Obituaries, Omnibus Press (London, 1999; ISBN 0-7119-7548-5).
  • Gary Tillery, Working Class Mystic: A Spiritual Biography of George Harrison, Quest Books (Wheaton, IL, 2011; ISBN 978-0-8356-0900-5).
  • Richard Williams, Phil Spector: Out of His Head, Omnibus Press (London, 2003; ISBN 978-0-7119-9864-3).
  • Bill Wyman, Rolling with the Stones, Dorling Kindersley (London, 2002; ISBN 0-7513-4646-2).

External links[edit]

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Updated 1990 Series:
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_____________________

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 163 BEATLES Breaking down the song LONG AND WINDING ROAD (Featured artist is Charles Lutyens )

May 11, 2017 – 1:18 am

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(Francis Schaeffer pictured below spent a lot of time in the 1960’s analyzing the Beatles’ words and music and below he sums up the Beatles search for meaning and values in a letter that I mailed to Paul McCartney on March 20, 2016.)

March 20, 2016

Paul McCartney

Dear Paul,

I love the song THE LONG AND WINDING ROAD for several reasons. I hope you put it in your set list for Little Rock on April 30, 2016. Wikipedia noted: 

“The Long and Winding Road” is a ballad written by Paul McCartney (credited to Lennon–McCartney) from the Beatles‘ album Let It Be. It became the group’s 20th and last number-one song in the United States in June 1970,[1] and was the last single released by the quartet.

While the released version of the song was very successful, the post-production modifications by producer Phil Spector angered McCartney to the point that when he made his case in court for breaking up the Beatles as a legal entity, he cited the treatment of “The Long and Winding Road” as one of six reasons for doing so. New versions of the song with simpler instrumentation were subsequently released by both the Beatles and McCartney.

In 2011, Rolling Stone ranked “The Long and Winding Road” number 90 on their list of 100 greatest Beatles songs of all time.[2]

During your time in the Beatles you obviously were searching for satisfaction in several different places and it seemed you returned to the romantic vision of love providing the big answers to life. 
The long and winding road that leads to your door
Will never disappear
I’ve seen that road before it always leads me here
Leads me to your door
The wild and windy night that the rain washed away
Has left a pool of tears crying for the day
Why leave me standing here, let me know the way
Many times I’ve been alone and many times I’ve cried
Anyway you’ll never know the many ways I’ve tried
And still they lead me back to the long and winding road
Francis Schaeffer (1912-1984) was a Christian and a philosopher who also took a deep interest in the trends in culture in the 1960’s and he spent a lot of time analyzing the Beatles search for meaning and values in life. Here is a summary statement he had on the Beatles:
The Beatles have showed us what has occurred [in the last years of the 1960’s in the culture.] The Beatles with Sergeant Pepper’s Lonely Hearts Club Band which incidentally was a very good piece of total art in the sense that it was an unit, they had many songs on this album but the songs all made one message and the whole album was an unit, and the way the songs were arranged. It all formed an unit of infiltration  of the message of modern man and of the drug culture. In fact, it could be said the  drug culture and the mentality that went with it had it’s own vehicle that crossed the frontiers of the world which were otherwise almost impassible by other means of communication. This record,  Sergeant Pepper’s Lonely Hearts Club Band, became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings. 

(Below Francis Schaeffer holding up  Sergeant Pepper’s Lonely Hearts Club Band Album in his film HOW SHOULD WE THEN LIVE? Episode 7 which can be seen on Vimeo:

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

from CaptanFunkyFresh6 years ago

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Image result for francis schaeffer beatles sergeant pepper's lonely hearts album

Later came psychedelic rock, an attempt to find this experience without drugs. 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….

Beatles in India

Image result for beatles in india

Then the Beatles gradually came home. The last thing we find them doing is the YELLOW SUBMARINE. I am sure a lot of parents thought this is much better than the old hard rock, but I thought it was a very sad thing because it really wasn’t a children’s story at all, but what it was in fact was a romantic statement and the fact is that is all there is. Just the same as [Ingmar] Bergman after he makes the movie SILENCE [1963] then he makes a comedy [ALL THESE WOMEN in 1964]. It is the same as Picasso when he pictures his child as a clown [Paul in a Clown Suit, 1924]. So we find the Beatles making the YELLOW SUBMARINE, but there is something more to it than this because Erich Segal made his reputation by writing the script for the movie version of YELLOW SUBMARINE and then he went on and wrote LOVE STORY. So what we have done is we have come around in a big circle. There was the destruction of the romantic. Students in the 1960’s said we are tired of the romantic of giving us optimistic statements with no sufficient base.

[Paul in a Clown Suit, 1924 by Picasso].

Paul in a Clown Suit, 1924, 1903 by Pablo Picasso

LOVE STORY

So the Beatles destroyed that and then they went through these various trips into non-reason but when they came out they had nothing left but the romantic. This is the tragedy of the young people starting with Berkeley in 1964. How right they were in saying we have largely a plastic culture.    This is something the church should have been saying. These students said give us reality. Then the students tried those trips and they weren’t trips based on reality but they were separated from reason. It was trying to find answers in one’s own head whether it was the drug  trip or the Eastern Religion trip. Then they came around in a big circle and what do we find–we end up with Segal’s LOVE STORY, just the romantic thing as one can imagine but with no adequate base at all, yet giving us a lovely romantic answer, which just like the YELLOW SUBMARINE is very, very sad because the Beatles and young people were giving up the search and just accepting something like this. 

(Joan Baez sings at Free Speech Movement rally in Berkeley. November 20, 1964)

YELLOW SUBMARINE

Image result for beatles yellow submarine

 

If we are going to understand the line of despair we must understand that it is an unit saying that reason is not going to take us anywhere. After Jean-Jacques Rousseau, Søren Kierkegaard and the German philosophers Georg Wilhelm Friedrich Hegel, and Immanuel Kant there was an unity that bound all these fields of expressions together. First, it was the philosopher expressing this. Second, it was the artist. Third, it was the musician and lastly it was expressed in general culture. The giving up of hope that on the basis of reason one is going to have optimistic answers is the mark of our age. Any kind of answers to the purpose in life, love morals have nothing to do with reason for modern man. It can be expressed in John Cage’s music or in certain forms of rock music.

Chance is the king of our age and John Cage’s music best demonstrates where chance has brought us

You scientists out there who say man is only the atom but a big more complex then you come home to your wife and you say, “I love you.” You want something more than merely sex. Those of you who look to your children with some tenderness and those of you who believe in some morals but you have never settled your score with Marquis de Sade  who said it so well WHAT IS IS RIGHT.

Modern man lives in a dichotomy. Downstairs there is reason which leads to man only being a machine and upstairs there is a some kind of hope against all reason. That great high boast coming out of the Enlightenment that man beginning from himself would gather enough particulars to make his own universal to give adequate answers for life, but it has failed.

de Sade portrayed in recent movie

Karl Popper seen below

Alfred Kinsey seen below

Image result for alfred kinsey

Rationalism fails because man is finite and limited. Karl Popper in England can falsify a few things but he can’t verify anything. Alfred Kinsey tells us that all sexual behavior just comes down to sociological statistics. There is not going to be an answer for modern man unless there is something more than modern man beginning from himself, namely that there is a God there and He is not silent.

In another place 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. 

Instead of making a leap into the area of nonreason 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 #94)

Consider, too, the threat in the entire Middle East from the power of Assyria. In 853 B.C. King Shalmaneser III of Assyria came west from the region of the Euphrates River, only to be successfully repulsed by a determined alliance of all the states in that area of the Battle of Qarqar. Shalmaneser’s record gives details of the alliance. In these he includes Ahab, who he tells us put 2000 chariots and 10,000 infantry into the battle. However, after Ahab’s death, Samaria was no longer strong enough to retain control, and Moab under King Mesha declared its independence, as II Kings 3:4,5 makes clear:

4 Now Mesha king of Moab was a sheep breeder, and he had to deliver to the king of Israel 100,000 lambs and the wool of 100,000 rams. 5 But when Ahab died, the king of Moab rebelled against the king of Israel.

The famous Moabite (Mesha) Stone, now in the Louvre, bears an inscription which testifies to Mesha’s reality and of his success in throwing off the yoke of Israel. This is an inscribed black basalt stela, about four feet high, two feet wide, and several inches thick.

Moabite (Mesha) Stone seen below

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Actually 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. 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 Chronicle, of Nebuchadnezzars Siege of Jerusalem, 2. Hezekiah’s Siloam Tunnel Inscription.13. The Pilate Inscription, 14. Caiaphas Ossuary, 14 B Pontius Pilate Part 2, 14c. Three greatest American Archaeologists moved to accept Bible’s accuracy through archaeology.

Thanks for your time.

Sincerely,

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

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Featured artist is Charles Lutyens

Contemporary Christian Art – The Rt Revd Lord Harries of Pentregarth

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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

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Charles Lutyens, 1933

Fire Angel Mosaic, 1968

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Charles Lutyens studied at the Chelsea, Slade, St Martin’s and CentralSchools of Art in London and later in Paris. Though mainly a painter he has worked in a range of media and has exhibited widely. From 1963 to 1968 he worked on a commission to produce a mosaic mural of “Angels of the Heavenly Host” on the four long panels high above and surrounding the congregation and altar of St Paul’s Bow, with light flooding down from the large lantern on top. At 800 square feet it is almost certainly the largest contemporary mural in the British Isles. Lutyens was commissioned by the architects of the church because they thought his work consistently revealed “a feeling for states of mind or spirit.” They thought that as we do not know what angels look like it was important that the work be not to too representational and as they put it, they thought the work had achieved just the right balance “between the figurative and the abstract, between severity and empathy, between assertiveness and recession.”[1] Mainly a portrait and landscape painter, Lutyens has turned to Christian themes from time to time as in this recently exhibited The Mocking, 1968. What is interesting about this is the way the tormentors hide behind a great sheet as though they do not want to see what they are doing.

 

Outraged Christ

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The highlight of a recent exhibition, however, was a work which has also just been completed and was on view for the first time. This is the much larger than life, in fact 15’ Outraged Christ, made of carved and recycled timber shaped in the form of slats. The first Christians liked to show Christ victorious on the cross. The Mediaeval period focussed on his suffering for the sins of the world. The 20th century too focussed almost exclusively on the suffering of Christ but more often than not as a paradigm of the suffering of a terrible century with its innumerable victims.

 

The Outraged Christ.

The depiction of an outraged Christ is, so far as I know, a fresh addition to Christian iconography. It is a moving, impressive work. Instead of Christ being shown battered or anguished, it depicts him with mouth open, slightly to one side, with his knees pushing forward from the cross, in rage. But here is rage, indeed fury, not just at what is being inflicted on him but at what we humans do to one another.

 

[1] Charles Lutyens: Being in the World, paintings, drawings, sculptures, mosaic info@charleslutyens.co.uk, 2011,p.64

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From his website:

Profile

Born in 1933, Charles Lutyens has been an artist all his life. He grew up during the war living in Berkshire and discovered his enjoyment to paint when he was seven years old whilst at school in Shropshire. During his time at Bryanston School in Dorset he realised his commitment to being an artist and would use his academic assignment periods to work in the art room. Through later training at the Slade, St. Martin’s and Central Schools of Art, he developed his skills in oil painting and sculpture.

Lutyens’ work is diverse and has always taken an individual direction using a variety of materials including clay, wood, stone, mosaic, as well as drawn and painted images on paper, board and canvas. His images emerge out of his own experience of life, looking inwardly, with a focus on the condition of “Man’s being in the World”.

Between 1958 and 1964, Lutyens lived in London working in his Fulham studio developing his own personal approach to painting. A body of images then painted were exhibited at the Wildenstein Gallery in New York, where critics compared his work to expressionists, Munch and Ensor.

From 1963 to 1968, Lutyens worked on a commission to produce a tesserae mosaic mural of “Angels of the Heavenly Host” at the newly consecrated church of St. Paul’s, Bow Common, E3.

Charles moved to Oxford with his family in 1978, where together with other commitments, teaching and running related workshops he continued to explore his studio painting and sculpting as well as his landscape work.

Throughout his artistic life he has exhibited in his studio, partaken in mixed exhibitions and has held one-man shows at St. Martin’s Gallery in London and Hollerhaus Gallery, near Munich.

His work is in private collections in England, Germany, Austria, France, Ireland, Spain and USA.

He has recently moved with his wife to Hampshire and is currently working on a 15ft wooden sculpture, a Crucifixion of an “Outraged Christ”.

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WOODY WEDNESDAY Reviews of past Woody Allen Movies PART 1

May 10, 2017 – 12:27 am

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Posted by at 8:25 PM

Reviews of past Woody Allen Movies

Thursday, June 16, 2011

Top form or not, Woody’s “Midnight in Paris” charms


Midnight in Paris (2011)
94 min., rated PG-13.
Grade: B +

Woody Allen has always interpreted his beloved Manhattan as not only a romanticized city but a state of mind. Continuing his change of scenery (since 2005’s “Match Point”) but not losing that sense of place, Paris follows suit in his latest, “Midnight in Paris.” It’s a truly charming valentine to the City of Lights and for being the Woodman’s 41st film, a literate, witty, playfully clever lark. Judging by how European cities bring out the best in this film auteur, Allen has announced that next he’s shooting in Rome. We’re there. 
 
Owen Wilson, as the Woody Allen stand-in, stars as Gil Pender, a distracted Hollywood screenwriter on holiday in Paris with his fiancee Inez (Rachel McAdams) and her conservative, disapproving parents (Kurt Fuller, Mimi Kennedy). Instantly enraptured by Paris, Gil is the type of person who feels like he should’ve lived in the 1920s and wants to reinvent himself as a novelist. While Inez is more interested in fine dining, accessory shopping, and late-night dancing, Gil loves the city and wants to take in more of it. 
 
SPOILER ALERT!
 
One night after a wine tasting, Gil gets lost on his way back to the hotel. But at the stroke of midnight, he slips into a twilight zone, being transported to the golden-aged 1920s. Suddenly, he’s on a first-name basis with Ernest Hemingway (Corey Stoll), Zelda and F. Scott Fitzgerald (Alison Pill and Tom Hiddleston), Gertrude Stein (Kathy Bates), and Salvador Dali (Adrien Brody), gets to witness Cole Porter on his piano, and even finds his muse in Pablo Picasso’s alluring mistress, Adriana (the very lovely and fetching Marion Cotillard). Meanwhile, Enid’s dad has a detective follow Gil during his late-night strolls. 
 
Like the story itself, “Midnight in Paris” is a piece of magic. Allen doesn’t fuss with scrutiny for Gil’s time-travel because like a Dali painting, it’s quite surreal and fantastic. Looking for logic would just defeat its intent. Though he wouldn’t sound like the first choice as a surrogate for Allen’s neuroses, Wilson need not mimic his director and in fact makes his understated portrayal of Gil more sympathetic. The once-shoehorned surfer dude’s easy-going persona is perfect here and makes the role all his own. 
 
McAdams’ Inez is portrayed as a very status-concious, princessy harpy that you could never see her giving Gil the time of day. Needless to say, they might not be a right fit for one another, even if they share the same taste in Indian restaurants’ Naan. If Gil doesn’t throttle her, you’ll want him to, and soon. The role is more or less a means to an end; as Inez is all over the map as Zelda is, Gil still loves her as F. Scott loves his wife. But given the thankless part, McAdams handles it with more aplomb than what any other actress, like maybe Katherine Heigl, could bring. Fuller and Kennedy, as Inez’s parents, as well as Michael Sheen, as pedantic know-it-all acquaintance Paul, are game as the butt of every Ugly American joke. Of the actors playing the colorful greats of the arts, they’re all scene-stealers, even Brody who’s funny, despite his Dali whittled down to a cameo. Even nicely fitting in her surroundings is France’s First Lady, Carla Bruni, as a tour guide. 
 
Allen brings a very relaxed, romantic, and dream-like mood and tone to “Midnight in Paris” that just delights you. Opening with a tourist montage of mundane snapshots of the anything-but-mundane Paris, “Midnight in Paris” counts as one of Woody’s most visually resplendent films. Paris, much like New York in his earlier films, becomes a character unto itself. No wonder, since his cinematographer Darius Khondji (last hired by Allen on “Anything Else”) shoots Paris with such a warm, beautiful glow. And it’s nice to see the Seine banks again as it was last seen in Allen’s “Everyone Says I Love You” (1996). 
 
As light and inconsequential as the film is, what it says about nostalgia, the love of art and literature, death being one’s greatest fear, and being unhappy in one’s present is actually quite universal and profound. Many criticize Allen for not yet returning to form, but in this day and age, finding a film that’s transportive and smile-inducing is not such a small feat. It might mean more to have knowledge of and recognize all the artists on display, but “Midnight in Paris” will make you desire a stroll through Paris in the rain. 
 

Posted by at 10:59 PM No comments:

Tuesday, June 14, 2011

Woody Allen’s Canon

Upon the release of Woody Allen’s 41st film, “Midnight in Paris,” here are my critiques of the Woodman’s work. 
Interiors (1978)
93 min., rated PG.
Grade: B + 

Woody Allen breaks the mold with “Interiors,” a decidedly somber, Ingmar Bergman-esque piece and his first film that doesn’t include comic relief or himself. Three sisters, poet Renata (Diane Keaton), unhappy artist Joey (Mary Beth Hurt), and actress Flyn (Kristin Griffith), must deal with the separation and divorce of their emotional mother (Geraldine Page) and impatient father (E.G. Marshall). 

Page acts from her heart in a delicate, heartbreaking performance as Eve, and Maureen Stapleton is very good too as Pearl, their father’s twice-married girlfriend from Florida. All of the performances are open and vulnerable, and the conversations are interesting. Gordon Willis elegantly shoots with a painterly eye for detail in the space of empty rooms and characters staring out windows. Sure, the final scene is cinematically contrived but understated and it stays with you long after. 

Deliberate, downbeat, and often painfully devastating, “Interiors” is experimental Allen, staged very much like a play, but it’s powerfully acted and maturely done. 


Manhattan (1979)
96 min., rated R.
Grade: A –

“Manhattan,” writer-director Woody Allen’s love poem to New York and relationships, is a worthy follow-up to “Annie Hall” and among his best. His adoration for the city he calls home shows especially in the romantic, celebratory opening with Gordon Willis’ magnificent black-and-white cinematography of the Brooklyn Bridge and fireworks over Central Park and George Gershwin’s grand “Rhapsody in Blue” music on the soundtrack. 

Allen stars as Isaac Davis, a neurotic 40-something comedy writer who’s dating a high schooler, Tracy (Mariel Hemmingway). His married best friend Yale (Michael Murphy) is having an affair with a kooky Philadelphia journalist, Mary (Diane Keaton), who criticizes Ingmar Bergman. Isaac’s second ex-wife (Meryl Streep), now in a lesbian relationship, is writing a whole book about their marriage. 

“Manhattan” is scathingly bittersweet and witty if not as endearing as two years ago with Allen and Keaton in “Annie Hall.” Allen really shows his brilliant sense of humor and timing, and Keaton is nothing less than wonderful. There’s the memorable, visually magical scene of Isaac and Mary sitting in silhouette facing the Hudson River. In one of her first bigger roles, 17-year-old Hemmingway is smart and innocent. 

After Annie Hall, “Manhattan” is just the right companion piece to that earlier film, both wistful odes to love and loss rather than fantasy happy endings. 

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