Category Archives: Current Events

Calvin Coolidge Part 1

President Calvin Coolidge really did believe in limited government like the founding fathers did.

Silent Cal Speaks: Why Calvin Coolidge is the Model for Conservative Leadership Today

By
October 31, 1996

The Republican National Convention of 1924 nominated Calvin Coolidge as its candidate for a full four-year term as President. You’ll recall that Coolidge had assumed the presidency following the death of Warren Harding.

As one who has covered and commented on several political conventions, that 1924 convention in Cleveland did not yield many good stories.

It is generally remembered as the most uninteresting convention in Republican history. Delegates didn’t bother showing up at many of the sessions. The most popular drink was a keep-cool-with-Coolidge highball, composed of raw eggs and fruit juice. Will Rogers suggested that the city of Cleveland “open up the churches to liven things up a bit.”

But this is a reminder that politics, in the end, is not about drama but about principle, not about charisma but about character. I doubt Republicans will get a nominee out of San Diego with so many wise and principled things to say about the deficit, about tax cuts, and about welfare dependence as they had in 1924. And I very much doubt he will beat this opponent by a landslide of 54 percent to 28 percent.

A CERTAIN STYLE

I have always had a particular respect for the 30th President, not entirely explained by the ties of family.

Calvin Coolidge had a certain style and attitude toward public service. He seemed immune to the pretensions of politics. When asked his goals as Governor of Massachusetts, he explained, “to walk humbly and discharge my obligations.” It is hard to imagine a better definition of public service. When one woman admirer asked if the burdens of the presidency were more than a man could endure, Coolidge replied, “Oh, I don’t know. There are only so many hours in the day, and one can do the best he can in the time he’s got. When I was mayor of Northampton I was pretty busy most of the time, and I don’t seem to be much busier here.” There is something profoundly refreshing about a leader with that kind of perspective on life and politics. When Coolidge left the presidency he told reporters, “Perhaps one of the most important accomplishments of my administration has been minding my own business.”

I have always admired Coolidge’s political courage. He came to national prominence, of course, by breaking the 1919 police strike. Some people don’t understand that this was controversial even in his own party. When he was about to sign the order calling out the National Guard, some colleagues warned him that it might destroy the Republican Party in Massachusetts and end his political career. Governor Coolidge took the pen and said quietly, “Perhaps you are right,” then signed the document. No grandstanding. Just quiet strength.

Coolidge also showed real humanity beneath his inflexible exterior. I’ve always been moved by the story of how Coolidge, in the summer of 1924, crawled on his hands and knees to catch a rabbit to show his dying son. He later said, “When he was suffering he begged me to help him. I could not.” In that tragedy, he provided a model of dignified grief.

And Coolidge, of course, was always a source of great stories. Everyone has his favorites. Once a man, riding with Coolidge through Vermont, commented, “See how closely they have shaved those sheep?” “At least on this side,” said the President.

At another point, a rude, combative man came up to Coolidge and said, “I didn’t vote for you.” The President immediately replied: “Someone did.”

In some ways, I think that Calvin Coolidge misled people into thinking he was less thoughtful and astute than he actually was. He never set out to impress — a quality of character almost unique in politics. He would have liked the praise of one country shopkeeper, “That young chap Coolidge certainly has more stuff on the shelves and outs less in the show-window than any fellow I’ve ever seen.”

You would think that a President with this kind of character and personality would be widely respected and fondly remembered. In fact, in his own time, he was one of the most popular men ever to occupy the White House.

But the attempts to malign Coolidge — the historical slander — began early. H. L. Menken called him “petty and dull.” Franklin Roosevelt never tired of attacking the “Coolidge Prosperity,” as though it were false and empty.

The history books quickly took up the cause. Historian Henry Steele Commanger wrote:

The idealism of the Wilson era was in the past; the Rooseveltian passion for humanitarian reform was in the future. The decade of the twenties was dull, bourgeois and ruthless. “The business of America is business,” said President Coolidge succinctly, and the observation was apt if not profound…never before, not even in the McKinley era, had American society been so materialistic.

Historian Arthur Schlesinger, Jr., wrote in The Crisis of the Old Order, “But, for Coolidge, business was more than business; it was a religion; and to it he committed all the passion of his arid nature…as he worshipped business, so he detested government. Economy was his self-confessed obsession.”

None of this venom can be explained by the real-world results of the Coolidge Administration. The federal budget shrank. The national debt was cut almost in half. Unemployment stood at 3.6 percent. Consumer prices rose at just 0.4 percent. During his term, there was a remarkable 17.5 percent increase in the nation’s wealth. Total education spending in the United States rose fourfold. In the 1920s, illiteracy fell nearly in half. This was a golden age, by any standard.

There must be some other reason that Coolidge is controversial. He has not been forgotten — like Chester Arthur or Millard Fillmore — he has been actively vilified by certain historians. In my view, this is not because he was “dull” or “arid,” but because his ideas were important — and even threatening to some. He is attacked precisely because he is a figure who speaks beyond his time.

Calvin Coolidge, known for his reticence, was actually the most articulate conservative who ever served as President. He was, as British historian Paul Johnson comments, “internally consistent and single-minded.” If his views are right, much of modern political thinking — from FDR to Bill Clinton — is profoundly wrong. This is why he continues to be relevant.

Coolidge was sometimes criticized for stating and restating the obvious. It was he who said, “When a great many people are unable to find work, unemployment results.” Actually Calvin Coolidge was in a constant search for foundational principles — the bedrock convictions that explain everything else. His points were not simply obvious, they were fundamental. Johnson concludes, “No public man carried into modern times more comprehensively the founding principles of Americanism: hard work, frugality, freedom of conscience, freedom from government, respect for serious culture.”

“They criticize me,” Coolidge said, “for harping on the obvious. Perhaps someday I’ll write On the Importance of the Obvious. If all the folks in the United States would do the few simple things they know they ought to do, most of our big problems would take care of themselves.”

PROVEN PRINCIPLES

Our nation is constantly in search of new ideas and new solutions. It is desperate for answers and obsessed with innovation. But Coolidge’s message was very different. He urged his fellow citizens to examine the basics of their beliefs. He called their attention to the proven principles of our political tradition. This is the reason his views, opinions, and advice seem so current. Those who set out to be “new” and “modern” are quickly outdated. Those who call attention to the permanent things are always fresh.

The 1990s would be wise to listen to this voice for the 1920s, speaking about principles that never age.

  • Coolidge talked honestly about the nature of wealth and of individual responsibility.He told the Massachusetts Senate in 1914, “Government cannot relieve from toil. The normal must take care of themselves. Self-government means self-support…. Ultimately property rights and personal rights are the same thing…. History reveals no civilized people among whom there was not a highly educated class and large aggregations of wealth. Large profits mean large payrolls.”The goal of public policy, in Coolidge’s view, was not to redistribute wealth, but to create it. “After all,” he said, “there is but a fixed quantity of wealth in this country at any fixed time. The only way that we can all secure more of it is to create more.”

    Coolidge also saw that there is a tie between wealth, individual character, and social progress. “Wealth is the product of industry, ambition, character and untiring effort. In all experience, the accumulation of wealth means the multiplication of schools, the increase of knowledge, the dissemination of intelligence, the encouragement of science, the broadening of outlook, the expansion of liberty, the widening of culture.”

  • Coolidge spoke to a society struggling under the weight of federal debt.“I favor the policy of economy,” he said, “not because I wish to save money, but because I wish to save people. The men and women of this country who toil are the ones who bear the cost of the government. Every dollar we carelessly waste means that their life will be so much the more meager. Every dollar that we prudently save means that their life will be so much the more abundant. Economy is idealism in its most practical form.”
  • President Coolidge was opposed to the easy, false promise that we can pay for larger government by taxing “the rich” — the temptation of class warfare we still see today.He argued,

    The fallacy of the claim that the costs of government are borne by the rich cannot be too often exposed. No system has been devised, I do not think any system could be devised, under which any person living in this country could escape being affected by the cost of our government. It has a direct effect both upon the rate and the purchasing power of wages. It is felt in the price of those prime necessities of existence, food, clothing, fuel and shelter…the continuing costs of public administration can be met in only one way — by the work of the people. The higher they become, the more the people must work for the government. The less they are, the more the people can work for themselves.

    In some ways, President Coolidge was a supply-sider before his time. He understood that high tax rates do not always mean higher tax revenues. Taxes can constrict economic activity, leaving less profit and income to tax. “The method of raising revenue,” he argued,

    ought not to impede the transition of business; it ought to encourage it. I am opposed to extremely high rates, because they produce little or no revenue, because they are bad for the country, and, finally, because they are wrong. We cannot finance the country, we cannot improve social conditions, through any system of injustice, even if we attempt to influence it upon the rich…. The wise and correct course to follow in taxation and in all other economic legislation is not to destroy those who have already secured success but to create conditions under which every one will have a better chance to be successful.

    That is sound, practical, principled advice for any time. In his own time, it was dramatically effective. The Revenue Act of 1926 — engineered along with Treasury Secretary Andrew Mellon — was a stunning success. In 1922, the effective tax rate on the wealthy was 50 percent, who paid a total of $77 million into the Treasury. By 1927, Coolidge had cut their tax rate to 20 percent — but the same group paid $230 million in taxes. Meanwhile, the total tax burden on people making less than $10,000 fell from $130 million in 1923 to less than $20 million in 1929.

  • Calvin Coolidge talked with eloquence about human nature and limits on social engineering.He believed it was impossible to change the world suddenly because it was impossible to suddenly change human behavior. In his inaugural address, he said, “We must realize that human nature is about the most constant thing in the universe and that the essentials of human relationship do not change. We must frequently take our bearings from these fixed stars of our political firmament if we expect to hold a true course.”
  • And Calvin Coolidge was also convinced that the ultimate strength of a government, an economy and a society depends on moral and religious values.In no way was Coolidge a materialist. In the same speech in which he famously said, “The chief business of the American people is business,” Coolidge also argued, “The accumulation of wealth cannot be justified as the chief end of existence.” Elsewhere he noted, “Industry, thrift and self-control are not sought because they create wealth, but because they create character.”No society, he believed, can be prosperous or successful in the absence of moral conviction. In essence, the common good requires that goodness be common. “Mere intelligence,” he said, “is not enough. Enlightenment must be accompanied by that moral power which is the product of home and religion. Real education and true welfare for the people rest inevitably on this foundation, which the government can approve and command, but which the people themselves must create.”

    Coolidge was committed to religious freedom, stating that the “fundamental precept of liberty is toleration.” But he also noted, “The foundations of our society and our government rest so much on the teachings of the Bible that it would be difficult to support them if faith in these teachings would cease to be practically universal in our country.”

    American society is just now learning how difficult that task is.

CONSISTENT WORLD VIEW

These ideas represent more than a practical political approach. They are a coherent, consistent view of the world, rooted in a philosophy about God, man, and government. This is something rare in an American President — something we see only in figures like Jefferson and Lincoln.

I think it can be argued that the two seminal, symbolic figures in America during the early twentieth century were Calvin Coolidge and Franklin Roosevelt. They represented visions larger than their own lives — fundamentally different directions for our national experiment.

Roosevelt spoke of the need for “bold, persistent experimentation.” He established a tradition of liberal tinkering with American society that reaches through history to our current administration. A health care plan that attempted to nationalize one-seventh of the U.S. economy is a clear descendant of this approach.

Calvin Coolidge is the polar opposite. His philosophy of government and of life is summarized in an extraordinary speech, given in 1926 at the 150th anniversary of the Declaration of Independence. It may be the finest, richest speech given by an American President in this century. “Under a system of popular government,” he said,

there will always be those who will seek for political preferment by clamoring for reform. While there is very little of this which is not sincere, there is a large portion that is not well-informed. In my opinion very little of just criticism can attach to the theories and principles of our institutions. There is far more danger of harm than there is hope of good in any radical changes.

What we need instead, Coolidge contended, is a “better knowledge of the foundations of government in general.” Once again, he was talking about foundations — always the basics.

Those foundations, in the history of our country, were not material, but spiritual. Our nation’s founders “were a people who came under the influence of a great spiritual development and acquired a great moral power.”

“No other theory is adequate to explain or comprehend the Declaration of Independence,” he said.

It is the product of the spiritual insight of the people. We live in an age of science and of abounding accumulation of material things. These did not create our Declaration. Our Declaration created them. The things of the spirit come first. Unless we cling to that, all our material prosperity, overwhelming though it may appear, will turn to a barren scepter in our grasp. If we are to maintain the great heritage which has been bequeathed to us, we must be like-minded as the fathers who created it. We must not sink into pagan materialism. We must cultivate the reverence which they had for the things which are holy. We must follow the spiritual and moral leadership which they showed.

For Coolidge this was not empty patriotism. It was a continual challenge, reissued in every generation:

Equality, liberty, popular sovereignty, the rights of man — these are not elements which we can see and touch. They are ideals. They have their source and their roots in religious convictions. They belong to the unseen world. Unless the faith of the American people in these religious convictions is to endure, the principles of our Declaration will perish. We cannot continue to enjoy the result if we neglect and abandon the cause.

Coolidge concluded that our first, most important task as a nation is not to seek new ideas, but to return to old ideals:

It is often asserted that the world has made a great deal of progress since 1776, that we have had new thoughts and new experiences which have given us a great advance of the people of that day, and that we may therefore very well discard their conclusions for something more modern. But that reasoning cannot be applied to [the Declaration of Independence]. If all men are created equal, that is final. If they are endowed with inalienable rights, that is final. If governments derive their just power from the consent of the governed, that is final. No advance, no progress can be made beyond these propositions. If anyone wishes to deny their truth and their soundness, the only direction in which he can proceed historically is not forward, but backward toward the time when there was not equality, not rights of the individual, no rule of the people. Those who wish to proceed in that direction cannot lay claim to progress. They are reactionary.

CONCLUSION

Our century has proven Coolidge to be exactly right. The greatest revolution of our time — defeating a totalitarian empire — was the ringing reaffirmation of ideas familiar in Philadelphia in 1776. It is socialism — which claimed history as its own — that now seems reactionary. It is American liberalism that seems old and tired.

In the 1940s, Arthur Schlesinger wrote, “There seems no inherent obstacle to the gradual advance of socialism in the United States through a series of New Deals.” But, with the perspective of history, they have advanced toward exhaustion — toward dependence and spiritual decay. We forgot about the nature of man and the limits of government. We neglected that the “things of the spirit come first.” Calvin Coolidge would have found these things obvious. If only they had been obvious to us.

Let me conclude with a statement by Coolidge that has never been more current and relevant.

We do not need more intellectual power, we need more moral power. We do not need more knowledge, we need more character. We do not need more government, we need more culture. We do not need more law, we need more religion. We do not need more of the things that are seen, we need more of the things that are unseen. If the foundation be firm, the foundation will stand.

I would add only that we also need to be graced by leaders of Calvin Coolidge’s stature again.

President Coolidge, 1st Presidential Film (1924)

Uploaded on Sep 6, 2007

The first presidential film with sound recording.

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_______

 

President Obama c/o The White House
1600 Pennsylvania Avenue NW
Washington, DC 20500

Dear Mr. President,

I know that you receive 20,000 letters a day and that you actually read 10 of them every day. I really do respect you for trying to get a pulse on what is going on out here.

Is Greece going broke before the USA? We got to control the entitlement mentality. Will you take the bull by the horns and do something about this, Mr. President?

I wrote yesterday that the United Kingdom is doomed because there isn’t a political party with the vision or courage to restrain the welfare state.

At various points, I’ve also expressed pessimism about the future of France, Germany, Italy, Spain, Ireland, and even the United States.

Simply stated, almost all western nations suffer from the same toxic combination of dependency, demographic decline, and poorly structured entitlement programs.

But some nations are heading in the wrong direction more rapidly than others, and Greece is best example (perhaps I should say worst example?) of a country that is careening toward catastrophe.

It’s such a basket case that I’m not sure whether the politicians or the people deserve the lion’s share of the blame.

  •  The politicians deserve blame because they treat public office as a tool for self-enrichment and self-aggrandizement, largely by steering taxpayer money to friends, cronies, contributors, and supporters. Sometimes they do this in a search for votes. Sometimes in a search for cash.
  •  The people deserve blame because they view the state as a magical source of freebies and they see no economic or moral problem with using a coercive government to steal from fellow citizens. They realize the system is corrupt, which is why they seek to evade taxes, but that doesn’t stop them from trying to live at the expense of others.

In a best-case scenario, this type of dysfunctional system reduces prosperity. But when the number of people mooching off the state reaches a critical mass (as illustrated by these two cartoons), then you get societal meltdown.

Which is a good description of what’s happening in Greece.

And even when the government is on the verge of collapse and there’s pressure for reform, the political elite somehow figure out how to screw things up.

The latest example is the possible creation of “special economic zones.” When I first glanced at the story excerpted below, I thought this meant the Greek government was going to create something akin to “enterprise zones” featuring lower tax rates and less red tape.

Because I’m a supporter of the law applying equally to everybody, I’m not a big fan of such policies. I want to reduce the burden of government, of course, but I want that approach for entire countries, not just a handful of areas selected by politicians.

But at least the concept is good, right?

Not when Greek politicians are involved. They have taken the worst features of enterprise zones and combined them with the worst features of redistributionism. Here’s some of the story from Ekathimerini.

The government is paving the way for negotiations with the European Commission regarding the creation of special economic zones (SEZ) in Greece, Development Minister Costis Hatzidakis confirmed on Tuesday in Athens. …“SEZ will give a boost to the basis of the real economy,” said Hatzidakis, reiterating that the existing labor legislation will be fully respected. ..This forms part of the 10-point priority plan Hatzidakis announced yesterday aimed at boosting growth. Changes to the investment incentives law and the fast-track regulations will be completed within the next 15 days. The bill to be prepared will include subsidies of up to 80 percent for smaller companies… Public-private partnerships will be used for bolstering regional growth.

So the zones will keep all the bad labor laws, but provide big subsidies and create “public-private partnerships” (i.e., cronyism).

I hate to sound negative all the time, but that sounds precisely like the kind of nonsense that put Greece in a ditch to begin with.

To be fair, the article does talk about targeted tax relief and accelerated procedures for dealing with red tape. But that’s not exactly good news. Targeted tax cuts are a form of discrimination and they create an environment favorable to lobbying and corruption. And while it seems like good news to approve licenses more quickly, why not just get rid of bureaucratic hurdles? After all, this is the country (this is not a joke) that requires stool samples from entrepreneurs seeking to set up online companies.

It’s very hard to have any optimism after reading this type of story. Greece surely is an example of statism run amok, but let’s return to the point I made above about almost all other western nations heading in the same direction. Greece may be closest to the fiscal cliff, but the rest of us are driving in the same direction.

And if you think this is overheated rhetoric (yes, I’m prone to hyperbole), check out these dismal numbers from the Bank for International Settlements and the Organization for Economic Cooperation and Development.

P.S. The BIS and OECD numbers show that the United States is in worse shape – in the long run – than every European welfare state. I assume this is largely based on assumptions of health care spending rising more rapidly in America. The bad news is that this is a reasonable assumption (thanks to our third-party payer problem). The good news is that we can easily solve the problem with a combination of entitlement reform (which deals with a direct cause of third-party payer) and tax reform (which deals with an indirect cause of third-party payer).

______________

Thank you so much for your time. I know how valuable it is. I also appreciate the fine family that you have and your commitment as a father and a husband.

Sincerely,

Everette Hatcher III, 13900 Cottontail Lane, Alexander, AR 72002, ph 501-920-5733, lowcostsqueegees@yahoo.com

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http://www.gty.org/video/interviews/2…

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More and more government is not the answer to our problems.

When Governments Cut Spending

Uploaded on Sep 28, 2011

Do governments ever cut spending? According to Dr. Stephen Davies, there are historical examples of government spending cuts in Canada, New Zealand, Sweden, and America. In these cases, despite popular belief, the government spending cuts did not cause economic stagnation. In fact, the spending cuts often accelerated economic growth by freeing up resources for the private sector.

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More and more government is not the answer to our problems.

For the record, I will unequivocally state that I would prefer to endure a bloated and wasteful government rather than a nuclear explosion.

But since I’m not a fan of big government and I’ve mocked Detroit’s dysfunctional statism, you will understand why this poster made me laugh.

Hiroshima-Detroit

I suppose I should add another caveat. It’s not Democrats that ruined Detroit. It’s big government. As shown by the Bush years, you get equally bad results when Republicans expand the size and scope of Washington.

So I guess the moral of the story is that if you want prosperity, free markets and small government are a much better combination than big government and nuclear blasts.

“Woody Wednesday” In 2009 interview Woody Allen talks about the lack of meaning of life and the allure of younger women

Ecclesiastes 1

Published on Sep 4, 2012

Calvary Chapel Spring Valley | Sunday Evening | September 2, 2012 | Pastor Derek Neider

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Ecclesiastes 2-3

Published on Sep 19, 2012

Calvary Chapel Spring Valley | Sunday Evening | September 16, 2012 | Derek Neider

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I have spent alot of time talking about Woody Allen films on this blog and looking at his worldview. He has a hopelessmeaningless, nihilistic worldview that believes we are going to turn to dust and there is no afterlife. Even though he has this view he has taken the opportunity to look at the weaknesses of his own secular view. I salute him for doing that. That is why I have returned to his work over and over and presented my own Christian worldview as an alternative. Take a moment and read again a good article on Woody Allen below. There are some links below to some other posts about him.

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This interview came out in 2009.

Interview: Woody Allen on Whatever Works, The Meaning of Life (or Lack Thereof), and the Allure of Younger Women

woodyallen-whateverworks2.jpg

The new Woody Allen film, Whatever Works — his 40th for those keeping count — signals a return for the filmmaker in more ways than one. For starters, it is his first film to shoot on location in New York since Melinda and Melinda in 2004, interrupting a half-decade European vacation during which the 73-year-old Allen has directed three films in London and one in Spain. It also marks the realization of a project he first conceived in the 1970s as a vehicle for Zero Mostel, then set aside following the actor’s untimely death. The result is a light comic burlesque — a minor key but eminently pleasurable Allen confection — starring Seinfeld and Curb Your Enthusiasm mastermind Larry David as Boris Yellnikoff, an atheistic, egotistical, misanthropic physics professor whose contempt for the entire human race is lessened by his chance meeting with the ditzy Southern belle (Evan Rachel Wood) he finds squatting underneath his backstairs.

Allen is running late on the sunny May afternoon, when I show up at his Upper East Side editing room, tucked away inconspicuously behind a door labeled “Manhattan Film Center” on the ground floor of an otherwise residential building. It’s here that Allen cuts all his films, screens them (and others) in a soundproof, green velour screening room, auditions actors for his upcoming projects (and there is always an upcoming project), and otherwise holds court. On the two previous occasions I have come here to interview him, the results have never been less than surprising, Allen holding forth with unexpected candor and ease about his films and about the cosmic matters that weigh heavy on his soul. And today is no exception, as Allen enters in his signature attire of pastel button-down, khaki trousers and well-worn brown lace-ups, apologizes for his lateness, and proceeds to talk at length about the meaning of life (or lack thereof), the trouble with actors, and the allure of younger women.


The title Whatever Works suggests a philosophy of life but also a work ethic. In other words, if you make a film a year, as you do, you can’t afford to sit around waiting for the muses to descend.

I’ve never been someone who’s waited for the muses, because my background is in television. When I came up, we used to write shows, and if you were writing for Gary Moore or Sid Caesar — whoever it was — you had to have a show. It was live. When you came in on a Monday morning, you had to think of something. You couldn’t wait for inspiration; you just had to do it. So I got used to that, and I can do it to this day. I can go into a room and — it doesn’t always come out good — but I can produce something. I do think it’s an ethic. It keeps you out of mischief. If you work, it keeps you distracted. It keeps you from thinking about yourself too much, about how terrible you are, about how great you are. It’s certainly humbling.

I’ve often used this comparison: With mental patients in an institution, they give them basket weaving, finger painting and things like that to do, because the very act of working with your hands is healthful and therapeutic. It’s the same thing with making a film, which is a handmade product. You have to write it, you have to go out and shoot it, then we come here and we put the film together and put the music in. For a period of time, you get two rewards: You get the reward of distraction — you don’t think about the outside world, and you’re faced with solvable problems, and if they’re not solvable, you don’t die because of it. And then, if it’s the right film, you get to live in a fake reality for a number of months. So if I’m making a picture like The Purple Rose of Cairo or Bullets Over Broadway or Everyone Says I Love You, for several months, I get to live with very beautiful women and very witty men and they have costumes, and the sets are beautiful. It’s a very pleasant way to waste your life.

It’s funny that you mention those three films in particular because, like them, Whatever Works seems like a fantasy. The characters and the story all have a heightened, exaggerated feel.

Right, it’s a cartoon tale. The mother, the father — everyone in the movie is cartoonlike.

I was also reminded of two of your more recent films, Match Point and Cassandra’s Dream, both of which also concern luck, chance and the randomness of life, even though Whatever Works is actually a script you wrote more than 30 years ago. When we spoke at the time of the release of Match Point, you said, “You’re always searching for control, and in the end, you’re at the mercy of the hoisted piano not falling on your head.” And here there is a scene in which a person falls from a window onto another person’s head!

The same obsessions I had when I first started, I have now. I’ve been in psychoanalysis, I’ve been successful, I’ve had ups, I’ve had downs. I’ve had some hit movies, movies that failed. But with everything that’s happened to me, all of my experiences, I’ve never been able to solve the real problems of life that have plagued every playwright since Euripides and Aristophanes. No progress has been made on the existential themes and the subject of interpersonal relations, which are still brutal and painful and fragile and very hard to make work, and which cause everybody an enormous amount of suffering and grief. Why are we here? What is the point of it all?

Take Camus’ question [in The Myth of Sisyphus] of whether or not to commit suicide. Now, even the most grim people come to rationalizations where, in Camus’ case, he feels that pushing the rock up the hill, the doing of it, is worth it and you don’t have to succeed. But I feel — in answer to the question of why should we not kill ourselves given a meaningless, godless existence — that it’s a pre-intellectual question, and that your body answers it for you. Your mind will never be able to give you a convincing justification for living your life, because from a logical point of view, if your life is indeed meaningless — which it is — and there’s nothing out there, what is the point of it? Well, the point of it is only that you’re too scared to terminate it because you’re hard-wired, it’s in your blood, to live and to want to live and to want to protect yourself. So, while I’m home babbling about how meaningless life is and how cruel and brutal and without any purpose, if there’s a fire in my house, I’ll go to extreme measures to save my life. And then when I’ve saved my life, I’ll say to myself, “Why did you bother to do that?”

Even by the standards of some of the antisocial, unlikable characters you’ve written in the past, including the ones you yourself played in Anything Else and Deconstructing Harry, Boris seems a step beyond.

You know, at one point I was going to call this film, when I first wrote it for Zero, The Worst Man in the World. I thought it would be a funny character — a guy who is the quintessence of misanthropy and who can’t fit in, doesn’t want to fit in, rejects everything, just isn’t someone who can deal with life or wants to deal with it. He doesn’t accept it: He finds the fact that he’s mortal to be unacceptable. He cannot agree to the rules of life. The characters I’ve played in those other movies were certainly in that direction but not as extreme as I wanted to make the character of Boris.

Did you, at any point in the past three decades, consider playing the role yourself?

No, because when I thought of it for Zero, I thought of it as a part for a fat man. I thought of him as a big, aggressive physicist, a Russian chess genius who had no time for “microbes” and “earthworms.” And I can’t do that. My source of comedy is more victim — I find myself frightened when I hear the noise in the other room, that sort of thing. This guy was grandiose. It was hard to think of people who could play him now, and then [casting director] Juliet Taylor mentioned Larry, whom I had worked with very briefly before and whom I knew from Curb Your Enthusiasm. But it seemed to me that he could do it, because on his television show he’s very authentic. He’s not an overacter or a fake posturer. Of course, he told me up and down the line how he couldn’t do it, how he’s not an actor and this and that, and then I knew he’d be great. Because it’s the ones like Diane Keaton, who tell you how bad they are, who always come through. It’s the ones who tell you how great they are who never come through.

People who can act are naturals. Over the years, I’ve met and worked with people who studied all over the place, and if they had natural talent, it was great. If they didn’t, the fact that they had studied didn’t mean anything. I’ve gotten guys off the street — literally off the street — who come in here and, when they speak, they’re un-self-conscious and authentic. Whereas, with a lot of professional actors, they come in to meet for a part and we’ll be chatting like we’re chatting now, and they’re just fine. Then, they read the part and they go into their acting mode, and everything about them suddenly becomes inauthentic. They feel they have to do something to the material or they’re not justifying their paycheck. So they start acting it, and you don’t want them to act it; you want them to just say it. If they’re supposed to be a salesman, you want them to be a salesman like you’d experience a salesman. But they don’t. They start playing a salesman.

The real revelation in the film, I think, is Evan Rachel Wood, who has been very strong in a number of movies but who hasn’t had an opportunity to play this sort of 1930s screwball ingenue.

I had never heard of her, and my wife said you should look at this girl Evan Rachel Wood, because I saw her in one or two movies and she’s just great. Then a few days after that, [production designer] Santo Loquasto was talking to me and he said the exact same thing. So I checked her out and saw that she was a remarkable actress — complicated and dark, really exceptional. I didn’t know if she could do comedy or not. I thought she could, and she agreed to do it, so I assumed she wouldn’t agree to do it if she didn’t think she could. And so she did it and she was incredibly good. I said to her, “It’s a Southern girl, you’re going to have to do a Southern accent,” and she wouldn’t do it for me, wouldn’t show me her Southern accent until we shot. Now, I can empathize with that. It’s risky, because if she couldn’t do it, I would have been in very serious trouble. But she did it, and she just did it great.

On the other hand, Ed Begley Jr. [who plays Wood’s father] had no idea he was going to be required to do a Southern accent. He came to New York, got into costume, came to the set. The first shot we shot in the movie was with him, and he had no idea. I said, “You know you’re going to have to play this with a Southern accent. You do do a Southern accent, right?” He said, “Well, I think I can.” I said, “Okay, because I assumed you knew that when you read it.” But he didn’t, and he just simply did it. So much for all this meticulous preparing.

So much for The Method.

I was with a Japanese lady yesterday, who was in town doing interviews because Vicky Cristina Barcelona is opening in Japan. She asked me what pictures I’ve liked [recently] and I mentioned Rachel Getting Married, which was a picture I liked very much. She said she had interviewed Jonathan Demme and he had said it was the first time he shot a picture without rehearsals, and of course everyone in it was great and it was a wonderful picture. I, on the other hand, have never done rehearsals. I just don’t think they’re necessary. And yet, there are directors — great directors, like Ingmar Bergman — who would rehearse and rehearse. I wouldn’t know what to do at a rehearsal. When I was in Paul Mazursky’s Scenes From a Mall, he did extensive rehearsing, and he’s a wonderful guy and a wonderful director, but I thought it was nuts at the time. I thought, “How do you have the patience for this?” But that’s how he works. I just never put a minute’s thought into it beforehand, to the point where an actor will come to the set not even knowing he’s got to do a Southern accent. And yes, I could have been very traumatized if he had said, “Oh, I can’t do a Southern accent. I just can’t do one. If you need British, fine, but I can’t do Southern.” So I’ve been lucky that way, that I haven’t run into a catastrophe. It’s the same thing if there’s a scene with a lot of physical action. I work it out with the cameraman and bring in the actor with no rehearsal and say, “Start over here and go over there and pick up a cigarette and then come over here,” and 99 percent of the time that’s exactly what they do and it looks fine. Once in a great while, someone will say, “I don’t know what I’m doing over there. I’d feel better walking over to the window.” And I always say, “So, walk to the window.”

The film suggests that Boris is redeemed, humanized in a way by his encounter with this much younger woman, and you yourself have said that you’ve found a happiness with your wife, Soon-Yi, that you never imagined you would find with a younger Korean woman who has no connection to the film industry.

In fiction, that was even a theme as far back as Manhattan, that in this presumably more innocent, younger person — before they get spoiled by the world — that one can find a certain happiness. Mine was very good luck, personally, that way, but that has always been an idea of mine going back quite far. Even Annie Hall, when you think of it, was kind of a naive girl from Chippewa Falls, who was young and came to New York and knew nothing and was a real hick, a rube, with all her colloquial expressions but with the thought that she would become a mature woman. At that time, she represented for me the same kind of freshness.

When we spoke last year, you were just about to come to Los Angeles to direct your first opera, Puccini’s Gianni Schicchi, and you joked that you were going to skip town quickly before anyone had the chance to tar and feather you for it.

It turned out in the end to be quite a pleasant experience, because I was surrounded by gifted people. The cast was wonderful; I didn’t cast them, they gave me the cast. The conductor was wonderful. It was just a pleasure. And, of course, I was working with a piece of material that’s great. It was the first time I directed anything that wasn’t mine, and so I could devote myself strictly to directing. I didn’t have to write and constantly patch up bad writing. This is what I’m doing all the time in my own films. They’re always an original script, and they’re all full of mistakes. It’s not like it’s a Broadway show, where I take it out of town and iron the kinks out. With a movie, this is it, so I’m rewriting all the time and fixing and helping and adjusting. Here, Puccini has a little masterpiece both musically and in terms of the story, so all I had to do was mount it. Now, it’s a short opera, and I don’t think I could do Aida with the elephants.

Is there anything you can say about the film you are preparing to shoot this summer, other than that it takes place in London again and stars Naomi Watts?

You know the full cast, right? Anthony Hopkins, Freida Pinto, Josh Brolin, Antonio Banderas. The cast is great. It’s a comedy-drama, I can tell you that. It’s a comic film but comic in the way that either Vicky Cristina or Hannah and Her Sisters was. It’s not comic like Bananas. This is real, with a serious side to it but hopefully a reasonable amount of laughs. Hopefully.

Here is a complete list of all the posts I did on the film “Midnight in Paris”

What can we learn from Woody Allen Films?, August 1, 2011 – 6:30 am

Movie Review of “Midnight in Paris” lastest movie by Woody Allen, July 30, 2011 – 6:52 am

Leo Stein and sister Gertrude Stein’s salon is in the Woody Allen film “Midnight in Paris”, July 28, 2011 – 6:22 am

Great review on Midnight in Paris with talk about artists being disatisfied, July 27, 2011 – 6:20 am

Critical review of Woody Allen’s latest movie “Midnight in Paris”, July 24, 2011 – 5:56 am

Not everyone liked “Midnight in Paris”, July 22, 2011 – 5:38 am

“Midnight in Paris” one of Woody Allen’s biggest movie hits in recent years, July 18, 2011 – 6:00 am

(Part 32, Jean-Paul Sartre)July 10, 2011 – 5:53 am

 (Part 29, Pablo Picasso) July 7, 2011 – 4:33 am

(Part 28,Van Gogh) July 6, 2011 – 4:03 am

(Part 27, Man Ray) July 5, 2011 – 4:49 am

(Part 26,James Joyce) July 4, 2011 – 5:55 am

(Part 25, T.S.Elliot) July 3, 2011 – 4:46 am

(Part 24, Djuna Barnes) July 2, 2011 – 7:28 am

(Part 23,Adriana, fictional mistress of Picasso) July 1, 2011 – 12:28 am

(Part 22, Silvia Beach and the Shakespeare and Company Bookstore) June 30, 2011 – 12:58 am

(Part 21,Versailles and the French Revolution) June 29, 2011 – 5:34 am

(Part 16, Josephine Baker) June 24, 2011 – 5:18 am

(Part 15, Luis Bunuel) June 23, 2011 – 5:37 am

“Woody Wednesday” The heart wants what it wants”jh67

I read this on http://www.crosswalk.com which is one of my favorite websites. Life Lessons from Woody Allen Stephen McGarvey I confess I am a huge film buff. But I’ve never really been a Woody Allen fan, even though most film critics consider him to be one of the most gifted and influential filmmakers of our […]

“Music Monday”:Coldplay’s best songs of all time (Part 6)

  “Music Monday”:Coldplay’s best songs of all time (Part 6) This is “Music Monday” and I always look at a band with some of their best music. I am currently looking at Coldplay’s best songs. Here are a few followed by another person’s preference: My son Hunter Hatcher’s 15th favorite song is “trouble.” Even though […]

“Woody Wednesday” Allen once wrote these words: “Do you realize what a thread were all hanging by? Can you understand how meaningless everything is? Everything. I gotta get some answers.” jh31

Woody Allen, the film writer, director, and actor, has consistently populated his scripts with characters who exchange dialogue concerning meaning and purpose. In Hannah and Her Sisters a character named Mickey says, “Do you realize what a thread were all hanging by? Can you understand how meaningless everything is? Everything. I gotta get some answers.”{7} […]

“Music Monday”:Coldplay’s best songs of all time (Part 5)

“Music Monday”:Coldplay’s best songs of all time (Part 5) This is “Music Monday” and I always look at a band with some of their best music. I am currently looking at Coldplay’s best songs. Here are a few followed by another person’s preference: Hunter picked “Don’t Panic,” as his number 16 pick of Coldplay’s best […]

Steve Jobs’ view of death and what the Bible has to say about it jh55

(If you want to check out other posts I have done about about Steve Jobs:Some say Steve Jobs was an atheist , Steve Jobs and Adoption , What is the eternal impact of Steve Jobs’ life? ,Steve Jobs versus President Obama: Who created more jobs? ,Steve Jobs’ view of death and what the Bible has to say about it ,8 things you might not know about Steve Jobs ,Steve […]

“Woody Wednesday” A review of some of the past Allen films jh32

I am a big Woody Allen fan. Not all his films can be recommended but he does look at some great issues and he causes the viewer to ask the right questions. My favorite is “Crimes and Misdemeanors” but the recent film “Midnight in Paris” was excellent too. Looking at the (sometimes skewed) morality of […]

Good without God?

(The signs are up on the buses in Little Rock now and the leader of the movement to put them up said on the radio today that he does not anticipate any physical actions against the signs by Christians. He noted that the Christians that he knows would never stoop to that level.) Debate: Christianity […]

“Music Monday”:Coldplay’s best songs of all time (Part 4)

Dave Hogan/ Getty Images This is “Music Monday” and I always look at a band with some of their best music. I am currently looking at Coldplay’s best songs. Here are a few followed by another person’s preference: For the 17th best Coldplay song of all-time, Hunter picks “42.” He notes, “You thought you might […]

Woody Allen video interview in France talk about making movies in Paris vs NY and other subjects like God, etc

Woody Allen video interview in France

Related posts:

“Woody Wednesdays” Woody Allen on God and Death

Good website on Woody Allen How can I believe in God when just last week I got my tongue caught in the roller of an electric typewriter? If Jesus Christ came back today and saw what was being done in his name, he’d never stop throwing up. If only God would give me some clear […]

“Woody Wednesday” Allen realizes if God doesn’t exist then all is meaningless (jh 15)

The Bible and Archaeology (1/5) The Bible maintains several characteristics that prove it is from God. One of those is the fact that the Bible is accurate in every one of its details. The field of archaeology brings to light this amazing accuracy. _________________________- I want to make two points today. 1. There is no […]

Woody Allen’s search for God in his latest movie “Midnight in Paris”(Part 37)

In Woody Allen’s latest movie “Midnight in Paris,” the reference is made to the cold heartless universe. This points out that Woody Allen is trying to look for some hope in this universe somewhere. Did he find any lasting answers? The review of the movie below notes: “The call of the artist is to find […]

“Woody Wednesday” Woody Allen on the Emptiness of Life by Toby Simmons

I have spent alot of time talking about Woody Allen films on this blog and looking at his worldview. He has a hopeless, meaningless, nihilistic worldview that believes we are going to turn to dust and there is no afterlife. Even though he has this view he has taken the opportunity to look at the weaknesses of […]

Woody Allen interviews Billy Graham (Woody Wednesday)

A surprisingly civil discussion between evangelical Billy Graham and agnostic comedian Woody Allen. Skip to 2:00 in the video to hear Graham discuss premarital sex, to 4:30 to hear him respond to Allen’s question about the worst sin and to 7:55 for the comparison between accepting Christ and taking LSD. ___________________ The Christian Post > […]

“Woody Allen Wednesdays” can be seen on the www.thedailyhatch.org

Crimes and Misdemeanors: A Discussion: Part 1 If you like Woody Allen films as much as I do then join me every Wednesday for another look the man and his movies. Below are some of the posts from the past: “Woody Wednesday” How Allen’s film “Crimes and Misdemeanors makes the point that hell is necessary […]

“Woody Wednesday” Discussion of Woody Allen’s 1989 movie “Crimes and Misdemeanors” (Part 6)

Crimes and Misdemeanors: A Discussion: Part 3 Uploaded by camdiscussion on Sep 23, 2007 Part 3 of 3: ‘Is Woody Allen A Romantic Or A Realist?’ A discussion of Woody Allen’s 1989 movie, Crimes and Misdemeanors, perhaps his finest. By Anton Scamvougeras. http://camdiscussion.blogspot.com/ antons@mail.ubc.ca ______________ One of my favorite Woody Allen movies and I reviewed […]

“Woody Wednesday” Discussion of Woody Allen’s 1989 movie “Crimes and Misdemeanors” (Part 5)

Crimes and Misdemeanors: A Discussion: Part 2 Uploaded by camdiscussion on Sep 23, 2007 Part 2 of 3: ‘What Does The Movie Tell Us About Ourselves?’ A discussion of Woody Allen’s 1989 movie, perhaps his finest. By Anton Scamvougeras. http://camdiscussion.blogspot.com/ antons@mail.ubc.ca _________________- One of my favorite Woody Allen movies and I reviewed it earlier but […]

Open letter to President Obama (Part 244)

Dan Mitchell Commenting on Obama’s Failure to Propose a Fiscal Plan

Published on Aug 16, 2012 by

No description available.

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President Obama c/o The White House
1600 Pennsylvania Avenue NW
Washington, DC 20500

Dear Mr. President,

I know that you receive 20,000 letters a day and that you actually read 10 of them every day. I really do respect you for trying to get a pulse on what is going on out here.

Throwing more money at education has not worked.

Obama Must Not Read Our Stuff

Posted by Neal McCluskey

The topic of this weekend’s weekly presidential radio address was education. The message? You guessed it: The federal government needs to “invest” more in education — as do other levels of government — but instead they are making cuts.

At this point I don’t know what more can be said to show how nonexistent is the connection between federal spending and actual education. As we at Cato’s Center for Educational Freedom have pointed out on countless occasions, federal and overall spending on public schooling has skyrocketed for decades as test scores have laid motionless; staffing has ballooned at the same time; Head Start has almost no lasting benefits; and federal higher ed spending largely enables massive price inflation and encourages people to enter college but not finish.

The evidence, frankly, is overwhelming that federal education “investment” is really just flushing precious money down the toilet. Which makes me think that maybe President Obama doesn’t read our stuff. Or maybe he just doesn’t care.

_________

Thank you so much for your time. I know how valuable it is. I also appreciate the fine family that you have and your commitment as a father and a husband.

Sincerely,

Everette Hatcher III, 13900 Cottontail Lane, Alexander, AR 72002, ph 501-920-5733, lowcostsqueegees@yahoo.com

Mindy McCready commits suicide instead of pursuing a Christian solution to depression

Sad news today from Heber Springs, Arkansas.

Mindy McCready, 1975-2013 [photo: Frederick Breedon IV]Troubled country singer Mindy McCready, age 37, has died of an apparent suicide, the result of a single self-inflicted gunshot, the Cleburne County Sheriff’s Office has confirmed. According to E! News, McCready shot herself and her dog. The Associated Press reports that her body was found 4pm Sunday on the front porch of her home in Heber Springs, Arkansas, after neighbors heard gunshots and called the police.

McCready leaves behind two children, 6-year-old Zander and 9-month-old Zayne. Her death comes just a little more than a month after the death of her boyfriend, songwriter David Wilson, age 34. Wilson’s death is still under investigation.

McCready’s tragic death follows a recent commitment to rehab and her children being removed from her home. A petition filed by McCready’s father this year revealed serious issues in the singer’s life, including alcohol and prescription drug abuse, as well as erratic behavior. According to a report from E!, who exclusively obtained the file, Tim McCready attested that his daughter had taken to her bed since the death of her boyfriend last month. “Sleeps all day,” he reported. “Drinks all night and is taking Rx drugs.”

Furthermore, McCready’s dad detailed that his daughter was refusing to bathe, was not taking care of her two young sons, and was acting violently. “Screams about everything,” he recorded. “Trying to hit father. Is not making any sense of any conversations with anyone.” The elder McCready also noted that Mindy was “very verbally abusive” to her older son.

The judge in the case responded to this by ordering admission to an inpatient facility for up to three weeks, stating: “There is cause to find there is clear and convincing evidence that Respondent is in imminent danger of harm to herself or others, suicidal or gravely disabled.” E! additionally reported that Tim McCready’s former son-in-law, Billy McKnight–who is Zander’s father–filed motions in family court a week ago seeking detailed investigation into Mindy’s ability to care for their son. Both of Mindy’s children were subsequently taken into custody by state family services.

Interestingly, E! reports that Mindy’s father had been staying with her at her Arkansas home until Sunday morning, the day of her death. When he left, “she was in good spirits and seemed to be fine,” a source told E! News.

Mindy  chose suicide because she felt there was no other way like so many others today.  It is sad that this is such a pressing problem. I think of songs that point this out: Adam’s Song, The Last Resort, etc.

There are two usual approaches to this problem that young people take.

First, you have the worm approach. They crawl into the ground because they don’t want to be close to anyone.

Second, the puppy approach. They do anything they can to get people to like them.

The better approach is to act like the child of God that you are. Feeling loved and accepted starts with your relationship with Christ who is the only one able to meet the deepest needs of your life. (Fast forward to the end of this post if you need a relationship with Christ.) Talking to Jesus and reading his Word- The Bible – are steps to strengthening your friendship with him. He laid down his life for you, so it is obvious that he regards you as a friend worth dying for (John 15:13) That is powerful comfort when you wonder if anyone cares.

Portions of the above post were taken from the excellent devotional book by Josh McDowell, and Ed Stewart “Youth Devotions 2,” published in 2003 by Tyndale. Back then my kids were 17, 14, 9 and 7 and we went through several of these devotions together. Just recently I got the book out of the garage and three of my kids have been meeting with me at 5:30 am every morning and we are going through some of these same devotions again. I thank God for kids who came to me and asked to start meeting with me every morning to spend 30 minutes studying Bible applications and praying together. To God be the glory.

Papa Roach – Last Resort (Censored Version)

This series of posts concerns the song “The Last Resort.”

Amy Winehouse died a few months ago and it was a tragic loss. That really troubled me that she did not seek spiritual help instead of turning to drugs and alcohol. This post today will give hope to those who feel like it is all hopeless.

The band’s place in the pop music landscape was established with the release of their breakout single, “Last Resort,” which was quickly picked up by MTV and nominated for a “Best New Artist Video” award at the 2000 Video Music Awards. The song is a gut-wrenching first-person chronicle of hopelessness that’s gone so deep the singer is seriously contemplating suicide.   But the band is adamant about the fact that the song is about fighting to survive by overcoming depression, rather than allowing it to lead to suicide. “It’s not saying I can’t go on living. It’s saying I can’t go on living this way,” says Dick (Spin, 10/00).

I know there are some curse words in the following song. I have eliminated both times the curse word is used. I really think that there needs to be a response to the young people who are saying things like the words in this song Here are some of the words:

Do you even care if I die pleading, Would it be wrong, would it be right, If I took my life tonight, Chances are that I might, and I’m contimplating suicide, ‘Cause I’m losing my sight, losing my mind, Wish somebody would tell me I’m fine, Nothing’s alright, nothing is fine, I’m running and I’m crying, I never realized I was spread too thin, Till it was too late andI was empty within, Hungry, feeding on my chaos and living in sin, Downward spiral, where do i begin, It all started when i lost my mother, No love for myself and no love for another,Searching to find a love upon a higher level, finding nothing but QUESTIONS AND DEVILS, I can’t go on living this way, Cut my life into pieces, This is my last resort.

My response to these words:”Do you even care if I die pleading, Would it be wrong, would it be right, If I took my life tonight, Chances are that I might, and I’m contimplating suicide” is that you should plead to someone who can do something about your situation and that is Christ!!!!

Below David Powlison asserts:

How do you get the living hope that God offers you in Jesus? By asking. Jesus said, “Ask and it will be given to you; seek and you will find; knock and the door will be opened to you. For everyone who asks receives; he who seeks finds; and to him who knocks, the door will be opened” (Matthew 7:7-8).

Suicide operates in a world of death, despair, and aloneness. Jesus Christ creates a world of life, hope, and community. Ask God for help, and keep on asking. Don’t stop asking. You need Him to fill you every day with the hope of the resurrection.

Below is a portion of the article “Papa Roach—Infesting and reflecting youth culture by Walt Mueller. 

Papa Roach’s Music

In a day and age where the walls are crumbling between what had been a variety of distinctive popular music genres, Papa Roach is like many other chart-topping bands whose music combines sounds that were once distinct. Coby Dick’s raspy and throat-wrenching vocals join with music that incorporates sounds of rap, rock, thrash, funk and metal. Listeners familiar with popular music will hear the influence of Faith No More, the band Dick cites as one of his early favorites. Similar contemporary bands include Korn, Limp Bizkit, The Deftones and P.O.D.

Reviewer Tim Kennedy of Spin describes the resulting sound as “an amalgam of below-the-belt guitar riffage, punk-rock urgency, and half-sung, half-rapped vocals (10/00). Rolling Stone’s Anthony Bozza says listening to Papa Roach is “like standing on a precipice—sustained tension and the threat of a tumble” (8/31/00).

The sound combines with Dick’s lyrics in a powerful and emotional blend that addresses the reality of life for kids who have been burned over and over again. Tobin Esperance says, “We write about things that have happened to our singer, specifically, and friends around us. It’s real life stuff. We’re not writing about s___ that we don’t know about, like girls and cars and money … we only know real life bulls___ that happens” (nyrock.com). Coby Dick says of his autobiographical music, “I’m venting my emotions. It’s blunt” (Rolling Stone, 8/31/00). He says “Papa Roach, lyrically, is my counseling” (Billboard,6/10/00). 

Infest (2000)

Papa Roach released the album they now consider their first in April of 2000. The album quickly began to sell as a result of radio and MTV exposure, went gold after two months thanks to scoring with MTV’s Total Request Live audience, and had gone double platinum by September 2000.

Papa Roach offers an introduction to their music, mission, message and intentions on the album’s title cut. After introducing himself to his listeners, Coby Dick informs them his “God-given talent is to rock all the nations.” In this, the band’s “first manifesto,” the group lays out their plan to “infest” the world and young minds (“wrap you in my thoughts”) with an angry musical message of anarchy and rebellion against a messed-up world that’s let them down: “We’re going to infest/We’re getting in your head/What is wrong with the world today/The government, media or your family.” Institutions and people are not to be trusted. In fact, “First they shackle your feet/Then they stand you in a line/Then they beat you like meat/Then they grab you by your mind … people are the problem today.” Dick admits the struggle so many young people feel: “the game of life is crazy.” Alone in this sea of brokenness and hopelessness, Dick asks, “Would you cry if I died today/I think it be better if you did not say.”

The band’s place in the pop music landscape was established with the release of their breakout single, “Last Resort,” which was quickly picked up by MTV and nominated for a “Best New Artist Video” award at the 2000 Video Music Awards. The song is a gut-wrenching first-person chronicle of hopelessness that’s gone so deep the singer is seriously contemplating suicide. (See lyrics on page 7.) The fact that “Last Resort” is part of the mainstream pop music landscape indicates it is connecting with more and more kids who see it as an expression of their own inner struggles. For casual listeners, the song is very confusing. Listening to the song reveals the criticisms claiming the song promotes suicide could certainly be warranted. Kids who are riding the fence because of numerous other problems in their lives could interpret the song in a way that would give them permission to go over the edge, especially if they don’t know the story behind the song. But the band is adamant about the fact that the song is about fighting to survive by overcoming depression, rather than allowing it to lead to suicide. “It’s not saying I can’t go on living. It’s saying I can’t go on living this way,” says Dick (Spin, 10/00). He also says, “Last Resort” has “a positive edge to it, as far as like, ‘Don’t succumb to it. Keep yourself afloat.’ With these problems in your life, find a friend you can confide in” (Sonicnet.com). Based on the band’s resolve to survive like a roach, one would have to take them at their word. The song chronicles the suicide attempt of one of Coby Dick’s former roommates. After his “unsuccessful” attempt, the young man “turned to God” … Dick claims the attempt was what killed the rotting part of his roommate’s soul. The song has definitely connected. “We’ve gotten so many e-mails from people who tell us ‘Last Resort’ saved their lives,” says Dick. “It makes some people feel less alone” (Rolling Stone,8/31/00).

The album’s third cut is equally powerful. Released as a single and put in heavy rotation on MTV, “Broken Home” (See lyrics) is an overt lyrical, sonic and visual cry from the heart of one whose young life has been shattered by family breakdown. Written by Dick about his feelings after his parents’ divorce, the song offers listeners an emotional window into the reality of kids beaten up by our current culture of divorce. Every parent considering divorce should sit and watch this video. It is powerful.

“Dead Cell” has been called “a darkly sarcastic paean to Columbine kids the world over” (Alternative Press, 10/00). If that’s the case, the sarcasm is not easily heard. The dead cells are described as “born with no soul/lack of control/cut from the mold of the anti-social … sick in the head/living but dead.” Loud, angry and fast, the song could be interpreted by some who are young and angry as a call to arms: “I’m telling ya the kids are getting singled out/Let me hear the dead cells shout.”

“Between Angels and Insects” is an insightful rant against American greed and materialism. Dick says he wrote the song to remind himself that the things the band’s success will bring are not the things that make one happy. The lyrics are powerful and excerpts could serve to spark discussion with teens about the false promises of materialism: “Diamond rings get you nothing/But a life-long lesson/And your pocketbook stressin’/You’re a slave to the system/Working jobs that you hate/For s___ that you don’t need/It’s too bad the world is based on greed/Step back and stop thinking ‘bout yourself … ‘cause everything is nothing/And emptiness is in everything … Possessions they are never gonna fill the void … the things you own, own you.” When discussing the message of the song Buckner says, “all the worldly things that people equate with happiness—do they necessarily make you happy? You can have Rolexes and diamond rings and cars and houses … but really the things that make you happy are peace of mind and passion in your life” (Alternative Press, 10/00).

Relational selfishness and greed are the subject of “Blood Brothers,” a song offering powerful evidence of the depth of sin’s hold on humanity: “It’s our nature to destroy ourselves/It’s our nature to kill ourselves/It’s our nature to kill each other/It’s in our nature to kill, kill, kill.” The song speaks about allegiance in a world where you can’t trust anybody and you’ve got to watch your back. The lyrics leave one thinking the song could serve as an anthem for a street gang or other fringe subculture: “Blood brothers keep it real to the end.”

Themes of severe relational breakdown and the resulting pain continue in “Revenge,” a song about a girl who was “abused with forks, knives and razorblades” and who finally left the man who abused her in fits of rage. Listeners who have been abused will identify with the song’s mention of the ever-present and visible emotional scars they so often feel: “Chaos is what she saw in the mirror/Scared of herself/And the power that was in her/It took over and weighed heavily on her shoulders/Militant insanity is now what controlled her.” The song indicates that she exacts revenge on him, although the method and outcome is unclear.

Backstabbers are the subject of “Snakes,” an angry and threatening rant at those who betray friends. The song reflects the distrust so many kids feel because of the parade of letdowns they’ve experienced. The chorus asks, “Do you like how it feels to be bit in the neck by the snake that kills?/Do you know how it feels to be stabbed in the back then watch the blood spill?/I don’t like how it feels.”

Coby Dick chronicles his wrestling match with alcohol on “Binge,” a song that serves as a personal confession. “All I need is a bottle/And I don’t need no friends/Now wallow in my pain/I swallow as I pretend/To act like I’m happy when I drink till no end/I’m losing all my friends, I’m losing in the end … When I’m sober, life bores me/So I get drunk again.” The song is a heart cry about what drives the binge drinker, how he really feels inside and his desire to see it end. In the song’s final lines, Dick sings, “I wish things would change/Wish they’d rearrange.”

“Never Enough” is another cry for help from a confused and tortured young soul that is deeply longing for redemption. “Life’s been sucked out of me/And this routine’s killing me … somebody put me out of my misery,” Dick sings. The song will resonate with kids who are lost, purposeless and without peace. The song’s conclusion is a loud cry for help: “I feel as if I’m running/Life will knock me down.”

“Thrown Away” offers a view of life through the eyes of a kid struggling with ADD, something Coby Dick knows well as he watched his brother’s personal struggle with the disorder. “My heart is bleeding and the pain will not pass … I want to be thrown away … I am a mess, I’ve made a huge mess/I can’t control myself/I’m losing it, I’ve lost it/I’ve spilt all my marbles … sometimes I want to be thrown away.”

The album concludes with an unlisted hidden cut called “Tightrope.” The track is stylistically unlike any other cuts on the album as it is done in reggae style. The lyrics are a confusing mix of thoughts where Dick calls his words “weapons in which I murder you.” The song offers a confession regarding the ethical dilemmas faced by kids in these confusing times: “there is a thin line between what’s good and what is evil/I will tiptoe down that line/But I feel unstable/My life is a circus and I’m tripping down the tightrope/There’s nothing left to save me now so I will not look down.”

Help for the Suicidal

God offers you true, living hope–not a false hope based on your death.
By David Powlison

WHAT YOU NEED TO DO

It’s easy to see the risk factors for suicide—depression, suffering, disillusioning experiences, failure—but there are also ways to get your life back on track by building protective factors into your life.

Ask for help

How do you get the living hope that God offers you in Jesus? By asking. Jesus said, “Ask and it will be given to you; seek and you will find; knock and the door will be opened to you. For everyone who asks receives; he who seeks finds; and to him who knocks, the door will be opened” (Matthew 7:7-8).

Suicide operates in a world of death, despair, and aloneness. Jesus Christ creates a world of life, hope, and community. Ask God for help, and keep on asking. Don’t stop asking. You need Him to fill you every day with the hope of the resurrection.

At the same time you are asking God for help, tell other people about your struggle with hopelessness. God uses His people to bring life, light, and hope. Suicide, by definition, happens when someone is all alone. Getting in relationship with wise, caring people will protect you from despair and acting out of despair.

But what if you are bereaved and alone? If you know Jesus, you still have a family—His family is your family. Become part of a community of other Christians. Look for a church where Jesus is at the center of teaching and worship. Get in relationship with people who can help you, but don’t stop with getting help. Find people to love, serve, and give to. Even if your life has been stripped barren by lost relationships, God can and will fill your life with helpful and healing relationships.

Grow in godly life skills

Another protective factor is to grow in godly living. Many of the reasons for despair come from not living a godly, fruitful life. You need to learn the skills that make godly living possible. What are some of those skills?

    • Conflict resolution. Learn to problem-solve by entering into human difficulties and growing through them. (See Ask the Christian Counselor article, “Fighting the Right Way.”)
    • Seek and grant forgiveness. Hopeless thinking is often the result of guilt and bitterness.
    • Learn to give to others. Suicide is a selfish act. It’s a lie that others will be better off without you. Work to replace your faulty thinking with reaching out to others who are also struggling. Take what you have learned in this article and pass it on to at least one other person. Whatever hope God gives you, give to someone who is struggling with despair.

Live for God

When you live for God, you have genuine meaning in your life. This purpose is far bigger than your suffering, your failures, the death of your dreams, and the disillusionment of your hopes. Living by faith in God for His purposes will protect you from suicidal and despairing thoughts. God wants to use your personality, your skills, your life situation, and even your struggle with despair to bring hope to others.

He has already prepared good works for you to do. Paul says, “For we are his workmanship, created in Christ Jesus for good works, which God prepared beforehand, that we should walk in them” (Ephesians 2:10). As you step into the good works God has prepared for you—you will find that meaning, purpose, and joy.

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MUSIC MONDAY: Five For Fighting

My son Wilson Hatcher put together this post.

I LOVE this song!!!

This is an AWESOME band!