Category Archives: Current Events

MUSIC MONDAY Avicii’s 10 Best Songs: Critics’ Picks Part 2

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Avicii’s 10 Best Songs: Critics’ Picks

Avicii may have retired from touring, he may have just announced a break with his long-time manager who helped make him a superstar and he may be one of the most media-shy DJs on the planet Earth, but the 27-year-old Swede is and will always be one of the most recognizable and omnipotent electronic dance producers the genre has ever seen.

3. Avicii – “Fade Into Darkness”

 

Did you even realize “Fade Into Darkness” predates “Levels?” Sometimes we forget there was an Avicii before that song took over the whole world. Listening to this tune today, we can hear a lot of that country-western influence just begging to bubble up to the surface. Replace the piano with acoustic guitar and it could totally be one of those cross-genre hits.

2. Avicii – “Wake Me Up”

Avicii – Wake Me Up (Official Video)

Published on Jul 29, 2013

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We will never forget the collective head-scratch moment that hit Ultra Music Festival in Miami when Avicii first debuted this song. No one had ever even conceived of melding country music with electronic dance until Avicii showed people the way.

1. Avicii – “Levels”

 

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Links to 2017 MUSIC MONDAYS

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Links to 2017 MUSIC MONDAYS

I am moving the MUSIC MONDAY to a monthly feature on http://www.thedailyhatch.org. My passion has been in the recent years to emphasize the works of Francis Schaeffer in my apologetic efforts and most of those posts are either on Tuesdays or Thursdays.

MUSIC MONDAY “The Association”

 I am thinking about moving MUSIC MONDAYS  to a monthly feature on http://www.thedailyhatch.org. My passion has been in recent years to emphasize the works of Francis Schaeffer in my apologetic efforts and most of those posts are either on Tuesdays or Thursdays. I have already done so many ahead that MUSIC MONDAYS will remain weekly […]

MUSIC MONDAY “The Small Faces”

 I am thinking about moving MUSIC MONDAYS  to a monthly feature on http://www.thedailyhatch.org. My passion has been recent years to emphasize the works of Francis Schaeffer in my apologetic efforts and most of those posts are either on Tuesdays or Thursdays. I have already done so many ahead that MUSIC MONDAYS will remain weekly for […]

MUSIC MONDAY The Hollies!!!!!! Part 2

_ I am thinking about moving MUSIC MONDAYS  to a monthly feature on http://www.thedailyhatch.org. My passion has been in recent years to emphasize the works of Francis Schaeffer in my apologetic efforts and most of those posts are either on Tuesdays or Thursdays. I have already done so many ahead that MUSIC MONDAYS will remain […]

MUSIC MONDAY The Hollies!!!!!! Part 1

I am thinking about moving MUSIC MONDAYS  to a monthly feature on http://www.thedailyhatch.org. My passion has been recent years to emphasize the works of Francis Schaeffer in my apologetic efforts and most of those posts are either on Tuesdays or Thursdays. I have already done so many ahead that MUSIC MONDAYS will remain weekly for […]

MUSIC MONDAY Mamas and Papas

I am thinking about moving MUSIC MONDAYS  to a monthly feature on http://www.thedailyhatch.org. My passion has been recent years to emphasize the works of Francis Schaeffer in my apologetic efforts and most of those posts are either on Tuesdays or Thursdays. I have already done so many ahead that MUSIC MONDAYS will remain weekly for […]

Music Monday THE LOVIN’ SPOONFUL Part 2

_ I am thinking about moving MUSIC MONDAYS  to a monthly feature on http://www.thedailyhatch.org. My passion has been recent years to emphasize the works of Francis Schaeffer in my apologetic efforts and most of those posts are either on Tuesdays or Thursdays. I have already done so many ahead that MUSIC MONDAYS will remain weekly […]

Music Monday THE LOVIN’ SPOONFUL Part 1

__ The Lovin Spoonful – Daydream (HQ)   __   _ John Sebastian From Wikipedia, the free encyclopedia For the classical harmonica player and composer, see John Sebastian (classical harmonica player). For the similarly named Mexican pop singer, see Joan Sebastian. John Sebastian Sebastian performing in concert in East Lansing, Michigan, August 1970 Background information Birth name […]

MUSIC MONDAY My 5th favorite song from WASHED OUT

My 5th favorite song from WASHED OUT is FLOATING BY Washed Out – Floating By Published on Jun 29, 2017 Washed Out – Floating By Off Mister Mellow Directed by Drew Tindell: http://drewtyndell.com/ Purchase Mister Mellow: http://www.stonesthrow.lnk.to/washedout Watch The Mister Mellow Show, Starring Kyle Mooney: http://mistermellow.tv Monday, Tuesday, Wednesday It’s all the same day I wake […]

MUSIC MONDAY: WASHED OUT 3rd album MISTER MELLOW

_ Washed Out – Mister Mellow (Full Album) Continuous Mix Published on Aug 29, 2017 00:00 Title Card 00:44 Burn Out Blues 04:27 Time Off 05:28 Floating By 09:11 I’ve Been Daydreaming My Entire Life 11:19 Hard to Say Goodbye 15:33 Down and Out 16:40 Instant Calm 18:50 Zonked 19:59 Get Lost 24:05 Easy Does It 24:58 Million Miles Away Mister Mellow From Wikipedia, the free encyclopedia […]

MUSIC MONDAY: WASHED OUT 2nd album PARACOSM

Washed Out – Paracosm (2013) – Full Album. Paracosm (album) From Wikipedia, the free encyclopedia Paracosm Studio album by Washed Out Released August 7, 2013 Studio Maze Studios (Atlanta, Georgia) Genre Synth-pop[1] soft rock[2] Length 41:00 Label Sub Pop Producer Ben H. Allen Ernest Greene Washed Out chronology Within and Without (2011) Paracosm (2013) Mister Mellow (2017) Singles from Paracosm “It All Feels Right” […]

MUSIC MONDAY 1st album of WASHED OUT

_ Washed Out – Within and Without (Full Album) Published on Aug 16, 2013 Within and Without is the 2011 debut album by the artist Washed Out. Track List: 1. “Eyes Be Closed” 00:00 2. “Echoes” 4:48 3. “Amor Fati” 8:56 4. “Soft” 13:23 5. “Far Away” 18:54 6. “Before” 22:55 7. “You and I (Ft. Caroline Polachek)” 27:41 8. “Within and […]

MUSIC MONDAY A look at WASHED OUT

Washed Out – It All Feels Right (Live on KEXP) Washed Out – Eyes Be Closed (Live on KEXP) Published on Feb 8, 2012 Washed Out performs “Eyes Be Closed” live in the KEXP studio. Recorded on 10/11/2011. Host: DJ El Toro Engineer: Kevin Suggs Cameras: Jim Beckmann, Shelly Corbett & Scott Holpainen Editing: Christopher […]

MUSIC MONDAY the song FEEL IT ALL AROUND by WASHED OUT

_ Feel It All Around by Washed Out – Portlandia Theme Published on Dec 24, 2011 This is the song Feel It All Around used in the opening for the TV Series on IFC called Portlandia. I claim no rights to the song or any rights to the show. All rights go to IFC, the […]

“Music Monday” The Thompson Twins and the song “If you were here” from the movie “16 Candles”

____________________ Sixteen Candles Final Scene Movie Ending Video if you were here i could deceive you and if you were here you would believe but would you suspect my emotion wandering, yeah do not want a part of this anymore The rain water drips through a crack in the ceiling and i’ll have to spend […]

MUSIC MONDAY Elvis Presley and Ann Margret in scenes from “Viva Las Vegas”

________ Elvis Presley – Scene from “Viva Las Vegas” (MGM 1964) Elvis & Ann Margret Elvis Presley, Ann Margret – The Lady Loves Me – Viva Las Vegas Come On Everybody – Elvis and Ann-Margret HD. Hollywood Legend Ann-Margret on Faith, Love and Recovery Julie Blim – 700 Club Producer Scott Ross Ann-Margret interview on […]

MUSIC MONDAY Barry McGuire Eve of Destruction [1965]

__ Barry McGuire – Eve Of Destruction Barry McGuire Eve of Destruction [1965] Eve of Destruction (song) From Wikipedia, the free encyclopedia This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2010)(Learn how and when to remove this […]

MUSIC MONDAY Vietnam War Protest Songs

Barry McGuire – Eve Of Destruction   Machine Gun by Jimi Hendrix Marvin Gaye ” What’s Going On ” Live 1972     Bob Dylan – Knockin’ On Heaven’s Door “Blowin’ in the Wind” – Bob Dylan | Vietnam War Montage Edwin Starr – War (Original Video – 1969) Uploaded on Dec 6, 2007 Original […]

MUSIC MONDAY “Stay with Me” by THE FACES

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MUSIC MONDAY : Song IT IS ENOUGH by the band THE WAITING

__   It is Enough – The Waiting Published on Feb 26, 2014 John 3:16-17 King James Version (KJV) 16,For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life. 17,For God sent not his Son into the world to condemn […]

MUSIC MONDAY Religious Songs That Secular People Can Love: Bob Dylan, The Byrds, Sam Cooke, Johnny Cash & Your Favorites in Music, Religion| December 15th, 2015

__ Religious Songs That Secular People Can Love: Bob Dylan, The Byrds, Sam Cooke, Johnny Cash & Your Favorites in Music, Religion| December 15th, 2015 7 Comments There are good reasons to find the onslaught of religious music this time of year objectionable. And yet—though I want to do my part in the War on […]

MUSIC MONDAY Beatles last song FREE AS A BIRD

_________________ The Beatles – Free As A Bird Published on Apr 5, 2016 The Beatles Now Streaming. Listen to the Come Together Playlist here: http://smarturl.it/BeatlesCT Download Anthology: http://smarturl.it/AnthologyBeatlesBuy Anthology: http://smarturl.it/AnthologyPhys The Beatles Anthology project was a huge undertaking and to complement the historical and archival material that was made available both on CD and […]

MUSIC MONDAY Beatles 1995 song REAL LOVE

– ______ The Beatles – Real Love _______ Real Love (Beatles song) From Wikipedia, the free encyclopedia “Real Love” Song by John Lennon from the album Imagine: John Lennon Released 10 October 1988 Recorded New York City Length 2:48 Label Parlophone EMI Writer(s) John Lennon Producer(s) George Martin John Lennon Yoko Ono Phil Spector Jack […]

MUSIC MONDAY George Harrison’s song “Dehra Dun” says MANY ROADS WILL GET YOU TO HEAVEN

__   George Harrison – “Dehra Dun” Uploaded on Mar 21, 2011 George Harrison “Dehra Dun” Dehra dehra dun, dehra dun dun Dehra dehra dun, dehra dun dun Dehra dehra dun, dehra dun dun Dehra dehra dun… Many roads can take you there, many different ways One direction takes you years, another takes you days […]

MUSIC MONDAY George Harrison – Isn’t It A Pity

__ George Harrison – Isn’t It A Pity [Remastered] Isn’t It a Pity From Wikipedia, the free encyclopedia For the song by George Gershwin, see Isn’t It a Pity? “Isn’t It a Pity” Single by George Harrison from the album All Things Must Pass A-side “My Sweet Lord” (double A-side) Released 23 November 1970 Format 7-inch […]

MUSIC MONDAY George Harrison – Art Of Dying

__ George Harrison – Art Of Dying – Lyrics Francis Schaeffer pictured below: George Harrison is the only member of the Beatles who stuck with Hinduism while the other three abandoned it shortly after their one trip to India.  Francis Schaeffer noted, ” The younger people and the older ones tried drug taking but then turned […]

MUSIC MONDAY George Harrison: Beware Of Darkness

__ George Harrison: Beware Of Darkness Beware of Darkness (song) From Wikipedia, the free encyclopedia “Beware of Darkness” Song by George Harrison from the album All Things Must Pass Published Harrisongs Released 27 November 1970 Genre Rock Length 3:48 Label Apple Writer(s) George Harrison Producer(s) George Harrison, Phil Spector All Things Must Pass track listing […]

MUSIC MONDAY Commenting on George Harrison’s song HEAR ME LORD

__   If you listen to the song HEAR ME LORD you make think it is a great Christian song but actually in the context of Eastern Mysticism the words do not reach out to a personal God. Francis Schaeffer said concerning Harrison’s Eastern Mysticism,”Modern humanistic materialism is an impersonal system. The East is no […]

MUSIC MONDAY Commenting on George Harrison’s religious song AWAITING ON YOU ALL Part 3

MUSIC MONDAY Commenting on George Harrison’s religious song AWAITING ON YOU ALL Part 2

_   George Harrison – Awaiting On You All (Backing Track – Early Take) George Harrison – ‘Awaiting On You All’ – Original Audio Francis Schaeffer in his book HOW SHOULD WE THEN LIVE? gives us some insight into a possible answer to that question WHY WAS DRUG-TAKING AND EASTERN RELIGIONS SO POPULAR IN THE […]

MUSIC MONDAY Commenting on George Harrison’s religious song AWAITING ON YOU ALL Part 1

George Harrison – ‘Awaiting On You All’ – Original Audio George Harrison – Awaiting On You All – Lyrics ___ Awaiting on You All George Harrison You don’t need no love in You don’t need no bed pan You don’t need a horoscope or a microscope The see the mess that you’re in If you […]

MUSIC MONDAY George Harrison – What Is Life

__ George Harrison – What Is Life Published on Nov 29, 2016 Music video by George Harrison performing What Is Life. (C) 2002 G.H. Estate Ltd, under exclusive licence to Calderstone Productions Limited, a division of Universal Music Group http://vevo.ly/bcFeST George Harrison-US Tour 1974 (rare!) Uploaded on Oct 17, 2011 The North American Tour 1974 […]

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

__ The Beatles – All Things Must Pass (Full Band Demo – 1969) Uploaded on Jun 16, 2011 The Beatles performing “All Things Must Pass”, the George Harrison classic in 1968 during the Get Back / Let It Be sessions, 1969. ____________ George Harrison – All Things Must Pass (Live – 1997 on VH1 – […]

MUSIC MONDAY George Harrison – Behind That Locked Door

__ Behind That Locked Door – Olivia Newton-John (1973) Behind That Locked Door (George Harrison) – Emotional Version by Norah Jones Live on Conan George Harrison – Behind That Locked Door – Lyrics Behind That Locked Door From Wikipedia, the free encyclopedia “Behind That Locked Door” Song by George Harrison from the album All Things […]

MUSIC MONDAY The song IF NOT FOR YOU written by Bob Dylan

__   Bob Dylan – If Not For You Uploaded on Oct 8, 2008 Subscribe and checkout my other dylan’s videos! JUST LIKE A WOMAN https://youtu.be/ymmRnKaTEr8George Harrison – If Not For You – Lyrics If Not for You From Wikipedia, the free encyclopedia For other uses, see If Not for You (disambiguation). “If Not […]

MUSIC MONDAY George Harrison’s best album is possibly ALL THINGS MUST PASS

  George Harrison – ”All Things Must Pass” [Full Album] All Things Must Pass From Wikipedia, the free encyclopedia This article is about the album. For other uses, see All Things Must Pass (disambiguation). “Apple Jam” redirects here. For jam made from apples, see apple jam and apple sauce. All Things Must Pass Studio album […]

MUSIC MONDAY George Harrison’s song MY SWEET LORD and what the word GOD actually means according to Francis Schaeffer

__ George Harrison is the only member of the Beatles who stuck with Hinduism while the other three abandoned it shortly after their one trip to India.  Francis Schaeffer noted, ” 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 […]

MUSIC MONDAY Rolling Stones 1972 Exile On Main Street full album

_ Rolling Stones 1972 Exile On Main Street full album Exile on Main St From Wikipedia, the free encyclopedia Exile on Main St Studio album by The Rolling Stones Released 12 May 1972 Recorded October 1970, June 1971 – March 1972 Studio Olympic Studios, London; Nellcôte, France; Sunset Sound Recorders, Los Angeles Genre Rock and […]

MUSIC MONDAY Rolling Stones 1971 Sticky Fingers full album

 

 

MUSIC MONDAY 1st album of WASHED OUT

_ Washed Out – Within and Without (Full Album) Published on Aug 16, 2013 Within and Without is the 2011 debut album by the artist Washed Out. Track List: 1. “Eyes Be Closed” 00:00 2. “Echoes” 4:48 3. “Amor Fati” 8:56 4. “Soft” 13:23 5. “Far Away” 18:54 6. “Before” 22:55 7. “You and I (Ft. Caroline Polachek)” 27:41 8. “Within and […]

MUSIC MONDAY A look at WASHED OUT

Washed Out – It All Feels Right (Live on KEXP) Washed Out – Eyes Be Closed (Live on KEXP) Published on Feb 8, 2012 Washed Out performs “Eyes Be Closed” live in the KEXP studio. Recorded on 10/11/2011. Host: DJ El Toro Engineer: Kevin Suggs Cameras: Jim Beckmann, Shelly Corbett & Scott Holpainen Editing: Christopher […]

MUSIC MONDAY the song FEEL IT ALL AROUND by WASHED OUT

_ Feel It All Around by Washed Out – Portlandia Theme Published on Dec 24, 2011 This is the song Feel It All Around used in the opening for the TV Series on IFC called Portlandia. I claim no rights to the song or any rights to the show. All rights go to IFC, the […]

“Music Monday” The Thompson Twins and the song “If you were here” from the movie “16 Candles”

____________________ Sixteen Candles Final Scene Movie Ending Video if you were here i could deceive you and if you were here you would believe but would you suspect my emotion wandering, yeah do not want a part of this anymore The rain water drips through a crack in the ceiling and i’ll have to spend […]

MUSIC MONDAY Elvis Presley and Ann Margret in scenes from “Viva Las Vegas”

________ Elvis Presley – Scene from “Viva Las Vegas” (MGM 1964) Elvis & Ann Margret Elvis Presley, Ann Margret – The Lady Loves Me – Viva Las Vegas Come On Everybody – Elvis and Ann-Margret HD. Hollywood Legend Ann-Margret on Faith, Love and Recovery Julie Blim – 700 Club Producer Scott Ross Ann-Margret interview on […]

MUSIC MONDAY Barry McGuire Eve of Destruction [1965]

__ Barry McGuire – Eve Of Destruction Barry McGuire Eve of Destruction [1965] Eve of Destruction (song) From Wikipedia, the free encyclopedia This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2010)(Learn how and when to remove this […]

MUSIC MONDAY Vietnam War Protest Songs

Barry McGuire – Eve Of Destruction   Machine Gun by Jimi Hendrix Marvin Gaye ” What’s Going On ” Live 1972     Bob Dylan – Knockin’ On Heaven’s Door “Blowin’ in the Wind” – Bob Dylan | Vietnam War Montage Edwin Starr – War (Original Video – 1969) Uploaded on Dec 6, 2007 Original […]

MUSIC MONDAY “Stay with Me” by THE FACES

__ Faces “Stay With Me” The Faces – Had Me A Real Good Time Stay with Me (Faces song) From Wikipedia, the free encyclopedia “Stay with Me” Single by Faces from the album A Nod Is As Good As a Wink… to a Blind Horse B-side “You’re So Rude” (US) “Debris” (Intl.) Released December 1971 […]

MUSIC MONDAY : Song IT IS ENOUGH by the band THE WAITING

__   It is Enough – The Waiting Published on Feb 26, 2014 John 3:16-17 King James Version (KJV) 16,For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life. 17,For God sent not his Son into the world to condemn […]

MUSIC MONDAY Religious Songs That Secular People Can Love: Bob Dylan, The Byrds, Sam Cooke, Johnny Cash & Your Favorites in Music, Religion| December 15th, 2015

__ Religious Songs That Secular People Can Love: Bob Dylan, The Byrds, Sam Cooke, Johnny Cash & Your Favorites in Music, Religion| December 15th, 2015 7 Comments There are good reasons to find the onslaught of religious music this time of year objectionable. And yet—though I want to do my part in the War on […]

MUSIC MONDAY Rolling Stones 1969 Let It Bleed full album

_ Rolling Stones 1969 Let It Bleed full album Let It Bleed From Wikipedia, the free encyclopedia This article is about the 1969 album by The Rolling Stones. For other uses, see Let It Bleed (disambiguation). Let It Bleed Studio album by The Rolling Stones Released 5 December 1969 Recorded November 1968, February–July, October-November 1969 […]

MUSIC MONDAY Rolling Stones 1968 Beggars Banquet full album

_ Rolling Stones 1968 Beggars Banquet full album Beggars Banquet From Wikipedia, the free encyclopedia This article is about the Rolling Stones album. For the record label, see Beggars Banquet Records. For the story collection by Ian Rankin, see Beggars Banquet (book). Beggars Banquet Studio album by The Rolling Stones Released 6 December 1968 Recorded […]

MUSIC MONDAY Rolling Stones 1967 Between The Buttons US full album

_ Rolling Stones 1967 Between The Buttons US full album Between the Buttons From Wikipedia, the free encyclopedia Between the Buttons Studio album by The Rolling Stones Released 20 January 1967 Recorded 3–11 August, 8–26 November, and 13 December 1966 Genre Rock pop psychedelic rock Length 38:51 Language English Label Decca Producer Andrew Loog Oldham […]

MUSIC MONDAY Aftermath (The Rolling Stones album)

_ Mother’s Little Helper The Rolling Stones Aftermath (The Rolling Stones album) From Wikipedia, the free encyclopedia Aftermath Studio album by The Rolling Stones Released 15 April 1966 Recorded 3–8 December 1965, 6–9 March 1966 Studio RCA Studios, Hollywood, California Genre Rock, pop Length 53:20 Label Decca (UK) Producer Andrew Loog Oldham The Rolling Stones British chronology […]

MUSIC MONDAY Rolling Stones 1965 December’s Children And Everybody’s full album

Rolling Stones 1965 December’s Children And Everybody’s full album December’s Children (And Everybody’s) From Wikipedia, the free encyclopedia December’s Children (And Everybody’s) Studio album by The Rolling Stones Released 4 December 1965 (United States) Recorded 5–6 September 1965, except “You Better Move On”: 8 August 1963, “Look What You’ve Done”: 11 June 1964, “Route 66” […]

MUSIC MONDAY Rolling Stones album “Out of Our Heads”

__ The Rolling Stones “Satisfaction” Live 1965 (Reelin’ In The Years Archives) Rolling Stones – Gotta Get Away I’m Free – The Rolling Stones Out of Our Heads From Wikipedia, the free encyclopedia For the Sheryl Crow song, see Out of Our Heads (song). Out of Our Heads Studio album by The Rolling Stones Released […]

MUSIC MONDAY Rolling Stones 1965 album “The Rolling Stones, Now!”

  the rolling stones – what a shame – stereo edit Rolling Stones – Heart Of Stone   The Rolling Stones- Off the Hook (TAMI Show) Rolling Stones – “Little Red Rooster.” 1965 the rolling stones – down the road apiece – stereo edit The Rolling Stones, Now! From Wikipedia, the free encyclopedia The Rolling […]

MUSIC MONDAY 1965 full album “The Rolling Stones No. 2”

The Rolling Stones – No. 2 [1965] Published on Apr 14, 2016 Support us : http://bit.ly/1NveQuH 0:00 Everybody Needs Somebody To Love (Version 1) 5:04 Down Home Girl 9:18 You Can’t Catch Me 12:58 Time Is On My Side (Version 2) 15:58 What A Shame 19:05 Grown Up Wrong 21:11 Down The Road Apiece 24:07 […]

MUSIC MONDAY The Rolling Stones 2nd album “12 x 5”

__ Rolling Stones 1964 12×5 2006 Japan MiniLP Remastered full album 12 X 5 From Wikipedia, the free encyclopedia 12 X 5 Studio album by The Rolling Stones Released 17 October 1964 Recorded 25 February, 12 May, 10–11 and 24–26 June, 2 and 28–29 September 1964; Chess, Chicago, Illinois, United States and Regent Sound Studios, […]

MUSIC MONDAY The Rolling Stones first album

__ The Rolling Stones Debut Alb

MUSIC MONDAY Rolling Stones New Album Part 8 Blue & Lonesome is the album any Rolling Stones fan would have wished for – review Neil McCormick, music critic

MUSIC MONDAY Rolling Stones New Album Part 8 Rolling Stones – Hoo Doo Blues Blue & Lonesome is the album any Rolling Stones fan would have wished for – review 9 Comments Evergreen: The Rolling Stones perform in Cuba earlier this year CREDIT: REX FEATURES Neil McCormick, music critic 22 NOVEMBER 2016 • 12:19PM The Rolling […]

MUSIC MONDAY Rolling Stones New Album Part 7 The Rolling Stones Alexis Petridis’s album of the week The Rolling Stones: Blue & Lonesome review – more alive than they’ve sounded for years

MUSIC MONDAY Rolling Stones New Album Part 7 Rolling Stones – Everybody Knows About My Good Thing The Rolling Stones Alexis Petridis’s album of the week The Rolling Stones: Blue & Lonesome review – more alive than they’ve sounded for years 4/5stars Mick Jagger’s voice and harmonica drive an album of blues covers that returns […]

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

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

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

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

 

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 230 John Osborne (Feature on artist Minerva Cuevas)

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Brian Aldiss – John Osborne – successful but unhappy (42/79)

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Writer Brian Aldiss (1925-2017) was best known for his science fiction novels and short stories. ‘Non-Stop’, his first science fiction novel, was published in 1958. His many award-winning titles include ‘Hothouse’, ‘The Saliva Tree’ and ‘Helliconia Spring’. [Listener: Christopher Sykes] TRANSCRIPT: So there was another writer at the same time as Colin whose name was John Osborne. And John Osborne… in what year was it? His play, ‘Look Back in Anger’, was performed and was an enormous success. He had struck, as a kind of… one of these mysterious… mysterious changes that happen in society – it must be slightly to do with the generation change, but, in thinking in some way. And so, ‘Look Back in Anger’ was wonderfully successful. And he went on to do other plays that were successful, if not quite as villianously so as the first one. And he wanted to do a play of a book of mine that I’d recently had published, but he never had any luck because of censorship rules. Anyhow, despite that, I got to know John and we became friendly. My memory suggests that he got married, but then became separated again, but certainly, at the end of his life, I went to see him. I can’t think why, but we had got to know each other and so it seemed to me at the time that it was natural to go and see John. And there we were. He had a rather muddy little lake in front of his house, and one could think he was really quite successful and had had a successful career, contrasting with what I have said about Colin’s career. Anyhow, I went home after that meeting, which I had greatly enjoyed, and some days later, I had a five-page letter from Osborne, saying how wretched his life had been, and how disappointed he’d been, and really, with nothing to say for it. What does one do about this? Well, there’s nothing much you can do. Of course, you can do what I did, you can write back and say, well, I’m sorry. Of course one was sorry. Shortly after that, he died, but he’s left with this kind of dilemma. Colin was not very successful, really, but nevertheless, running about on the Cornish shore he seemed very happy and was still published. And yet, John was quite different despite all his successes. This, of course, brings into question of what one should do – or fail to do – about one’s own career. But, it’s always haunted me that you can have a shadow in life that, apparently, nothing can cure, and that was the case with John, as I judge it.

JOHN HEILPERN on John Osborne (full episode)

FRANCIS SCHAEFFER

Francis Schaeffer comments on William Burroughs:

I am going to read first from Douglas M. Davis article, “The New Mood: An Obsession with the Absurd.” National Observer (February 1965), and then comment on it.

William Burroughs, 50, is the most controversial of them all, former drug addict, he wrote an impressionistic intensely detailed account of his experience and published it in 1962 under the title NAKED LUNCH.”

If there is anything that guarantees to make you nauseated it is NAKED LUNCH, and that is anybody, not just Christians.

“The book provoked a lively debate that is still in progress filled with pages and pages of what seemed to be gratuitous pornography. Critic John Wayne labeled NAKED LUNCH the merest trash, not worth a second glance. Mary McCarthy  didn’t agree. She called it the most important novel of the age and the epic of the century.”

That is because Mary McCarthy really belongs in the same thing. I saw Mary McCarthy on the BBC-3 television program when we were in England coming back from my last lecture time in the States. It was a discussion on censorship with Kenneth Tynan on November 13, 1965 and suddenly while discussing censorship Tynan used the most famous of all four letter words on TV and Mary McCarthy just laughed. I was fascinated and I thought the BBC was further along than I thought it was. Then the war started in Parliament the next day, embarrassment and finally apologies for the use of the famous four letter word on the BBC. Why do these men smash things this way? Mary McCarthy would think NAKED LUNCH is a good book because she belongs in the same black bath.

“Mr. Burroughs new novel NOVA EXPRESS will hardly settle matters. Like NAKED LUNCH it is impressionistic although not filled with pornography but with rough brutal language. If ever a book was written with rage it is this one. One doesn’t have to be a psychologist to perceive the moralist behind the mask of William Burroughs. Indeed, it is puritanical anger in the man that both saves the books from the charge of depravity and makes them unreadable.”

Image result for John Osborne

I would say that is right. These men are not cabbages. These men are like John Osborne. They are idealists without an ideal. An idealist for which no ideal exist as far as they are concerned. So you can say they are puritanical in the sense they are furious simply because they want values and they can’t find them, so they are smashing. And again we ask why do they smash things so? I will say two things about these men. It is always the same. FIRST, aren’t they horrible? We are at war with these men. They are trying to destroy us. If I am a Christian and I’m reading in an uncritical way and naive fashion they will destroy us. They will destroy everything they touch. It is like a real breath from the devil and they are destructive and then SECONDLY, they are really seeking purpose and they are really seeking values. They are not nobody. You can say they are horrible, but you can’t say they are nobody. 

 

John Osborne 1957

___

John Osborne

From Wikipedia, the free encyclopedia
John Osborne
John Osborne 1971.jpg

John Osborne in 1971
Born 12 December 1929
FulhamLondon, England
Died 24 December 1994 (aged 65)
ClunShropshire, England
Occupation
  • Playwright
  • Political activist
Nationality British
Period 1950–92
Genre
Literary movement Angry Young Man
Notable works Look Back in Anger
The Entertainer
Inadmissible Evidence
Spouse Pamela Lane
Mary Ure
Penelope Gilliatt
Jill Bennett
Helen Dawson

John James Osborne (Fulham, London, 12 December 1929 – 24 December 1994) was an English playwrightscreenwriter and actor, known for his excoriating prose and intense critical stance towards established social and political norms. The success of his 1956 play Look Back in Anger transformed English theatre.

In a productive life of more than 40 years, Osborne explored many themes and genres, writing for stage, film and TV. His personal life was extravagant and iconoclastic. He was notorious for the ornate violence of his language, not only on behalf of the political causes he supported but also against his own family, including his wives and children.

Osborne was one of the first writers to address Britain’s purpose in the post-imperial age. He was the first to question the point of the monarchy on a prominent public stage.[citation needed] During his peak (1956–1966), he helped make contempt an acceptable and now even cliched onstage emotion, argued for the cleansing wisdom of bad behaviour and bad taste, and combined unsparing truthfulness with devastating wit.[citation needed]

Early life[edit]

Osborne was born on 12 December 1929[1] in London, the son of Thomas Godfrey Osborne, a commercial artist and advertising copywriter of South Welshextraction, and Nellie Beatrice, a Cockney barmaid.[2]

In 1935 the family moved to the north Surrey suburb of Stoneleigh, near Ewell, in search of a better life, though Osborne would regard it as a cultural desert – a schoolfriend declared subsequently that “he thought [we] were a lot of dull, uninteresting people, and probably a lot of us were. He was right.”[3] He adored his father and hated his mother, who he later wrote taught him “The fatality of hatred … She is my disease, an invitation to my sick room,” and described her as “hypocritical, self-absorbed, calculating and indifferent.”

Thomas Osborne died in 1941, leaving the young boy an insurance settlement which he used to finance a private education at Belmont College, a minor public school in Devon.[4] He entered the school in 1943, but was expelled in the summer term of 1945, after whacking the headmaster, who had struck him for listening to a forbidden broadcast by Frank Sinatra. A School Certificate was the only formal qualification he acquired, but he possessed a native intelligence.

After school, Osborne went home to his mother in London and briefly tried trade journalism. A job tutoring a touring company of junior actors introduced him to the theatre. He soon became involved as a stage manager and acting, joining Anthony Creighton‘s provincial touring company.[5] Osborne tried his hand at writing plays, co-writing his first, The Devil Inside Him, with his mentor Stella Linden, who then directed it at the Theatre Royal in Huddersfield in 1950. In June 1951 he also married Pamela Lane.[6] His second play Personal Enemy was written with Anthony Creighton (with whom he later wrote Epitaph for George Dillon staged at the Royal Court in 1958). Personal Enemy was staged in regional theatres before he submitted Look Back in Anger.

Look Back in Anger[edit]

Written in 17 days in a deck chair on Morecambe pier where Osborne was performing in a creaky rep show called Seagulls over SorrentoLook Back in Angerwas largely autobiographical, based on his time living, and arguing, with Pamela Lane in cramped accommodation in Derby while she cuckolded him with a local dentist. It was submitted to agents all over London and returned with great rapidity. In his autobiography, Osborne writes: “The speed with which it had been returned was not surprising, but its aggressive dispatch did give me a kind of relief. It was like being grasped at the upper arm by a testy policeman and told to move on”. Finally it was sent to the newly formed English Stage Company at London’s Royal Court Theatre.

Formed by actor-manager and artistic director George Devine, the company had seen its first three productions flop and urgently needed a success if it was to survive. Devine was prepared to gamble on this play because he saw in it a ferocious and scowling articulation of a new post-war spirit. Osborne was living on a leaky houseboat on the River Thames at the time with Creighton, stewing up nettles from the riverbank to eat. So keen was Devine to contact Osborne that he rowed out to the boat to tell him he would like to make the play the fourth production to enter repertory. The play was directed by Tony Richardson and starred Kenneth HaighMary Ure and Alan Bates. It was George Fearon, a part-time press officer at the theatre, who invented the phrase “angry young man“. Fearon told Osborne that he disliked the play and feared it would be impossible to market.[7]

In 1993, a year before his death, Osborne wrote that the opening night was “an occasion I only partly remember, but certainly with more accuracy than those who subsequently claimed to have been present and, if they are to be believed, would have filled the theatre several times over”. Reviews were mixed. Most of the critics who attended the first night felt it was a failure, and it looked as if the English Stage Company was going to go into liquidation.[8] The Evening Standard, for example, called the play “a failure” and “a self-pitying snivel”. But the following Sunday, Kenneth Tynan of The Observer – the most influential critic of the day – praised it to the skies: ‘I could not love anyone who did not wish to see Look Back in Anger,’ he wrote, “It is the best young play of its decade”. Harold Hobson of The Sunday Times called Osborne “a writer of outstanding promise”. During production, the married Osborne began a relationship with Mary Ure, and would divorce his wife, Pamela Lane, to marry Ure in 1957.

The play became an enormous commercial success, transferring to the West End and to Broadway, touring to Moscow and a film version was released in May 1959 with Richard Burton and Mary Ure in the leading roles. The play turned Osborne from a struggling playwright into a wealthy and famous angry young man and won him the Evening Standard Drama Award as the most promising playwright of 1956.

The Entertainer and into the 1960s[edit]

Osborne by Irish artist Reginald Gray, London (1957)

When he first saw Look Back in AngerLaurence Olivier was dismissive, viewing the play as unpatriotic and bad theatre, “a travesty on England”.[9] At the time, Olivier was making a film of Rattigan’s The Prince and the Showgirl co-starring Marilyn Monroe, and she was accompanied to London by her then-husband Arthur Miller. Olivier asked the American dramatist what plays he might want to see in London. Based on its title, Miller suggested Osborne’s work; Olivier tried to dissuade him, but the playwright was insistent and the two of them saw it together.

Miller found the play revelatory, and they went backstage to meet Osborne. Olivier was impressed by the American’s reaction, and asked Osborne for a part in his next play. John Heilpern suggests the great actor’s about-face was due to a midlife crisis, Olivier seeking a new challenge after decades of success in Shakespeare and other classics, and fearful of losing his pre-eminence to this new kind of theatre. George Devine, artistic director of the Royal Court, sent Olivier the incomplete script of The Entertainer (1957, film version released in 1960) and Olivier initially wanted to play Billy Rice, the lead character’s decent elderly father. On seeing the finished script, he changed his mind and took the central role as failing music-hall performer Archie Rice, playing to great acclaim both at the Royal Court and then in the West End.[9]

The Entertainer uses the metaphor of the dying music hall tradition and its eclipse by early rock and roll to comment on the moribund state of the British Empire and its eclipse by the power of the United States, something flagrantly revealed during the Suez Crisis of November 1956 that elliptically forms the backdrop to the play. An experimental piece, The Entertainer was interspersed with music hall performances. Most critics praised the development of an exciting writing talent:

A real pro is a real man, all he needs is an old backcloth behind him and he can hold them on his own for half an hour. He’s like the general run of people, only he’s a lot more like them than they are themselves, if you understand me.

The words are Billy Rice’s, though as with much of Osborne’s work they could be said to represent his own sentiments, as with this quote from Look Back in Anger:

Oh, heavens, how I long for a little ordinary human enthusiasm. Just enthusiasm—that’s all. I want to hear a warm, thrilling voice cry out ‘Hallelujah! Hallelujah. I’m alive!’

Osborne followed The Entertainer with The World of Paul Slickey (1959) a musical that satirizes the tabloid press, the unusual television documentary play A Subject of Scandal and Concern (1960), and the double bill Plays for England, comprising “The Blood of the Bambergs” and “Under Plain Covers” (1962).

Luther, depicting the life of Martin Luther, the archetypal rebel of an earlier century, was first performed in 1961; it transferred to Broadway and won Osborne a Tony AwardInadmissible Evidence was first performed in 1964. In between these plays, Osborne won an Oscar for his 1963 screenplay adaptation of Tom JonesA Patriot for Me (1965) drawing on the Austrian Redl case, is a tale of turn-of-the-century homosexuality and espionage which helped to end (along with Saved by Edward Bond) the system of theatrical censorship under the Lord Chamberlain.

Both A Patriot For Me and The Hotel in Amsterdam (1968) won Evening Standard Best Play of the Year awards. The latter play features three showbiz couples in a hotel suite, having fled a tyrannical and unpleasant movie producer, referred to as “K.L”. John Heilpern[10] confirms the rumor that “K.L” was in fact a portrait of Tony Richardson, seen through Osborne’s eyes. Laurie, a screenwriter, a role created by Paul Scofield, is a self-portrait: Osborne at mid-career.

1970s and later life[edit]

John Osborne’s plays in the 1970s included West of Suez which starred Ralph RichardsonA Sense of Detachment, first produced at the Royal Court in 1972, and the disappointing Watch It Come Down, first produced at the National Theatre, starring Frank Finlay.

In this period, Osborne made his best-remembered acting appearance, lending gangster Cyril Kinnear a sense of civil menace in Get Carter (1971). Later, he appeared in Tomorrow Never Comes (1978), as an actor, and Flash Gordon (1980).[11]

Throughout the 1980s, Osborne played the role of Shropshire squire with great pleasure and a heavy dose of irony. He wrote a diary for The Spectator.[12] He opened his garden to raise money for the church roof, from which he threatened to withdraw covenant-funding unless the vicar restored the Book of Common Prayer (he had returned to the Church of England in about 1974).[13]

In his latter years, Osborne published two remarkably frank volumes of autobiographyA Better Class of Person (Osborne, 1981) and Almost a Gentleman(Osborne, 1991). A Better Class of Person (1985) was filmed by Thames Television featuring Eileen Atkins and Alan Howard as his parents and Gary Capelin and Neil McPherson as Osborne. It was nominated for the Prix Italia. At his memorial service in 1995, a playwright of the next generation, David Hare, said:

It is, if you like, the final irony that John’s governing love was for a country which is, to say the least, distrustful of those who seem to be both clever and passionate. There is in English public life an implicit assumption that the head and the heart are in some sort of opposition. If someone is clever, they get labelled cold. If they are emotional, they get labelled stupid. Nothing bewilders the English more than someone who exhibits great feeling and great intelligence. When, as in John’s case, a person is abundant in both, the English response is to take in the washing and bolt the back door.

His last play was Déjàvu (1991), a sequel to Look Back in Anger. Various newspaper and magazine writings appeared in a collection entitled Damn You, England (1994), while the two volumes of autobiography were reissued as “Looking Back – Never Explain, Never Apologise” (1999).

Critical responses, idols and effect[edit]

Osborne was a great fan of Max Miller[14] and saw parallels between them. ‘I love him, (Max Miller) because he embodied a kind of theatre I admire most. ‘Mary from the Dairy’ was an overture to the danger that (Max) might go too far. Whenever anyone tells me that a scene or a line in a play of mine goes too far in some way then I know my instinct has been functioning as it should. When such people tell you that a particular passage makes the audience uneasy or restless, then they seem (to me) as cautious and absurd as landladies and girls-who-won’t.’[15]

Osborne’s work transformed British theatre. He helped to make it artistically respected again, throwing off the formal constraints of the former generation, and turning our attention once more to language, theatrical rhetoric, and emotional intensity. He saw theatre as a weapon with which ordinary people could break down the class barriers and that he had a ‘beholden duty to kick against the pricks’. He wanted his plays to be a reminder of real pleasures and real pains. David Hare said in his memorial address:

John Osborne devoted his life to trying to forge some sort of connection between the acuteness of his mind and the extraordinary power of his heart.[16]

Osborne did change the world of theatre, influencing playwrights such as Edward Albee and Mike Leigh. However, work of his kind of authenticity and originality would remain the exception rather than the rule. This did not surprise Osborne; nobody understood the tackiness of the theatre better than the man who had played Hamlet on Hayling Island.[17] He was awarded a Lifetime Achievement Award from the Writer’s Guild of Great Britain.

Osborne joined the Campaign for Nuclear Disarmament in 1959. Later he drifted to the libertarian, unorganized right, considering himself “a radical who hates change”.

Personal life[edit]

Relationships[edit]

Osborne had many affairs over the course of his life and frequently mistreated his wives and lovers. He was married five times, with all except his final marriage being unhappy unions.

His wives and lovers were not always kept apart, either. In his 2006 biography,[18] John Heilpern describes at length a holiday in Valbonne,[19] France, in 1961, that Osborne shared with Tony Richardson, a distraught George Devine, and others. Feigning bafflement over the romantic entanglements of the time, Heilpern writes:

Let’s see: Osborne is on a besieged holiday with his aggrieved mistress[20] while having a passionate affair with his future third wife[21] as the founding artistic director of the Royal Court has a nervous breakdown and his current wife[22] gives birth to a son that isn’t his.[23]

Pamela Lane (1951–57)[6][edit]

In Volume 1 of his autobiography A Better Class of Person, Osborne describes feeling an immediate and intense attraction towards his first wife. The pair were both members of an acting troupe in Bridgwater.

She had just recently shorn her hair down to a defiant auburn stubble and I was impressed by the hostility she had created by this self-isolating act… her huge green eyes which mock or plead affection, preferably both, at least… She startled and confused me… There was no calculation in my instant obsession.

Though Alison Porter in Look Back in Anger was based on Pamela, Osborne describes Lane’s parents as “much coarser” and how at one point they hired a private detective to follow him after a fellow actor was seen ‘fumbling’ with his knee in a teashop. Though he admits that it was true at least that the actor in question did have a homosexual crush on him.

I began to feel surrounded and outflanked by hostility.. I had set off a crest of anger that had not been much more than drowsy before my arrival… It was scarcely important. Pamela was the battlement I was determined on.

Lane and Osborne married in secret in nearby Wells and then left Bridgwater the following Sunday amidst an uneasy truce with Lane’s parents (Osborne’s hated mother was not aware of the union until the couple were divorcing), spending their first night as a married couple together in the Cromwell Road in London.

I was unable to take my eyes off her. I watched her eating, walking, bathing, making-up, dressing, undressing, my curiosity was insatiable. Seeing her clothes lying around the floor (she was hopelessly untidy, in contrast to my own spinsterish habits). There was little doubt in my otherwise apprehensive spirit that I had carried off a unique prize…. Perhaps I interpreted what might have been bland complacency for the complaisance of a generous and loving heart.

The two lived a fairly itinerant and reasonably happy married existence at first, living at a number of digs around London and finding work in London at first, then touring, staying in Kidderminster in Osborne’s case. While Lane’s acting career flourished in Derby, Osborne’s floundered, and she began an affair with a rich dentist. It was an ironic situation as Osborne had been playing a dentist in the company’s production of Shaw‘s You Never Can Tell and that it was Osborne who had inadvertently introduced them by succumbing to a toothache he attributed to marital woes.

This was in the summer of 1955 and Osborne spent much of the next two years before their divorce hoping they would reconcile. In 1956, after Look Back in Anger had opened, Osborne met her at the railway station in York, at which meeting she told Osborne of her recent abortion and enquired after his relationship with Mary Ure, of which she was aware. In April 1957, Osborne was granted a divorce from Lane, on the grounds of his adultery.[24] It later emerged that in the 1980s, Lane and Osborne corresponded frequently and met in secret before he became angered by her request for a loan.[25]

Mary Ure (1957–63)[edit]

Osborne began a relationship with Ure shortly after meeting her when she was cast as Alison in Look Back in Anger in 1956. The affair swiftly progressed; and the two moved in together in Woodfall Road, Chelsea. He wrote later:

Mary was one of those unguarded souls who can make themselves understood by penguins or the wildest dervishes .. I was not in love. There was fondness and pleasure, but no groping expectations, just a feeling of fleeting heart’s ease. For the present we were both content enough.

Contentment, in Osborne’s case, grew into a jealousy and slight contempt for Ure’s stable family background and the banalities of her communication with them and a somewhat withering regard for her acting abilities.

I had stopped concealing from myself, if I ever had, that Mary was not much of an actress. She had a rather harsh voice and a tiny range. Her appearance was pleasing but without any personal sweep to it. Like most actors, she was hysterical when unemployed and resentful when appearing every night to full houses. She also entertained the common belief that a writer is only working when he can be seen head down at his desk. Why are you drinking/dreaming/farting/fornicating instead of making typewriter noises?

There was infidelity on both sides; and, after an affair with Robert Webber, Ure eventually left Osborne for Robert Shaw.

The fact that my coltish liaison with Francine had been pre-empted by Mary’s conduct with Webber explained her oddly restrained behaviour in New York… Betrayal might end in the bedroom but I found it naive to assume it necessarily began there.

Osborne described visiting her after she had left him and having sex with her while she was pregnant with the first of four children she would bear to Shaw. Of their divorce, Osborne wrote of being surprised that she repeatedly refused to return to him treasured postcards drawn for him by his father but is circumspect at her suicide in 1975.

Destiny dragged her so pointlessly from a life better contained by the softly lapping waters of the River Clyde.

This is in marked contrast to his later revelling in the suicide of fourth wife Jill Bennett.[26]

Penelope Gilliatt (1963–68)[edit]

Osborne met his third wife, writer Penelope Gilliatt, initially through social connections, and she then interviewed him.

From Osborne’s autobiography Almost a Gentleman:

It was not so much chastity that troubled me, but the withdrawal of feminine intimacy. And now, here I was, giving a routine interview to a young, animated woman, seemingly very informed and quick to laugh… I was already engaged in the prospect of mild and easy flirtation. I hadn’t marked Penelope down in any appraising way as a future sportive fancy, but I had always been addicted to flirtation as a game worth playing for itself.

One main attraction Penelope held for Osborne was her red hair: “I took red hair to be the mantle of goddesses”. Despite her being married and Osborne knowing her husband, Gilliatt set out to seduce Osborne and succeeded in doing so. “Penelope’s behaviour and my own during the weeks that followed were probably grotesquely indefensible”, he wrote.

Osborne details some of the brazen subterfuges he created in order to commit adultery with Gilliatt before they were married, which included inventing a film festival in Folkestone so they could go away together.[27] Osborne proposed marriage by asking Gilliatt: “Will you marry me? It’s risky, but you’d get fucked regularly.”

Osborne and Gilliatt were married for five years (together for seven), and became the parents of his only natural daughter, Nolan.[28] Osborne had an abusive relationship with his daughter: he cast her out of his house when she was 17; they never spoke again.[29] Osborne and Gilliatt’s marriage suffered through what Osborne perceived to be an unnecessary obsession on her part with her work, writing film reviews for The Observer. “I tried to point out that it seemed an inordinate amount of time and effort to expend on a thousand-word review to be read by a few thousand film addicts and forgotten almost at once.”

He also observed in her a growing pretentiousness. “She was to become increasingly obsessed with fripperies and titles … She took to calling herself ‘Professor Gilliatt’.”[30] Strains in the marriage, exacerbated by Gilliatt’s alcoholism and what Osborne felt was malignant behaviour, led to Osborne conducting an affair with Jill Bennett, soon followed by their marriage.

Jill Bennett (1968–77)[edit]

Osborne had a turbulent nine-year marriage to the actress Jill Bennett, whom he came to loathe. Their marriage degenerated into mutual abuse and insult with Bennett goading Osborne, calling him “impotent” and “homosexual” in public as early as 1971.[31] This was cruelty which Osborne reciprocated, turning his feelings of bitterness and resentment about his waning career onto his wife. Bennett’s suicide in 1990 is generally believed to have been a result of Osborne’s rejection of her. He said of Bennett, “She was the most evil woman I have come across”, and showed open contempt for her suicide.[32]

She was a woman so demoniacally possessed by Avarice that she died of it. How many people have died in such a manner, of Avarice? … This final, fumbled gesture, after a lifetime of glad-rags borrowings, theft and plagiarism, must have been one of the few original or spontaneous gestures in her loveless life… During the nine years I lived beneath the same roof with her, she spent half the day in bed. There was a short period when she took dressage lessons, that most intensive course in aids to severe narcissism.

Osborne seemed to relish reading through obituaries of Bennett and contradicting any points of merit journalists found in her and is scathing of her acting abilities. According to him, she had a voice

sounding like a puppy with a mouthful of lavatory paper. I did everything I could to scrub up her diction, but it never improved. Indeed after we separated and she was consigned to lesser parts it became even worse. During a television series… even by the pier-end standards of sit-com, she was quite incomprehensive and cried out for sub-titles.

Osborne signed off the chapter on Bennett with perhaps some of his most damning prose committed to print.

Adolf [Osborne’s nickname for her] has left half a million to Battersea Dogs’ Home. She never bought a bar of soap in all the time she lived with me. Always, she cried poverty… It is the most perfect act of misanthropy, judged with the tawdry, kindless theatricality she strove to achieve in life. She had no love in her heart for people and only a little more for dogs. Her brand of malignity, unlike Penelope‘s went beyond even the banality of ambition…. Her frigidity was almost total. She loathed men and pretended to love women, whom she hated even more. She was at ease only in the company of homosexuals, who she also despised but whose narcissism matched her own. I never heard her say an admiring thing of anyone… Everything about her life had been a pernicious confection, a sham.

He concluded by stating that his only regret is that he chose not to ‘flob’ (i.e., ‘spit’) in her open coffin.[33]

Helen Dawson (1978–94)[edit]

Helen Dawson (1939–2004) was a former arts journalist and critic for The Observer. This final marriage of Osborne’s, which lasted until his death, seems to have been Osborne’s first happy union. Until her death in 2004, Dawson worked tirelessly to preserve and promote Osborne’s legacy.[34]

Osborne died deeply in debt, his final word to Dawson was: Sorry.[35] After her death in 2004, Dawson was buried next to Osborne.

Vegetarianism[edit]

Graves of Osborne and his fifth wife in Clun churchyard

Around the time of Look Back in Anger, Osborne was a vegetarian, something which was considered unusual at the time. In Almost a Gentleman he gives some insight into this lifestyle choice:

My own vegetarianism had been prompted by self-interest. I wanted to confound my pitted complexion, implacable daily headaches, throbbing glands, dish-cloth hair and dandruff. That my appearance had marginally improved (though not the headaches) was no doubt due a little to less toxic input… Meat could be equated with inner squalor. Vegetarianism might banish that, too.[36]

Death[edit]

After a serious liver crisis in 1987, Osborne became diabetic, injecting insulin twice a day. He died in 1994 from complications from his diabetes at the age of 65 at his home in Clunton, near Craven ArmsShropshire.[37] He is buried in St George’s churchyard, Clun, Shropshire, alongside his last wife, Helen Dawson, who died in 2004

Archive[edit]

Osborne began placing his papers at the Harry Ransom Center at the University of Texas in Austin in the 1960s, with additions made throughout his life and by relatives in the years after his death. The primary archive is over 50 boxes and includes typescripts and manuscripts for all of his works, correspondence, newspaper and magazine articles, scrapbooks, posters, programs, and business documents.[38]

In 2008, the Ransom Center purchased an additional archive of over 30 boxes that had been held by Helen Dawson Osborne. While largely focusing on the latter years of Osborne’s life, the collection also includes a series of notebooks that he had kept separately from his original archive.[39]

Works[edit]

Title Type Year Notes
The Devil Inside Him Theatre 1950 with Stella Linden
The Great Bear Theatre 1951 blank verse, never produced
Personal Enemy Theatre 1955 with Anthony Creighton
Look Back in Anger Theatre 1956
The Entertainer Theatre 1957
Epitaph for George Dillon Theatre 1958[40] with Anthony Creighton
The World Of Paul Slickey Theatre 1959 [41]
A Subject of Scandal and Concern TV 1960
Luther Theatre 1961
The Blood of the Bambergs Theatre 1962
Under Plain Cover Theatre 1962
Tom Jones Screenplay 1963
Inadmissible Evidence Theatre 1964
A Patriot for Me Theatre 1965
A Bond Honoured Theatre 1966 One-act adaptation of Lope de Vega’s La fianza satisfecha
The Hotel In Amsterdam Theatre 1968
Time Present Theatre 1968
The Charge of the Light Brigade Screenplay[42] 1968
The Parachute TV 1968
The Right Prospectus TV 1970
West of Suez Theatre 1971
A Sense Of Detachment Theatre 1972
The Gift Of Friendship TV 1972
Hedda Gabler Theatre 1972 Ibsen adaptation
A Place Calling Itself Rome Theatre (1973)’ Coriolanus adaptation, unproduced
Ms, Or Jill And Jack TV 1974
The End Of Me Old Cigar Theatre 1975
The Picture Of Dorian Gray Theatre 1975′ Wilde adaptation
Almost A Vision TV 1976
Watch It Come Down Theatre 1976
Try A Little Tenderness Theatre (1978)’ unproduced
Very Like A Whale TV 1980
You’re Not Watching Me, Mummy TV 1980
A Better Class of Person Book 1981 autobiography volume I
A Better Class of Person[43] TV 1985
God Rot Tunbridge Wells! TV 1985
The Father Theatre 1989 Strindberg adaptation
Almost a Gentleman Book 1991 autobiography volume II
Déjàvu Theatre 1992

Filmography[edit]

Notes[edit]

  1. Jump up^ Heilpern 2006, p. 23
  2. Jump up^ Heilpern 2006, p. 24
  3. Jump up^ Schoolfriend Hilda Berrington, speaking on Osborne: Angry Man, Channel Four.
  4. Jump up^ Heilpern 2006, p. 64
  5. Jump up^ Heilpern 2006, p. 90
  6. Jump up to:a b John Heilpern (21 November 2010). “Pamela Lane [1930-2010] obituary”Stalwart of British theatre and first wife of John OsborneThe Guardian, London. Retrieved 19 April 2018.
  7. Jump up^ Little & McLaughlin 2007, p. 25
  8. Jump up^ Little & McLaughlin 2007, p. 326, cite a letter from Stephen Daldry “I have in our archives letters from members of the audience from the original production of Look Back in Anger demanding their money back. Had we honoured every one of those requests, this theatre would not have been able to survive”
  9. Jump up to:a b “‘It’s me, isn’t it?'”The Guardian. 6 March 2007.
  10. Jump up^ Heilpern 2006, p. 359
  11. Jump up^ John Osborne at IMDB
  12. Jump up^ Times obituary, 27 December 1994
  13. Jump up^ Heilpern 2006, Chapter 45
  14. Jump up^ Heilpern 2006, p. 136
  15. Jump up^ Osborne 1991, pp. 39–40
  16. Jump up^ Heilpern 2006, p. 477
  17. Jump up^ Osborne 1991, p. 7
  18. Jump up^ Heilpern 2006, p. 267
  19. Jump up^ It was from Valbonne that Osborne wrote the infamous “Damn You, England” letter that was published in Tribune on 18 August 1961. (Heilpern 2006, p. 239)
  20. Jump up^ Costume designer Jocelyn Rickards
  21. Jump up^ Gilliatt
  22. Jump up^ Ure
  23. Jump up^ Colin, who took the name Osborne but was and is the spitting image of Robert Shaw, with whom Mary Ure was starring at the Royal Court when she became pregnant.
  24. Jump up^ Osborne, pp. 43–44
  25. Jump up^ Peter Whitebrook (ed.). 2018. Dearest Squirrel: The Intimate Letters of John Osborne and Pamela Lane. Oberon, pp.416.
  26. Jump up^ Osborne, pp. 255–9
  27. Jump up^ Osborne, pp. 181–3, for example
  28. Jump up^ The name was chosen in honour of Captain Nolan, who led the famous Charge of the Light Brigade in the Crimean War. At the time of her birth, Osborne was researching that war and writing the screenplay of the film his next wife would star in. (Osborne, p. 240)
  29. Jump up^ Heilpern 2006, pp. 421–2
  30. Jump up^ Osborne, p. 240
  31. Jump up^ Heilpern, John (29 April 2006). “A sense of failure”The Guardian. London. Retrieved 7 May 2010.
  32. Jump up^ Heilpern writes (Heilpern 2006, p. 443) that the second volume of Osborne’s autobiography was ready to go to press at Faber & Faber. Bennett’s suicide freed Osborne from the restraining order arising from their bitter divorce. He sat down and wrote a new chapter for the book, specifically to excoriate his ex-wife.
  33. Jump up^ Osborne, p. 259
  34. Jump up^ “Helen Osborne”The Independent. London. 19 January 2004. Retrieved 7 May 2010.
  35. Jump up^ Morrison, Blake (20 May 2006). “Stage-boor Johnny”The Guardian. London. Retrieved 7 May 2010.
  36. Jump up^ Osborne, p. 2
  37. Jump up^ Heilpern 2006, pp. 470–479
  38. Jump up^ “John Osborne: A Preliminary Inventory of His Papers at the Harry Ransom Humanities Research Center”norman.hrc.utexas.edu. Retrieved 2017-12-12.
  39. Jump up^ “John Osborne and Helen Dawson Osborne: A Preliminary Inventory of Their Papers at the Harry Ransom Center”norman.hrc.utexas.edu. Retrieved 2017-12-12.
  40. Jump up^ Written before LBIA but not staged at the Royal Court Theatre until 2 years later.
  41. Jump up^ This musical, performed at the Palace Theatre, was an adaptation of Osborne’s own never-produced play, provisionally titled An Artificial Comedy or Love in a Myth, written in 1955 while he was waiting for Look Back in Anger to be staged. It was a critical and commercial disaster
  42. Jump up^ Uncredited, due to a script war with director Tony Richardson.
  43. Jump up^ This was a TV adaptation of the first volume of Osborne’s autobiography

References[edit]

  • Heilpern, John (2006). John Osborne: A Patriot for Us. Chatto & Windus. ISBN 978-0-7011-6780-6.
  • Osborne, John (1982). A Better Class of Person: An Autobiography, 1929–56 (paperback edition). Penguin Books Ltd. ISBN 978-0-14-006288-5.
  • Osborne, John (1991). Almost a Gentleman: An Autobiography, 1955–66 (paperback edition). Faber & Faber. ISBN 0-571-16635-0.
  • Little, Ruth; McLaughlin, Emily (2007). The Royal Court Theatre Inside Out. Oberon Books. ISBN 978-1-84002-763-1.
  • Doollee.com

External links[edit]

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Minerva Cuevas: Bridging Borders | Art21 “Exclusive”

Featured artist is Minerva Cuevas

Minerva Cuevas

Minerva Cuevas was born in Mexico City in 1975. She’s a conceptual and socially-engaged artist who creates sculptural installations and paintings in response to politically-charged events, such as the tension between world starvation and capitalistic excess. Cuevas documents community protests in a cartography of resistance while also creating mini-sabotages—altering grocery store bar codes and manufacturing student identity cards—as part of her non-profit Mejor Vida Corp / Better Life Corporation.

Several of the artist’s works take the form of re-branding campaigns—exhibited as murals and product designs—that question the role corporations play in food production, the management of natural resources, fair labor practices, and evolving forms of neo-colonialism. Cuevas finds provocative ways to intervene in public space, whether through the deployment of billboards and posters, or by hacking public utilities to provide discounted or free services. Cuevas addresses the negative impact that humans have on animals and the environment through sculptures coated in tar and tender paintings of animal rights activists, imagining a society that values all living beings.

Minerva Cuevas attended the Escuela Nacional de Artes Plásticas UNAM (1997). Cuevas’s awards and residencies include the Edith-Ruß-Haus für Medienkunst Stipend in Oldenberg (2004) DAAD Scholarship (2003), and The Banff Centre for the Arts (1998). Cuevas has had major exhibitions at Fundación Jumex Arte Contemporaneo (2013); Kunsthaus Bregenz (2013); Museo de la Ciudad de México (2012); Musée d’art Moderne de la Ville de Paris (2012); Liverpool Biennial (2010); Berlin Biennale (2010); Whitechapel Gallery (2010); KW Institute for Contemporary Art (2010); Centre Pompidou (2010); SFMoMA (2008); Van Abbemuseum (2008); Biennale de Lyon (2007); Kunsthalle Basel (2007); Bienal de São Paulo (2006); and the Istanbul Biennial (2003), among others. Minerva Cuevas lives and works in Mexico City, Mexico.

Links:
Artist’s website
Mejor Vida Corp (Better Life Corporation)

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Related posts:

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 53 THE BEATLES (Part E, Stg. Pepper’s and John Lennon’s search in 1967 for truth was through drugs, money, laughter, etc & similar to King Solomon’s, LOTS OF PICTURES OF JOHN AND CYNTHIA) (Feature on artist Yoko Ono)

The John Lennon and the Beatles really were on a long search for meaning and fulfillment in their lives  just like King Solomon did in the Book of Ecclesiastes. Solomon looked into learning (1:12-18, 2:12-17), laughter, ladies, luxuries, and liquor (2:1-2, 8, 10, 11), and labor (2:4-6, 18-20). He fount that without God in the picture all […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 52 THE BEATLES (Part D, There is evidence that the Beatles may have been exposed to Francis Schaeffer!!!) (Feature on artist Anna Margaret Rose Freeman )

______________   George Harrison Swears & Insults Paul and Yoko Lucy in the Sky with Diamonds- The Beatles The Beatles:   I have dedicated several posts to this series on the Beatles and I don’t know when this series will end because Francis Schaeffer spent a lot of time listening to the Beatles and talking […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 51 THE BEATLES (Part C, List of those on cover of Stg.Pepper’s ) (Feature on artist Raqib Shaw )

  The Beatles in a press conference after their Return from the USA Uploaded on Nov 29, 2010 The Beatles in a press conference after their Return from the USA. The Beatles:   I have dedicated several posts to this series on the Beatles and I don’t know when this series will end because Francis […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 50 THE BEATLES (Part B, The Psychedelic Music of the Beatles) (Feature on artist Peter Blake )

__________________   Beatles 1966 Last interview I have dedicated several posts to this series on the Beatles and I don’t know when this series will end because Francis Schaeffer spent a lot of time listening to the Beatles and talking and writing about them and their impact on the culture of the 1960’s. In this […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 49 THE BEATLES (Part A, The Meaning of Stg. Pepper’s Cover) (Feature on artist Mika Tajima)

_______________ The Beatles documentary || A Long and Winding Road || Episode 5 (This video discusses Stg. Pepper’s creation I have dedicated several posts to this series on the Beatles and I don’t know when this series will end because Francis Schaeffer spent a lot of time listening to the Beatles and talking and writing about […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 48 “BLOW UP” by Michelangelo Antonioni makes Philosophic Statement (Feature on artist Nancy Holt)

_______________ Francis Schaeffer pictured below: _____________________ I have included the 27 minute  episode THE AGE OF NONREASON by Francis Schaeffer. In that video Schaeffer noted,  ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings.” How Should […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 47 Woody Allen and Professor Levy and the death of “Optimistic Humanism” from the movie CRIMES AND MISDEMEANORS Plus Charles Darwin’s comments too!!! (Feature on artist Rodney Graham)

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 46 Friedrich Nietzsche (Featured artist is Thomas Schütte)

____________________________________ Francis Schaeffer pictured below: __________ Francis Schaeffer has written extensively on art and culture spanning the last 2000years and here are some posts I have done on this subject before : Francis Schaeffer’s “How should we then live?” Video and outline of episode 10 “Final Choices” , episode 9 “The Age of Personal Peace and Affluence”, episode 8 […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 45 Woody Allen “Reason is Dead” (Feature on artists Allora & Calzadilla )

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MUSIC MONDAY Avicii’s 10 Best Songs: Critics’ Picks PART 1

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Avicii’s 10 Best Songs: Critics’ Picks

Avicii may have retired from touring, he may have just announced a break with his long-time manager who helped make him a superstar and he may be one of the most media-shy DJs on the planet Earth, but the 27-year-old Swede is and will always be one of the most recognizable and omnipotent electronic dance producers the genre has ever seen.

Born Tim Bergling, Avicii is the only DJ who could mix Country-Western styles with EDM and not just get away with it but find smashing success. He took Etta James‘ already iconic “Something’s Got a Hold on Me” vocals on and turned them into a generational anthem for “Levels.” He’s released bunches of international hits, but even his deeper cuts resonate across the spectrum of listeners.

Even when he’s being cheesy, it’s the kind of cheese you wanna cover your fries in and just give yourself heartburn shoving down your own throat. You just can’t really knock the guy for anything (unless your deadmau5, but he knocks everyone).

Swedish House Mafia’s 8 Best Songs: Critic’s Picks

It’s hard to argue with great, catchy pop music and he’s made some of the dance world’s best. Here’s a list of the 10 best Avicii songs to date.

READ MORE

Avicii & Longtime Manager Ash Pournouri Part Ways

10. Avicii – “Street Dancer”

 

This 2011 tune isn’t as famous as some other Avicii songs. It only charted in the Netherlands, but it’s one of the producer’s most unique pieces to date. It’s got a harder edge than most of his compositions and a decidedly ’80s tropical tinge, like neon palm trees on a Miami Vice set. It samples Break Machine’s 1983 track “Street Dance,” which explains that retro flair. If you’ve never heard this deep cut, definitely give it a go.

8. Avicii – “My Feelings For You” feat. Sebastian Drums

 

This track is a super disco inferno, hunk of burning dance floor glory. It might not have charted as strong as some other Avicii songs, but it’s definitely a crowd favorite. Even hipster DJs were dropping this one every week when it came out. Maybe that’s because it’s technically a remix of a song from French band Cassius and, you know, hipsters love French music.

8. Avicii – “Without You” feat. Sandro Cavazza

 

 

“Without You” arrives on Avicii’s six-track EP Avīci (01) and sports a catchy melody with zippy synths reminiscent of his country-pop sound. The record features Swedish singer-songwriter Sandro Cavazza who Avicii also remixed and included on his EP.

10 Songs About Moving On & Letting Go

7. Avicii – “Hey Brother”

 

 

Avicii’s album True was really out to show the world just how inclusive dance music could be. You’ve never heard such glistening country pop as you have on True, and “Hey Brother” is one of the twangiest dance floor favorites to ever grace the festival circuit. Singer Dan Tyminski brings the heavy bluegrass element over Avicii’s four-on-the-floor and brightly glowing synths. Fair warning, the music video is liable to make you cry.

6. Tim Berg – “Seek Bromance”

 

This classic jam is so old school that Avicii wasn’t even called Avicii when it was released — he was still known as Tim Berg. Yet, we all remember “Seek Bromance” as one of the best songs in Avicii’s catalog. It charted in 20 countries and reached number one on the Billboard Dance Clubs Songs list. Now six years after its release, you can hear how influential its been to every damn feel-good house song that came after.

5. Avicii – “Silhouettes”

There’s something so undeniable about this pumping beat, this misty melody, and Swedish singer Salem Al Fakir’s smoky vocals. It just gives us a warm, cozy feeling listening to it. Maybe it’s also partially nostalgia for 2011 when everyone was first swept up in Avicii mania. This was one of those songs that, even if you acted like you didn’t like it at the time, you find yourself fist pumping to in no time.

Alan Walker’s 5 Best Songs: Critic’s Picks

4. Avicii – “I Could Be The One” feat. Nicky Romero

 

 

 

This hook became one of the most recognizable melodies of 2012 almost instantly. This song flickers between indulgently sweet and absolutely bangerific. Fun fact: the instrumental version once featured a sample of Justice‘s seminal anthem “D.A.N.C.E.,” though the sample was removed for the final version fans know and love. It was a total smash, charting in 22 countries and hitting four Billboard charts, peaking the US Dance Clubs list before it was finished.

3. Avicii – “Fade Into Darkness”

 

Did you even realize “Fade Into Darkness” predates “Levels?” Sometimes we forget there was an Avicii before that song took over the whole world. Listening to this tune today, we can hear a lot of that country-western influence just begging to bubble up to the surface. Replace the piano with acoustic guitar and it could totally be one of those cross-genre hits.

2. Avicii – “Wake Me Up”

Avicii – Wake Me Up (Official Video)

Published on Jul 29, 2013

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We will never forget the collective head-scratch moment that hit Ultra Music Festival in Miami when Avicii first debuted this song. No one had ever even conceived of melding country music with electronic dance until Avicii showed people the way.

1. Avicii – “Levels”

 

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 229 BEATLES, BREAKING DOWN THE SONG “BECAUSE” (Featured artist is Abraham Cruzvillegas)

____ John Lennon sings the lead on BECAUSE

Image result for john lennon

___

 

 

It is intriguing to me to compare Francis Schaeffer’s comments on Ecclesiastes chapter one to this song “Because,” and the comments in the song about the observations of the earth, sky and the wind. Schaeffer talks a lot about these following words of Solomon from Ecclesiastes:

What does man gain by all the toil
    at which he toils under the sun?
A generation goes, and a generation comes,
    but the earth remains forever.
The sun rises, and the sun goes down,
    and hastens to the place where it rises.
The wind blows to the south
    and goes around to the north;
around and around goes the wind,
    and on its circuits the wind returns.
All streams run to the sea,
    but the sea is not full;
to the place where the streams flow,
    there they flow again.

All things are full of weariness;
    a man cannot utter it;
the eye is not satisfied with seeing,
    nor the ear filled with hearing.
What has been is what will be,
    and what has been done is what will be done,
    and there is nothing new under the sun.

[Verse 1]
Because the world is round it turns me on
Because the world is round

[Verse 2]
Because the wind is high it blows my mind
Because the wind is high

[Bridge]
Love is old, love is new
Love is all, love is you

[Verse 3]
Because the sky is blue, it makes me cry
Because the sky is blue

Image result for king solomon

Francis Schaeffer said concerning Solomon:

Image result for francis schaeffer

Solomon is the author of Ecclesiastes and he is truly an universal man like Leonardo da Vinci.

Two men of the Renaissance stand above all others – Michelangelo and Leonardo da Vinci and it is in them that one can perhaps grasp a view of the ultimate conclusion of humanism for man. Michelangelo was unequaled as a sculptor in the Renaissance and arguably no one has ever matched his talents.

(Leonardo da Vinci below)

Image result for Leonardo da Vinci

(Michelangelo’s David seen below)

Image result for Michelangelo

The other giant of the Renaissance period was Leonardo da Vinci – the perfect Renaissance Man, the man who could do almost anything and does it better than most anyone else. As an inventor, an engineer, an anatomist, an architect, an artist, a chemist, a mathematician, he was almost without equal. It was perhaps his mathematics that lead da Vinci to come to his understanding of the ultimate meaning of Humanism. Leonardo is generally accepted as the first modern mathematician. He not only knew mathematics abstractly but applied it in his Notebooks to all manner of engineering problems. He was one of the unique geniuses of history, and in his brilliance he perceived that beginning humanistically with mathematics one only had particulars. He understood that man beginning from himself would never be able to come to meaning on the basis of mathematics. And he knew that having only individual things, particulars, one never could come to universals or meaning and thus one only ends with mechanics. In this he saw ahead to where our generation has come: everything, including man, is the machine.

Leonardo da Vinci compares well to Solomon and they  both were universal men searching for the meaning in life. Solomon was searching for a meaning in the midst of the details of life. His struggle was to find the meaning of life. Not just plans in life. Anybody can find plans in life. A child can fill up his time with plans of building tomorrow’s sand castle when today’s has been washed away. There is  a difference between finding plans in life and purpose in life. Humanism since the Renaissance and onward has never found it and it has never found it since. Modern man has not found it and it has always got worse and darker in a very real way.

We have here the declaration of Solomon’s universality:

1 Kings 4:30-34

English Standard Version (ESV)

30 so that Solomon’s wisdom surpassed the wisdom of all the people of the east and all the wisdom of Egypt. 31 For he was wiser than all other men, wiser than Ethan the Ezrahite, and Heman, Calcol, and Darda, the sons of Mahol, and his fame was in all the surrounding nations. 32 He also spoke 3,000 proverbs, and his songs were 1,005. 33 He spoke of trees, from the cedar that is in Lebanon to the hyssop that grows out of the wall. He spoke also of beasts, and of birds, and of reptiles, and of fish. 34 And people of all nations came to hear the wisdom of Solomon, and from all the kings of the earth, who had heard of his wisdom.

_________________________

Here is the universal man and his genius. Solomon is the universal man with a empire at his disposal. Solomon had it all.

Ecclesiastes 1:3

English Standard Version (ESV)

What does man gain by all the toil
    at which he toils under the sun?

 

Schaeffer noted that Solomon took a look at the meaning of life on the basis of human life standing alone between birth and death “under the sun.” This phrase UNDER THE SUN appears over and over in Ecclesiastes. The Christian Scholar Ravi Zacharias noted, “The key to understanding the Book of Ecclesiastes is the term UNDER THE SUN — What that literally means is you lock God out of a closed system and you are left with only this world of Time plus Chance plus matter.” 

Man is caught in the cycle XXXXXXXXX

Ecclesiastes 1:1-7

English Standard Version (ESV)

All Is Vanity

The words of the Preacher, the son of David, king in Jerusalem.

Vanity of vanities, says the Preacher,
    vanity of vanities! All is vanity.
What does man gain by all the toil
    at which he toils under the sun?
A generation goes, and a generation comes,
    but the earth remains forever.
The sun rises, and the sun goes down,
    and hastens to the place where it rises.
The wind blows to the south
    and goes around to the north;
around and around goes the wind,
    and on its circuits the wind returns.
All streams run to the sea,
    but the sea is not full;
to the place where the streams flow,
    there they flow again.

All things are full of weariness;
    a man cannot utter it;
the eye is not satisfied with seeing,
    nor the ear filled with hearing.
What has been is what will be,
    and what has been done is what will be done,
    and there is nothing new under the sun.
10 Is there a thing of which it is said,
    “See, this is new”?
It has been already
    in the ages before us.

_____________

Solomon is showing a high degree of comprehension of evaporation and the results of it. Seeing also in reality nothing changes. There is change but always in a set framework and that is cycle. You can relate this to the concepts of modern man. Ecclesiastes is the only pessimistic book in the Bible and that is because of the place where Solomon limits himself. He limits himself to the question of human life, life under the sun between birth and death and the answers this would give.

Ecclesiastes 1:4

English Standard Version (ESV)

A generation goes, and a generation comes,
    but the earth remains forever.

___________________

Ecclesiastes 4:16

English Standard Version (ESV)

16 There was no end of all the people, all of whom he led. Yet those who come later will not rejoice in him. Surely this also is vanity and a striving after wind.

__________________________

In verses 1:4 and 4:16 Solomon places man in the cycle. He doesn’t place man outside of the cycle. Man doesn’t escape the cycle. Man is only cycle. Birth and death and youth and old age. With this in mind Solomon makes this statement.

Ecclesiastes 6:12

12 For who knows what is good for a man during his lifetime, during the few years of his futile life? He will spend them like a shadow. For who can tell a man what will be after him under the sun?

____________________

There is no doubt in my mind that Solomon had the same experience in his life that I had as a younger man. I remember standing by the sea and the moon arose and it was copper and beauty. Then the moon did not look like a flat dish but a globe or a sphere since it was close to the horizon. One could feel the global shape of the earth too. Then it occurred to me that I could contemplate the interplay of the spheres and I was exalted because I thought I can look upon them with all their power, might, and size, but they could contempt nothing and I felt as man as God. Then came upon me a horror of great darkness because it suddenly occurred to me that although I could contemplate them and they could contemplate nothing yet they would continue to turn in ongoing cycles when I saw no more forever and I was crushed.

THIS IS SOLOMON’S FEELING TOO. The universal man, Solomon, beyond our intelligence with an empire at his disposal with the opportunity of observation so he could recite these words here in Ecclesiastes 6:12, “For who knows what is good for a man during his lifetime, during the few years of his futile life? He will spend them like a shadow. For who can tell a man what will be after him under the sun?”

Because (Beatles song)

From Wikipedia, the free encyclopedia
“Because”
Song by the Beatles from the album Abbey Road
Released 26 September 1969
Recorded 1–5 August 1969,
EMI Studios, London
Genre Psychedelic rock, progressive rock
Length 2:45
Label Apple Records
Writer Lennon–McCartney
Producer George Martin
Music sample
0:00

Because” is a song written by John Lennon[1] (credited to Lennon–McCartney) and recorded by the Beatles in 1969. It features a prominent three-part vocal harmony by Lennon, Paul McCartney, and George Harrison, overdubbed twice to make nine voices in all. It first appeared on Abbey Road (1969), immediately preceding the extended medley on side two of the record.

Composition[edit]

An electric harpsichord similar to the one used for “Because”

The song begins with a distinctive electric harpsichord intro played by producer George Martin. The harpsichord is joined by Lennon’s guitar (mimicking the harpsichord line) played through aLeslie speaker. Then vocals and bass guitar enter.

“Because” was one of few Beatles recordings to feature a Moog synthesiser, played by George Harrison. It appears in what Alan Pollack refers to as the “mini-bridge”,[2] and then again at the end of the song.

According to Lennon, the song’s close musical resemblance to the first movement of Ludwig van Beethoven‘s Moonlight Sonata was no coincidence: “Yoko was playing Beethoven’s ‘Moonlight Sonata’ on the piano … I said, ‘Can you play those chords backwards?’, and wrote ‘Because’ around them. The lyrics speak for themselves … No imagery, no obscure references.”[1][3]

Musical structure[edit]

With regard to the controversy Lennon initiated by citing Beethoven’s “Moonlight Sonata” as an inspiration, musicologist Walter Everett notes that “both arpeggiate triads and seventh chords inC♯ minor in the baritone range of a keyboard instrument at a slow tempo, move through the submediant to ♭II and approach vii dim7/IV via a common tone.”[4] But while acknowledging the unusual shared harmonies, Dominic Pedler notes that the relationship is not the result of reversing the order of the chords as Lennon suggested.[5]

“Because” concludes with a vocal fade-out on D dim, which keeps listeners in suspense as they wait for the return to the home key of C♯ minor. Mellers states that: “causality is released and there is no before and no after: becausethat flat supertonic is a moment of revelation, it needs no resolution.”[6] The D dim chord (and its accompanying melodic F♮) lingers until they resolve into the opening Am7 chord of “You Never Give Me Your Money“.

Recording[edit]

George Martin on “Because”:[7]

Between us, we also created a backing track with John playing a riff on guitar, me duplicating every note on an electronic harpsichord, and Paul playing bass. Each note between the guitar and harpsichord had to be exactly together, and as I’m not the world’s greatest player in terms of timing, I would make more mistakes than John did, so we had Ringo playing a regular beat on hi-hat to us through our headphones.

The main recording session for “Because” was on 1 August 1969, with vocal overdubs on 4 August, and a double-tracked Moog synthesiser overdub by Harrison on 5 August.[8] As a result, this was the last song on the album to be committed to tape, although there were still overdubs for other incomplete songs. This approach took extensive rehearsal, and more than five hours of extremely focused recording, to capture correctly. McCartney and Harrison both said it was their favourite track on Abbey Road. “They knew they were doing something special,” said engineer Geoff Emerick, “and they were determined to get it right.” [9] Versions of the song without instrumentation can be found on 1996’s Anthology 3 and 2006’s Love. Both versions highlight the three-part harmony by Lennon, McCartney and Harrison, though the Love version is lengthened and includes overdubbed birdsong from “Across the Universe“.

Personnel[edit]

Personnel per Ian MacDonald[10]

Cover versions[edit]

Year Artist Release Notes
1969 Gary McFarland Today
1971 John Williams Changes
1976 Lynsey De Paul All This and World War II
1977 Devo The Truth About De-Evolution (soundtrack) The song is performed (and distorted highly) during the film’s closing credits.
1978 Alice Cooper & The Bee Gees Sgt. Pepper’s Lonely Hearts Club Band (soundtrack)
1981 Shampoo In Naples 1980–81 Lyrics rewritten in Neapolitan.
1982 Pedro Aznar Pedro Aznar
1987 Mike Marshall Gator Strut
1994 The Nylons The Nylons
1998 Vanessa-Mae George Martin‘s In My Life She performed the song on a solo violin with a background choir singing the lyrics.
1999 Elliott Smith American Beauty (soundtrack)
2004 Alejandro Dolina Tangos del Bar del Infierno Also used as the opening theme for his radio show La Venganza Será Terrible.
2005 George Clinton How Late Do U Have 2BB4UR Absent?
2005 Negativland No Business A complete deconstruction of the song on “Old is New” and “New is Old”, adding voice effects and additional track overlaying
2005 Ná Ozzetti & André Mehmari Piano e Voz
2007 Solveig Slettahjell Domestic Songs
2007 Various artists Across the Universe The six main characters and three minor characters in the film combined to perform the nine vocal parts.
2009 Nyoy Volante
2009 Martin John Henry Abbey Road Now!
2009 Gerry Rafferty Life Goes On
2013 Al Di Meola All Your Life
2013 Rachel Zeffira

Notes[edit]

  1. ^ Jump up to:a b Sheff 2000, p. 191.
  2. Jump up^ Pollack.
  3. Jump up^ Snopes.com 2009, pp. 1.
  4. Jump up^ Walter Everett. The Beatles as Musicians: Revolver Through the Anthology Oxford University Press, Oxford 1999. pp. 259–260
  5. Jump up^ Dominic Pedler. The Songwriting Secrets of the Beatles. Music Sales Limited. Omnibus Press. NY. 2003. pp. 428–433
  6. Jump up^ Wilfred Mellers. Twilight of the Gods: The Music of the Beatles. Schirmer/Macmillan 1973. p. 118
  7. Jump up^ Buskin, Richard, insidetracks, p. 64-65
  8. Jump up^ Lewisohn 1988, pp. 184–185.
  9. Jump up^ “77 – ‘Because'”. 100 Greatest Beatles Songs. Rolling Stone. Retrieved 17 June 2012.
  10. Jump up^ MacDonald 2005, p. 365.

References[edit]

External links[edit]

The Beatles are featured in this episode below and Schaeffer noted,  ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world.”

How Should We then Live Episode 7 

 

The Beatles:

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Abraham Cruzvillegas: Autoconstrucción | ART21 “Exclusive”

Published on Mar 4, 2016

SUBSCRIBE 65K
Episode #232: Abraham Cruzvillegas discusses his personal and artistic relationship to the concept of autoconstrucción from his childhood home in Mexico City. “Autoconstucción is about self-constructing or constructing your own house,” the artist explains, adding, “I like the term because it leads me to think about the construction of identity.” Cruzvillegas, who is shown assembling his large-scale installation “The Autoconstrucción Suites” at the Walker Art Center, is not illustrating autoconstrucción houses through his work, but instead is activating the method’s dynamic improvisation through the use of found materials. Inspired by the harsh landscape and living conditions of his childhood neighborhood, Abraham Cruzvillegas assembles sculptures and installations from found objects and disparate materials. Expanding on the intellectual investigation of his own paradoxical aesthetic concepts of “autoconstrucción” and “autodestrucción,” he likens his works to self-portraits of contradictory elements, exploring the effects of improvisation, transformation, and decay on his materials and work. In his experiments with video and performance, through the use of academic research and personal and family archives, he reveals the deep connection between his identity—born of the realities of his family’s life in Mexico—and his artistic practice. Learn more about the artist at: http://www.art21.org/artists/abraham-… ART21 “Exclusive” is supported, in part, by 21c Museum Hotel, and by individual contributors. CREDITS: Producer: Ian Forster. Interview: Susan Sollins. Editor: Morgan Riles. Camera: Mark Falstad, Kevin Galligan, David Howe & Joel Shapiro. Sound: Heidi Hesse & Mauricio Rodríguez. Artwork Courtesy: Abraham Cruzvillegas. Special Thanks: Walker Art Center

Featured artist is Abraham Cruzvillegas

Abraham Cruzvillegas

Abraham Cruzvillegas was born in Mexico City in 1968. Inspired by the harsh landscape and living conditions of Colonia Ajusco, his childhood neighborhood in Mexico City where houses were built on inhospitable land in ad hoc improvisations according to personal needs and economic resources, Cruzvillegas assembles sculptures and installations from found objects and disparate materials.

Expanding on the intellectual investigation of his own paradoxical aesthetic concepts of autoconstrucción and autodestrucción*, he likens his works to self-portraits of contradictory elements and explores the effects of improvisation, transformation, and decay on his materials and work. In his experiments with video, performance, personal and family archives, and academic research, he reveals the deep connection between his identity—born of the realities of his family’s life in Mexico—and his artistic practice.

Abraham Cruzvillegas studied at Universidad Nacional Autónoma de México (UNAM). He has been awarded residencies at DAAD (2010); Capp Street (2009); the Smithsonian Institution (2008); Cove Park (2008); Civitella Ranieri Foundation (2007); and Atelier Calder (2005). Other honors include the Yanghyun Prize (2012) and the Prix Altadis d’arts plastiques (2006). His work has appeared in major exhibitions at Haus der Kunst, Munich (2014); Walker Art Center (2013); Tate Modern (2012); Documenta (2012); Modern Art Oxford (2011); Istanbul Biennial (2011); Seoul Biennial (2010); CCA Wattis Institute for Contemporary Arts (2009); Havana Biennial (2009); the Centre for Contemporary Arts, Glasgow (2008); New Museum (2007); Museo de Arte Contemporáneo de Monterrey (2004); Contemporary Arts Museum Houston (2003); Venice Biennale (2003); Bienal de São Paulo (2002); and Museo Universitario de Ciencias y Artes (MUCA), Mexico (2001). Abraham Cruzvillegas lives and works in Mexico City, Mexico.

*The terms autoconstrucción and autodestrucción (translated literally as self-construction and self-destruction) refer to methods of building and eventual destruction that arise from the constraints of poverty, which require scavenging, recycling, and adaptation of materials.

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MUSIC MONDAY Little Rock native David Hodges co-writing some of the best songs of today

Little Rock native David Hodges co-writing some of the best songs of today

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MUSIC MONDAY Little Rock native David Hodges co-wrote PIECES OF A DREAM sung by Anastacia

 

Pieces of a Dream (Anastacia song)

From Wikipedia, the free encyclopedia
“Pieces of a Dream”
Anastacia-PiecesofaDream.jpg
Single by Anastacia
from the album Pieces of a Dream
Released November 11, 2005 (Europe)
November 21, 2005 (UK)
Format CD singledigital download
Recorded 2005
Length 4:03
Label
Songwriter(s)
Producer(s) David Hodges
Anastacia singles chronology
Everything Burns
(2005)
Pieces of a Dream
(2005)
I Belong to You (Il Ritmo della Passione)
(2006)

Pieces of a Dream” is a song by American singer Anastacia from her first greatest hits album, Pieces of a Dream(2005). Written by Anastacia, Glen Ballard, and David Hodges, it was produced by Hodges and details a number of difficult issues the singer experienced while touring in 2005 such as the breakdown of her relationship and the death of her estranged father. The single was released as the album’s lead single in Europe on November 11, 2005. The single reached the top ten in Italy and the Netherlands, and the top twenty in Germany and Switzerland. It also peaked at number one in Spain three years after its original release.

Critical reception[edit]

Allmusic editor Sharon Mawer said that this song is “more midtempo but it suffers from a lack of a discernible melody.”[1]

Music video[edit]

The music video for “Pieces of a Dream” was directed by David Lippman and Charles Mehling, and was filmed in Los AngelesCalifornia, between September 17–18, 2005. The video is notable for being shot entirely in black-and-white. It is mostly set in dark woods, and has no coherent storyline, featuring a series of mysterious images—perhaps to literally interpret the song’s title.

The video depicts Anastacia’s descent into madness, and the hallucinations she has, such as a frozen rose and images of herself burning. It is later revealed that Anastacia is being held in a padded cell, and that the video is actually a part of her dream.

Track listings[edit]

UK and European CD single
  1. “Pieces of a Dream” – 4:03
  2. “Club Megamix” – 5:17
Promotional Jason Nevins Remix
  1. “Pieces of a Dream” (Jason Nevins Remix) – 4:09
Promotional remix single
  1. “Pieces of a Dream” (Jason Nevins Remix Edit) – 2:57
  2. “Pieces of a Dream” (Jason Nevins Remix) – 6:47
  3. Left Outside Alone” (Humble Brothers Remix) – 3:48

Charts[edit]

Weekly charts[edit]

Chart (2005) Peak
position
Austria (Ö3 Austria Top 40)[2] 29
Belgium (Ultratop 50 Flanders)[3] 1
Belgium (Ultratop 50 Wallonia)[4] 4
Europe (European Hot 100 Singles)[5] 30
Germany (Official German Charts)[6] 20
Ireland (IRMA)[7] 26
Italy (FIMI)[8] 3
Netherlands (Single Top 100)[9] 38
Switzerland (Schweizer Hitparade)[10] 18
UK Singles (Official Charts Company)[11] 48
Chart (2008) Peak
position
Spain (PROMUSICAE)[12] 1

Chart procession and succession[edit]

Preceded by
Miles Away” by Madonna
Spanish Singles Chart number-one single
December 28, 2008
Succeeded by
“Colgando en tus manos” by Carlos Bauteand Marta Sánchez

References[edit]

External links[edit]

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Links to 2016 MUSIC MONDAYS

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Links to 2016 MUSIC MONDAYS

I am moving the MUSIC MONDAY to a monthly feature on http://www.thedailyhatch.org. My passion has been in the recent years to emphasize the works of Francis Schaeffer in my apologetic efforts and most of those posts are either on Tuesdays or Thursdays.

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

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 226 Mary McCarthy (Feature on artist David Claerbout )

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Francis Schaeffer comments on William Burroughs:

I am going to read first from Douglas M. Davis article, “The New Mood: An Obsession with the Absurd.” National Observer (February 1965), and then comment on it.

William Burroughs, 50, is the most controversial of them all, former drug addict, he wrote an impressionistic intensely detailed account of his experience and published it in 1962 under the title NAKED LUNCH.”

If there is anything that guarantees to make you nauseated it is NAKED LUNCH, and that is anybody, not just Christians.

“The book provoked a lively debate that is still in progress filled with pages and pages of what seemed to be gratuitous pornography. Critic John Wayne labeled NAKED LUNCH the merest trash, not worth a second glance. Mary McCarthy  didn’t agree. She called it the most important novel of the age and the epic of the century.”

That is because Mary McCarthy really belongs in the same thing. I saw Mary McCarthy on the BBC-3 television program when we were in England coming back from my last lecture time in the States. It was a discussion on censorship with Kenneth Tynan on November 13, 1965 and suddenly while discussing censorship Tynan used the most famous of all four letter words on TV and Mary McCarthy just laughed. I was fascinated and I thought the BBC was further along than I thought it was. Then the war started in Parliament the next day, embarrassment and finally apologies for the use of the famous four letter word on the BBC. Why do these men smash things this way? Mary McCarthy would think NAKED LUNCH is a good book because she belongs in the same black bath.

“Mr. Burroughs new novel NOVA EXPRESS will hardly settle matters. Like NAKED LUNCH it is impressionistic although not filled with pornography but with rough brutal language. If ever a book was written with rage it is this one. One doesn’t have to be a psychologist to perceive the moralist behind the mask of William Burroughs. Indeed, it is puritanical anger in the man that both saves the books from the charge of depravity and makes them unreadable.”

I would say that is right. These men are not cabbages. These men are like John Osborne. They are idealists without an ideal. An idealist for which no ideal exist as far as they are concerned. So you can say they are puritanical in the sense they are furious simply because they want values and they can’t find them, so they are smashing. And again we ask why do they smash things so? I will say two things about these men. It is always the same. FIRST, aren’t they horrible? We are at war with these men. They are trying to destroy us. If I am a Christian and I’m reading in an uncritical way and naive fashion they will destroy us. They will destroy everything they touch. It is like a real breath from the devil and they are destructive and then SECONDLY, they are really seeking purpose and they are really seeking values. They are not nobody. You can say they are horrible, but you can’t say they are nobody. 

David Claerbout interview about Duration in his work.

Featured artist is David Claerbout

David Claerbout

David Claerbout was born in 1969, in Kortrijk, Belgium, and lives and works in Antwerp and Berlin. Using photography, video, and digital-editing tools, Claerbout creates large-scale installations that provoke questions of time, memory, and truth.

A natural draftsman, Claerbout was an adult before he realized that drawing could allow him to develop more complex concepts. Claerbout creates immersive installations that offer audiences alternative readings of a moment, and involve the manipulation of moving and still images. These works, which can take several years to complete, investigate the passage of time and the concept of the in-between state of duration.

Links:
Artist’s website
Artist on Facebook

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MUSIC MONDAY Little Rock native David Hodges co-wrote “You Don’t Know Me” sung by Allison Iraheta

Little Rock native David Hodges co-wrote “You Don’t Know Me” sung by Allison Iraheta

Allison Iraheta – You Don’t Know Me – Lyrics

 

Iraheta co-wrote this song with former Evanescence member David Hodges. She explained its subject matter to Entertainment Weekly: “It’s out there for people who pre-judge, who pretty much judge a book by its cover. It’s pretty simple, but it definitely focuses on how people talk before they even know someone or something, how they talk out of their butts and they just don’t know what they’re saying.”

I’m a ghost of a girl that you looked right past
I’m a voice you didn’t wanna hear
I’m a page of a book that you read to fast,
But I’m still here.
You never cared never tried never even asked,
Maybe I didn’t wanna say
You shut your eyes told your lies and you had your laugh
And that’s okay

[Chorus]
Cause you don’t know me
You don’t wanna know what’s real
And I’m not sorry
For who I am for what I feel, cause you don’t know me.

I got more on my mind that I’ve never told
I’ve got pain that you’ve never felt
I’ve got the scars I can deal with it on my own
I’ve got stories that I’d never tell.
But maybe it’s just as well

[Chorus]

I’m strong, I’m a mess altogether an emotional wreck
I can scream I can beg you to see I’m alive
I’m awake I’m unglued
I’m not gonna break down, no.

You don’t know me
You don’t wanna know what’s real
And I’m not sorry

[Chorus]

Cause you don’t know me
You don’t wanna know what’s real
And I’m not sorry
For who I am, you don’t understand, just how I feel.
Cause you don’t know me.Writer/s: MITCH ALLAN, DAVID BASSETT, DAVID HODGES, ALLISON IRAHETA
Publisher: Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc., BMG RIGHTS MANAGEMENT US, LLC

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