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When Paul McCartney announced the Beatles were releasing one final song later this year, with vocals extracted from a John Lennon demo via a machine-learning tool, the press jumped on a narrative of an “AI Beatles song.” Confused fans feared they were about to hear an AI-generated Lennon. But the Beatles would “never” fake Lennon’s vocals, Ringo Starr says in a new interview for an upcoming episode of our Rolling Stone Music Now podcast.
Starr also confirms that George Harrison recorded parts for the song before his death in 2001. “This was beautiful,” says Starr, “and it’s the final track you’ll ever hear with the four lads. And that’s a fact.” Starr wouldn’t confirm the name of the song, but the fact of Harrison’s participation almost certainly means the track is “Now and Then,” a Lennon demo that McCartney, Harrison, and Starr did some work on during the same sessions that produced “Free As A Bird” and “Real Love,” which also used vocals harvested from Lennon demos. Those tracks were included on the Beatles Anthology albums and documentary in the mid-Nineties — so it would be logical that the new song might come out in conjunction with a long-overdue re-release of the doc, though the Beatles camp hasn’t announced anything of the sort yet.
More from Rolling Stone
- From Janelle Monáe to Miley, Inside 2023’s Best Albums So Far
- Paul McCartney Used AI to Make a Final Beatles Song – But Not in a Creepy Way
- See Paul McCartney’s Intimate Photos of the Beatles In New Book ‘1964: Eyes of the Storm’
Meanwhile, Starr will celebrate his 83rd birthday on July 7, and is continuing his tradition of asking fans to “say, post, or think ‘peace and love,’” at precisely noon in their time zones. Starr will be on hand for a celebration in Beverly Hills on that day, alongside musicians including Joe Walsh and Mike Campbell. “In 2008, I was being interviewed,” Starr recalls, “and the interviewer said, ‘Well, Ringo, what would you like your fans to give you for your birthday? And I don’t know where it came from but I thought, it would be great, if at noon they could go ‘peace and love’ and that’s how it started. We started with 80 people… and now it’s 28 countries.”
Starr, who just finished a spring tour with the latest incarnation of his All-Starr band, says he’s feeling great. “You never know when you’re gonna drop, that’s the thing,” he says. “And I’m not dropping yet.”
Starr’s full interview — with new thoughts on Peter Jackson’s Get Back documentary and more — will appear on next weekend’s episode of Rolling Stone Music Now. Video from the interview will also be shown at a special live taping of the rest of the episode at the Rock and Roll of Fame in Cleveland at 2 p.m. on July 7; the episode will also include a new interview with producer Glyn Johns, who worked on the Let It Be sessions. The museum will also celebrate Starr’s birthday that day with a “peace and love” gathering at noon, and an all-Beatles performance by the Hall’s house band.
Best of Rolling Stone
- All 229 of Taylor Swift’s Songs, Ranked
- The Who’s 50 Greatest Songs
- Fleetwood Mac’s 50 Greatest Songs
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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]
Will never disappear
I’ve seen that road before it always leads me here
Leads me to your door
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
(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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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
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].
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
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
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
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
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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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”.
Related posts:
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Francis Schaeffer’s favorite album was SGT. PEPPER”S and he said of the album “Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings.” (at the 14 minute point in episode 7 of HOW SHOULD WE THEN LIVE? )
How Should We Then Live – Episode Seven – 07 – Portuguese Subtitles
Francis Schaeffer
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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 97 THE BEATLES (The Beatles and Paramhansa Yogananda ) (Feature on artist Ronnie Wood)
Today I am going to look at Paramhansa Yogananda who appeared on the cover of SGT. PEPPERS because the Beatles were at the time interested in what Eastern Religions had to offer. One of the problems with Hinduism is that has no way to explain the existence of evil in the world today. However, Christianity explains […]
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 96 THE BEATLES (Breaking down the song “Eleanor Rigby” Part B and the issue of LONELINESS) Featured artist is Robert Morris
_ The song ELEANOR RIGBY was a huge hit because it connected so well with “all the lonely people.” The line that probably best summed up how many people felt was: “All the lonely people, Where do they all come from? All the lonely people, Where do they all belong?” Francis Schaeffer believed in engaging the secular […]
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 95 THE BEATLES (Breaking down the song “Eleanor Rigby” Part A and the issue of DEATH ) Featured artist is Joe Tilson
No one remembered Eleanor Rigby enough to come to her funeral. It is sad but Francis Schaeffer points out King Solomon’s words on death from 3000 years ago and they seem similar to the song’s conclusion. Eleanor Rigby – PAUL McCARTNEY The Beatles Cartoon – Eleanor Rigby. Uploaded on Feb 21, 2012 Ah, look at […]
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 94 THE BEATLES (The Beatles and the Gurus on SGT. PEP. ) (Feature on PHOTOGRAPHER BILL WYMAN )
The Beatles went through their Eastern Religion phase and it happened to be when the album SERGEANT PEPPER’S LONELY HEARTS CLUB BAND album came out. Today we will take a look at the article “The Gurus of Sergeant Pepper,” by Richard Salva and then look at some of the thoughts of Francis Schaeffer on this topic. I […]
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 93 THE BEATLES (Breaking down “REVOLUTION 9” Part B) Astrid Kirchherr is featured Photographer
In 1967 the Beatles had honored Stockhausen by putting his photo on the cover of their Sergeant Pepper [sic] album. When John Lennon was murdered in December 1980, Stockhausen said in a telephone interview: “Lennon often used to phone me. He was particularly fond of my Hymnen and Gesang der Jünglinge, and got many things […]
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 92 THE BEATLES (Breaking down “REVOLUTION 9” Part A) Featured photographer is John Loengard
Have you ever had the chance to contrast the music of Bach with that of the song Revolution 9 by the Beatles? Francis Schaeffer pointed out, “Bach as a Christian believed that there was resolution for the individual and for history. As the music that came out of the Biblical teaching of the Reformation was […]
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 91 (WHY WAS H.G.WELLS ON THE COVER OF SGT. PEPPERS? Part B) Featured Artist is Claes Oldenburg
Last time we looked at the hedonistic lifestyle of H.G.Wells who appeared on the cover of SGT PEPPERS but today we will look at some of his philosophic views that shaped the atmosphere of the 1960’s. Wells had been born 100 years before the release of SGT PEPPERS but many of his ideas influenced […]
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 90 (WHY WAS H.G.WELLS ON THE COVER OF SGT. PEPPERS? Part A) Featured Artist is Ellsworth Kelly
Why was H.G.Wells chosen to be on the cover of SGT PEPPERS? Like many of the Beatles he had been raised in Christianity but had later rejected it in favor of an atheistic, hedonistic lifestyle that many people in the 1960’s moved towards. Wells had been born 100 years before the release of SGT PEPPERS […]
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 89 THE BEATLES, Breaking down the song “BLACKBIRD” Part B (Featured Photographer is Jürgen Vollmer)
Since racial tensions were extremely high in the 1960’s I am adding a part two to my last post. I grew up in Memphis and was a resident when MLK Jr. was unfortunately assassinated. Just two months later Paul McCartney wrote the song BLACKBIRD because of this assassination. Francis Schaeffer also spoke out strongly against […]
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